Sur Scène [Enhanced] [Import]

Disc: 1

1. S'En Aller

2. Où Que Tu Sois

3. Manic

4. J'Oublie Ma Folie

5. Vivre Sa Vie

6. Medley: Mourir Comme Lui/S.O.S. d'Un Terrien en Détresse/Lune - Moon/Fl

7. Ailleurs C'est Comme Ici

8. Coriace

9. Se Rêver

10. Aimons-nous quand même/ Ils s'aiment

See all 12 tracks on this disc

Disc: 2

1. Aimons-Nous/Ils S'Aiment - Isabelle Boulay, Bruno Pelletier

2. In Your Eyes - Bruno Pelletier, Kim Richardson

3. Brother to Brother - Bruno Pelletier, Kim Richardson

4. Vivo Per Lei - Bruno Pelletier,

Sur Scène,Bruno Pelletier,Import [Generic],Int'l & World Music,Pop,World Music

Average customer rating: 5-stars!! Sills owned this role! SILLS and a Perfect MANON..... For Sills fans, mainly. A Great Recording of an Opera That Should Be Performed More Often Beverly Sills Signature Role

Massenet: Manon Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Sills, Beverly | ( S ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Massenet, Jules | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation) Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato The Ballad of Baby Doe Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel The Great Recordings ASIN: B0001Y4JGG Release Date: 2004-05-11

Amazon.com

This recording has been unavailable for too long. Recorded in 1970, a solid year-or-so before Beverly Sills' voice began to show the damage caused by singing Elisabetta I in Donizetti's Roberto Devereux, this is the finest all-around recording of Manon on the market. Sills, in addition to being fresh-voiced, is so thoroughly in the part that we can chart Manon's downfall step by step; her girlish singing is as right on as her sassy, showy coloratura in the thirds act, and her St Sulpice scene is truly seductive. She's the perfect Manon. And Nicolai Gedda's Des Grieux, sung, as is Sills' Manon and the rest of the cast, in impeccable French, is passionate, madly in love, and ultimately tragic. Gabriel Bacquier's Count is imperious and authoritative and Gerard Souzay's Lescaut is smooth. Julius Rudel's leadership sparkles when it should and his sense of French suavity is unfailing. The score is given more than complete - as an appendix, there's an aria for Manon that Massenet added later. This is a desert island disc. --Robert Levine

Customer Reviews:

5-stars!! Sills owned this role!.......2007-07-18

Until I heard Sills sing Manon in the 1970's I have to admit that it was not one of my favorite operas. This recording certainly does her justice, capturing the complexities of this role. It is an outstanding recording! (as an aside, if you have not seen it, go to youtube's recording of her farewell recital, where, as in all of her recitals, she closes with a Portugese folk song taught to her by her famous teacher Estelle Liebling. If this doesn't bring tears to your eyes, nothing will!).

SILLS and a Perfect MANON............2007-07-07

Enough has been written about Beverly Sills and the role of Manon that you already know that she OWNED the role for a long time.

This recording was originally issued on EMI, and I find it unusual that it should have disappeared from that label and it now appears on DG. Although it is strange, we need not worry about that; the main thing here is that the recording is again available to us.

You only really need two copies of Manon...the Victoria De Los Angeles one under Pierre Monteaux, and this one with Sills, Gedda, Bacquier, and Souzay under Julius Rudel. All participants here are simply wonderful, and all in very good voice as it happens! Usually we get a weak link, but somehow, the god's smiled on this effort, and everything came together wonderfully.

This is one of Gedda's efforts that I heartily commend! Simply a great des Griux! Souzay's Lescaut is really a wonderfully smooth, and mellow, performance that you need to hear. Gabriel Bacquier, AS ALWAYS turns in a magnificently commanding performance as Count des Griux. This of course brings us to the role of Manon. Simply stunning would be a great way to say it! Sills is just so real-life-bubbly girlish, and so lovely, that we are swept up in the swirl of mad love, right up to tragedy that comes to her, and the heart-wrenchingly sad finale.

This recording belongs in everyone's collection, right beside the Victoria De Los Angeles one! Enjoy! ~operabruin

For Sills fans, mainly........2006-01-16

As good an ensemble as could be assembled in the more recent past, well conducted by the seasoned Rudel, this 1970 performance stands or falls by one's perception of the two principals.

Nicolaï Gedda (né Ustinov,) b. 1925, half-Swedish, half-Russian, was a fine musician with a highly developped vocal technique. His manner was rather cold, however, and at 45 his lyric voice had lost some of its original bloom. I find his des Grieux rather grim and emphatic, lacking in romantic élan. I much prefer the poetic Henri Legay in the definitive Monteux recording (TESTAMENT.)

Beverly Sills (née Silvermann,) b. 1929, American, studied with Estelle Liebling, a pupil of the legendary Mathilde Marchesi, teacher of Melba, Eames, Kurtz, Alda and many an other French stylist.

Sills new exactly how to sing this music and had the perfect voice and technique for it. Many years of repertory singing in the provinces, often in inappropriately heavy parts (Tosca!) however, had made Sills' voice thin and unsteady by the time she made this recording at age 41. Her interpretation is intense, heartfelt and full of telling dramatic detail, but often heavy-handed and unpleasant on the ear. She is also rather short on the elegance and chimeric charm that characterises the best interpreters of this part (Vallin, Heldy, Féraldy, de los Ángeles.)

The airplane hangar ambience of the recording studio (talk about overresonant!) does not help, either.

Incidentally, the rôle of Lescaut is sung (well) by Gerard SOUZAY.

Gabriel Bacquier sings comte des Grieux--very well indeed.

A Great Recording of an Opera That Should Be Performed More Often.......2005-10-08

Massanet's MANON is a work that is no stranger to the stage in New York City where it has had a glorious history at both the Met and the New York City Opera though this is not the case around the world. Its frequent New York performances may make it Massanet's most staged opera. For those familiar with the work, it is a favorite. It has all the elements that make French opera great, but it is not a work that has familiar excerpts. As a matter of fact, Massanet's bets known melodies are from lesser known works, such as the "Meditation" from THAIS and Porquoi me Revelier" from WERTHER. Yet when MANON is broadcast from the Met or if one takes out a recording, it's easy to understand why this work has been a favorite of so many for over a century and begs the question `Why isn't this work performed more often?'

Like great French opera, MANON is a work that is a bit larger than life, requires exquisite orchestral playing, and of course great singing. This set, originally released by Westminster in the 1970's and re-released by Duetsche Grammophon has it all. The vocal abilities of the three leading performers: Beverly Sills, Nicolai Gedda and Gabriel Bacquier as Manon, des Grieux, and Lescaut respectively are each in top vocal form. Sills herself states that Manon was a role she loved and one that she believed her voice was well suited for, and there can be no disputation when listening to this set. As a conductor, Julius Rudel is at his best. He has great control over the New Philharmonia Orchestra, creating lush sounds that make the recording spectacular and an added, but essential plus would be the outstanding choral performances by the Ambrosian Opera Chorus and the great performances of the smaller roles.

Just about every reviewer, from Amazon reviewers to the critics who write for OPERA NEWS have heralded the new availability of this recording. Listen to it, and you will understand why and echo the many praises of this set.

Enjoy!

Beverly Sills Signature Role.......2004-12-17

Beverly Sills once said that if she was to be remembered for anything, it should be for "Manon". This is the role that catapulted her to opera superstardom. And she made this recording in 1970, when her voice still had all its youthful freshness and vigor, and shows just why Beverly Sills had such a great reputation. It has been said that Massenet wrote for his soprano, and nowhere is that more true than in the title role of this opera. And Sills does the role complete justice, vocally demonstrating in her singing the downfall of Manon from young innocent girl to demimondaine to despair and death. Her rendition of the great aria "Adieu, notre petite table", is incredibly moving. And the rest of the cast is excellent as well. Nicolai Gedda is supremely stylish as Des Grieux, Gabriel Bacquier strong and forthright as his father, and one gets to hear the late Gerard Souzay, famous primarily as a concert artist, singing a rare opera role as Lescaut, Manon's cousin. Julius Rudel conducts cleanly, making the most of Massenet's lush orchestrations. This recording belongs on the shelf of every opera lover.

Average customer rating: Bright Star Anna Netrebko: Opera Arias First DGG album--very promising Remarkable! Beautiful voice, beautiful girl

Anna Netrebko: Opera Arias Anna Netrebko , Elina Garanca , Gianandrea Noseda , Wiener Philharmoniker , and Hector Berlioz Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Czech | Languages | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Sempre Libera Russian Album Violetta: Arias and Duets from Verdi's La Traviata [Includes DVD] Anna Netrebko - The Woman, The Voice Verdi - La Traviata ASIN: B00008MLSH Release Date: 2003-09-09

Tracks:

1. Idomeneo: Recitativo ed Aria "Quando avran fine omai" - Mozart
2. Don Giovanni: Recitativo accompagnato e Rondo "Crudele!" - Mozart
3. Benvenuto Cellini: Cavatine "Entre l'amour et le devoir" - Berlioz
4. La Sonnambula: Recitativo e Cavatina "Care compagne, et voi, ternei amici" - Bellini
5. Manon: Air du Cours-la-Reine "Suis-je gentille ainsi?" - Massenet
6. Lucia di Lammermoor: Scena e Cavatina "Ancor non giunse!" - Donizet
7. Faust: Ricitatif "Les grands seigneurs ont seuls des airs..." - Gounod
8. Rusalka: "Mesicku na nebli hlubokem" - Dvorak
9. La Boheme: "Quando me'n vo' (Musette's Waltz)" - Puccini

Amazon.com

Here, a year after her sensational Metropolitan debut as Prokofiev's Natasha from War and Peace, comes the debut solo recital album of 30-something soprano Anna Netrebko. She hails from southern Russia, and her emergence from the life of a conservatory student has a touch of the Cinderella tale—the bit, that is, about being discovered by Gergiev mopping floors for the Kirov as a part-time job and making her way into the Kirov's ranks. Later she became a favorite at San Francisco Opera, trying on for size a swath of comic and dramatic roles. Opera Arias parades Netrebko's way through a spectrum of vocal styles and characters. This mesmerizing lyric soprano engages--at times thrillingly grips--the listener with an imagination far greater than the disc's title (couldn't someone have dreamt up a less ridiculously bland handle?), but most significantly leaves an impression that the enterprise here isn't merely about singing. Netrebko's Ilia and Donna Anna are flesh-and-blood characters in real situations, as Mozart wanted them to be. The results are a bit more uneven with her bel canto heroines, where the required balance between Netrebko's emotional identification, so obviously a forte, and the musical phrasing thereof is a delicate one. Her shading of Lucia's mood swings, vocal and emotional, isn't consistently compelling. On the other hand, Netrebko uncovers gemlike facets not just in Gounod's "Jewel Song" but particularly in her stunning, passionately realized and beautifully phrased Manon (even if her trills disappoint). A shame that samples of her Russian repertory are missing here, though Netrebko's "Song to the Moon" from Dvorak's Rusalka concentrates and sets a mood with enviable mastery. Netrebko's musical intelligence and theatrical savvy seem destined to ensure her a magnificent career, so it's no surprise that many fans are already clamoring for more than the tease of an aria collection. --Thomas May

Customer Reviews:

Bright Star.......2007-07-13

If you like opera, if you like the lyric soprano, if the vocal range of the colortura causes goose bumps to rise, Anna Netrebko is a must. Roberta Peters, Beverly Sills, Anna Moffo, Joan Southerland, Maria Callas, she takes a back seat to none of them,she sits he front seat with the best of them and guess what? She is beautiful too.

Anna Netrebko: Opera Arias.......2007-03-29

Her voice takes my breath away, I fell in love with her.
I highly reccomend it.

First DGG album--very promising.......2007-02-01

Anna Netrebko has rapidly become a first tier star in opera. This album, her first at DGG, illustrates why some rate her so highly; it also illustrates some of the questions that some have raised about her. All in all, though, a very nice CD.

A few selections illustrate:

Mozart, Idomeneo, "Quando avran fine omai." She displays a rich and clean voice. There is a very attractive quality to her voice manifest in this work.

Mozart, Don Giovanni, "Crudele? Ah no, mio bene!...Non mi dir." This is Donna Anna's poignant aria, given her circumstances. Netrebko displays rich tones. This is a well sung cut. "Non mi dir" shows off some agility in her voice.

Donizetti, Lucia di Lammermoor. "Ancor non giunse!. . .Regnava nel silenzio. . .Quando rapito in estasi" Something of a disappointment. Coloratura is not her forte (and see her "Sempre Libera" CD for further confirmation). She clearly shows off a rich and lush voice. I think that she displays some characterization here that is compelling. She hits high notes cleanly. But her ornamentation is indifferent, and she appears unable to trill. I know, some say that that is irrelevant. But compare Beverly Sills' version of this work, with almost too many trills extraordinarily well sung and her florid technique, and this version simply pales.

Bellini, La Sonnambula. "Care compagna. . .Come per me sereno." Again, Netrebko displays a rich voice. She displays an agile voice and the ability to hit the high notes. Her rendition of "come per sereno" is spirited.

Gounod, Faust. "The Jewel Song." Very smooth singing; animated singing. But the technique does not measure up to Anna Moffo's version--let alone Joan Sutherland's.

Puccini, La Boheme. "Musetta's Waltz." Yikes! What a version. Brava Netrebko. Her darker voice is very well suited to this. The characterization of Musetta seems on the mark. A wonderful cut.

All in all, this shows the promise of Netrebko. It also indicates where her strengths are and where she does not do so well (coloratura work). However, this is a very nice introduction to her work and her art.

Remarkable!.......2006-11-02

Perhaps her voice is not as candid as some other sopranos, but her rendition of the score and interpretative expression make her and exquisite hearing pleasure. This recording shows a more matured artist capable of capturing the role dynamics and emotions.

Yes, her voice is not as lyric as you might expect, and some roles may sound a little big heavy (sometimes maybe bordering verismo), but definitively at stated before hearing her is a gloriuos pleasure, almost as good as looking at her.

Beautiful voice, beautiful girl.......2005-11-22

When I heard Anna Netrebko singing Quando Men Vo I was stunned by a voice of stunning purity, great power and sheer beauty. The best Musetta I've heard! Her Song to the moon is stunning and I love her Bel Canto! Anna Netrebko has a very bright future ahead of her. Her Mozart is top class!

Average customer rating: Ballet Masterful recording of masterful compositions Ballet bon bons German style First-Rate Ballet Music

Famous Ballet Music ~ Gaîté Parisienne, The Sleeping Beauty, Coppélia, Les Sylphides / von Karajan, Berlin PO Jacques Offenbach , Léo Delibes , Pyotr Il'yich Tchaikovsky , Charles Gounod , Fryderyk Chopin , Amilcare Ponchielli , Berliner Philharmoniker , and Herbert von Karajan Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Ballets & Dances | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: A Night at the Ballet (Box Set) 25 Classical Dance Favorites Adolphe Adam: Music from 'Giselle' Delibes: Coppélia (complete in three acts) / La Source (suites) Favorite Classics of Ballet for Ballet Class ASIN: B00001IVO9 Release Date: 1999-09-14

Tracks:

1. Gaite Parisienne: Ouverture - Herbert von Karajan_
2. Gaite Parisienne: 1. Allegro brillante - Herbert von Karajan_
3. Gaite Parisienne: 2. Polka - Herbert von Karajan_
4. Gaite Parisienne: 6. Allegro - Herbert von Karajan_
5. Gaite Parisienne: 8. Valse: Lento - Herbert von Karajan_
6. Gaite Parisienne: 9. Marche (Without Tempo Indication) - Herbert von Karajan_
7. Gaite Parisienne: 10. Valse: Moderato - Herbert von Karajan_
8. Gaite Parisienne: 11. Allegro vivo - Herbert von Karajan_
9. Gaite Parisienne: 12. Valse - Herbert von Karajan_
10. Gaite Parisienne: 13. Allegro vivace - Misterioso - Lento - Herbert von Karajan_
11. Gaite Parisienne: 14. Valse: Moderato - Herbert von Karajan_
12. Gaite Parisienne: 15. Allegro vivo - Herbert von Karajan_
13. Gaite Parisienne: 16. Cancan: Allegro - Herbert von Karajan_
14. Gaite Parisienne: 17. Polka - Herbert von Karajan_
15. Gaite Parisienne: 18. (Without Tempo Indication) - Herbert von Karajan_
16. Gaite Parisienne: 22. Vivo - Herbert von Karajan_
17. Gaite Parisienne: 23. Barcarolle: Allegro moderato - Herbert von Karajan_
18. Faust: 1. Allegretto: Tempo de valse - Herbert von Karajan_
19. Faust: 2. Adagio (Helene et les jeune Troyennes - Cleopatre et les jeunes Nubiennes) - Herbert von Karajan_
20. Faust: 3. Allegretto (Entree des jeunes Nubiennes) - Herbert von Karajan_
21. Faust: 4. Moderato maestoso (Variation de Cleopatre) - Herbert von Karajan_
22. Faust: 5. Moderato con moto (Entree des jeunes Troyennes) - Herbert von Karajan_
23. Faust: 6. Allegretto (Variation d'Helene) - Herbert von Karajan_
24. Faust: 7. Allegro vivo (Final - Entree de Phryne) - Herbert von Karajan_
25. Faust: Valse - Waltz: Tempo di valse - Herbert von Karajan_
26. The Sleeping Beauty: Suite From The Ballet Op. 66 - I. Introduction. La Fee des lilas - Allegro vivo - Andantino - Andante sostenuto - Herbert von Karajan_
27. The Sleeping Beauty: II. Adagio. Pas d'action - Andante - Adagio maestoso - Tempo I - Molto sostenuto, quasi piu andante - Tempo I - Herbert von Karajan_
28. The Sleeping Beauty: III. Pas de caractere. Le Chat Botte et La Chatte Blanche - Allegro moderato - Herbert von Karajan_
29. The Sleeping Beauty: IV. Panorama - Andantino - Herbert von Karajan_
30. The Sleeping Beauty: V. Valse - Allegro (Tempo di Valse) - Herbert von Karajan_

Tracks:

1. Coppelia: Ballet Suite: 1. Prelude et Mazurka - Various Artists
2. Coppelia: Ballet Suite: 2. Scene et Valse de Swanhilde - Various Artists
3. Coppelia: Ballet Suite: 3. Csardas - Various Artists
4. Coppelia: Ballet Suite: 4. Scene et Valse de la Poupee - Various Artists
5. Coppelia: Ballet Suite: 5. Ballade - Various Artists
6. Coppelia: Ballet Suite: 6. Variation sur un theme slave - Various Artists
7. Les Sylphides: 1. Prelude - Various Artists
8. Les Sylphides: 2. Nocturne - Various Artists
9. Les Sylphides: 3. Valse - Various Artists
10. Les Sylphides: 4. Mazurka - Various Artists
11. Les Sylphides: 5. Mazurka - Various Artists
12. Les Sylphides: 6. Prelude - Various Artists
13. Les Sylphides: 7. Valse - Various Artists
14. Les Sylphides: 8. Valse - Various Artists
15. La Gioconda: Dance Of The Hours - Various Artists

Customer Reviews:

Ballet .......2007-07-01

I was away for a long time. I feel very better now. I love this music and I am grateful to it.

Masterful recording of masterful compositions.......2007-01-19

This recording has become rare to find (in Europe), which surprises me, for I find both the compositions and the performance excellent. Especially the Sylphides, which are orchestral arrangements of some of Chopin's finest piano pieces - are heavenly. Highly recommended.

Ballet bon bons German style.......2004-06-26

Herbert von Karajan was the most recorded conductor in history. For that reason, he made a lot of records (that turned into CDs) like this one -- collections of well-known music that the public wants to hear over and over again. This group of ballet music is good, done in Karajan's typical highly chiseled style with a minimum of sentimentality. I once read a critic who called the style Karajan and Szell popularized the "school of industrial perfection", meaning every note in its place every time. That's true here, too. My favorite among these bon bons is the Tchaikovsky music from "Sleeping Beauty". Karajan is still hailed today for his later stereo version of the final Tchaikovsky troika of symphonies. Many critics put him up there with the best Tchaikovksy recordings ever. You can tell why critics were so persuaded by listening to his bleeding chuncks from "Sleeping Beauty". Not only does it contain the essential Berlin Philharmonic perfection and polish, it goes a little further than everything else on this set in terms of emotional attachment. The first two sections of the music, "Introduction. La Fee da Lilas" and "Adagio. Pas d'action" pack an enormous wallop. The final section is monumentally done by Karajan and the Berliners, surging forward in waves of sound and emotion until the listener is swept away during the crescendo in almost unconscious grandeur. I urge you to listen to this magnificent music-making and try not to develop goose flesh at the peak. This connection between perfection, music and emotion is what set Karajan apart from every other conductor in the 20th Century, and the reason he is as vivid and a larger than life figure today, 15 years after his death.

First-Rate Ballet Music.......2003-11-14

This collection of "Famous Ballet Music" from DG's mid-priced "2CD" series is truly first-rate. A lot of the credit for that goes to the man in charge of this set, Herbert von Karajan. The great conductor leads the Berlin Philharmonic through glowing highlights and suites from Offenbach's "Gaite Parisienne," Gounod's "Faust," Tchaikovsky's "Sleeping Beauty" and Delibes' "Coppelia," and the complete Chopin's "Les Sylphides" and "Dance of the Hours" from Ponchielli's "La Gioconda." Of course, the pieces featured here are the types of orchestral nuggets that someone like Karajan and the Berliners could eat for breakfast while reading the paper. But Karajan really prided himself in being one of the stereo-age's best Tchaikovsky conductors, and he made several recordings of each of the three ballet suites in addition to his many Symphonic Cycles. Also, his early 1960s accounts of the Chopin and Delibes in particular (the remainder of the works were recorded in the early 1970s), are as good, if not better, than any performance I have heard. In all, this is a collection that will appeal to the casual fan and serious collector alike.

Average customer rating: Wonderful introduction to a distinguished new series

Introducing World of American Jewish Music [Milken Archive of American Jewish Music] Manufacturer: Milken Archive ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brubeck | Brubeck, Dave | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Milhaud | Milhaud, Darius | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weill | Weill, Kurt | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music Compilations | Classical | Styles | Music Jewish & Yiddish Music | Folk | Styles | Music General | International | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music General | Easy Listening | Pop | Styles | Music CDs $7 - $10 | International General | International | Today's Deals in Music | Formats | Music All Bargain Titles | International General | International | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 International | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Leonard Bernstein: A Jewish Legacy [Milken Archive of American Jewish Music] Klezmer Concertos & Encores [Milken Archive of American Jewish Music] Ellstein: Great Songs of the Yiddish Stage 1 [Milken Archive of American Jewish Music] Brubeck - The Gates of Justice (Milken Archive American Jewish Music) Jewish Voices in the New World [Milken Archive of American Jewish Music] ASIN: B0000C508H Release Date: 2003-09-23

Tracks:

1. Open The Gates (Excerpt) - Cantor Alberto Mizrahi
2. Hashkiveinu - Hans Peter Blochwitz
3. Hudi Mitn Shtrudl - David Krakauer
4. III. Modere - Juilliard String Quartet
5. Old Jerusalem - Ana Maria Martinez
6. III. King David Dancing Before The Ark - Robert Vernon
7. Sheyibbaneh Beit Hamikdash - Cantor Benzion Miller
8. IV. Dance Of The Phantom Spirits - Gerard Schwarz
9. VII. Hinei Ma Tov - Vienna Boys Choir
10. VII. Psalm 126 - Prague Philharmonic Chorus
11. El Melekh Yoshev - New London Children's Choir
12. I. Demon's Welcome - Richard Stoltzman
13. Service Sacre L'Kha Dodi - Prague Philharmonic Chorus
14. The Flood, Part I - Fritz Weaver
15. Adon Olam - Academy Of St. Martin-In-The-Fields
16. IV. Camini Por Altas Torres - Lucy Shelton
17. Sheva B'Rakhot (Excerpt) - Cantor Simon Spiro
18. Mayn Goldele - Nell Snaidas
19. The Heavenly Host Delivers The Commandments To Moses/The People Dance Around The Golden Calf - Ian Denolfo

Album Description

The Milken Archive of American Jewish Music is a vast recorded panorama of the rich body of Jewish music, both sacred and secular, that has developed over the course of American history. This recording features nineteen tracks representing the broad scope of the Archive recordings.

Customer Reviews:

Wonderful introduction to a distinguished new series.......2003-09-29

I can't express how excited I am about this new series from Naxos and the Milken Archive! There is some absolutely stunning music on this sampler, and I can't wait until the full recordings are released. Especially notable are Ernst Toch's "Cantata of the Bitter Herbs" (what gorgeous choral & orchestral writing), Paul Schoenfield's Viola Concerto (utterly fantastic excerpt "King David Dancing Before the Ark"), the excerpt from Joseph Achron's suite from The Golem, "Open the Gates" from Dave Brubeck's Gates of Justice, and the lovely duet from Joseph Rumshinsky's Yiddish operetta "Di goldene kale." Also, if you're not familiar with Jewish liturgical music or with klezmer, there are wonderful examples on this disc. My only disappointment is that, because of economic reasons, most of the recordings had to be made with European ensembles. Although the performances are excellent (under directors Gerard Schwarz, Neville Marriner, Yoel Levi and others), it's just a shame that this music, which, in addition to being Jewish, is also very AMERICAN, cannot be preserved on CD by American ensembles. At any rate, I'm pretty certain that within the next couple of years, I'll have collected all the 50 discs in this project. You don't have to be Jewish to appreciate this great music. And at around $7.00 a disc, they're an incredible value. This marvelous sampler will get you hooked on some fabulous music.

Average customer rating: I am in a Box with Berlioz Box Sets A superb set, well worth the price! all the overtures *NOT* A wonderful collection of Berlioz

Berlioz: Complete Orchestral Works Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Allen, Thomas | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Box Sets | Stores | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Bargain Box Sets | Opera & Vocal General | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Opera & Vocal General | Opera & Vocal | Today's Deals in Music | Formats | Music Similar Items: Liszt: Works for Piano and Orchestra Strauss: Orchestral Works Bruckner: The Complete Symphonies Grieg: Complete Music with Orchestra Debussy, Ravel: Orchestral Works ASIN: B0000041MZ Release Date: 1997-09-16

Tracks:

1. Symphony Fantastique, Op. 14: 1. Rries, Passions (Largo - Allegro agitato ed appassinonato assai)
2. Symphony Fantastique, Op. 14: 2. Un bal (Valse: Allegro non troppo)
3. Symphony Fantastique, Op. 14: 3. Sc aux champs (Adagio)
4. Symphony Fantastique, Op. 14: 4. Marche au supplice (Allegretto non troppo)
5. Symphony Fantastique, Op. 14: 5. Songe d'une nuit du Sabbat (Larghetto - Allegro- Ronde du Sabbat: Poco menu mosso)
6. Tristia, Op 18 (excerpts): 3. Marche fune pour la derni sc d'Hamlet (Allegretto moderato)
7. La Damnation De Faust, Op. 24 (excerpts): Menuet des follets
8. La Damnation De Faust, Op. 24 (excerpts): Marche hongroise

Tracks:

1. Lo ou Le retour a vie, Op. 14b: 1. Le peur (Goethe, Duboys)
2. Lo ou Le retour a vie, Op. 14b: 2. Choeur d'ombres (Berlioz)
3. Lo ou Le retour a vie, Op. 14b: 3. Chanson de brigands (Berlioz)
4. Lo ou Le retour a vie, Op. 14b: 4. Chant de bonheur (Berlioz)
5. Lo ou Le retour a vie, Op. 14b: 5. La harpe ienne - Souvenirs
6. Lo ou Le retour a vie, Op. 14b: 6. Fantasie sur la Temp de Shakespeare (Berlioz)
7. Grande Symphonie fune et triomphale, Op. 15: 1. Marche fune (Moderato un poco lento)
8. Grande Symphonie fune et triomphale, Op. 15: 2. Oraison fune (Adagio non tanto - Andantino un poco lento e sostenuto)
9. Grande Symphonie fune et triomphale, Op. 15: 3. Apothe (Allegro non troppo e pomposo)

Tracks:

1. Harold en Italie, Op.16: 1a. Harold aux montagnes (Adagio)
2. Harold en Italie, Op.16: 1b. Harold aux montagnes (Allegro)
3. Harold en Italie, Op.16: 2. Marche des prins (Allegretto)
4. Harold en Italie, Op.16: 3. Snade (Allegro assai - Allegretto)
5. Harold en Italie, Op.16: 4. Orgie de brigands (Allegro frenetico - Adagio - Allegro, Tempo I)
6. Les Troyens arthage: Prelude From: Les Troyens arthage: Part II, Act III
7. Les Troyens (Act IV): No. 29: Chasse royale et orage - Pantomime
8. Les Troyens (Act IV): No. 32: Marche pour l'entrde la reine; No. 33: Ballets
9. Les Troyens (Act IV): -A: Pas des Alm
10. Les Troyens (Act IV): -B: Danse des esclaves
11. Les Troyens (Act IV): - C: Pas d'esclaves nubiennes
12. Rrie et Caprice, Op.8

Tracks:

1. Romeo et Juliette, Op. 17: Part I, Introduction
2. Romeo et Juliette, Op. 17: Part I, Prologue: 'D'anciennes haines endormies'
3. Romeo et Juliette, Op. 17: Part I, Strophe 1: 'Premiers transports que nul n' oublie'
4. Romeo et Juliette, Op. 17: Part I, Strophe 2: 'Heureux enfants aux coers de flamme'
5. Romeo et Juliette, Op. 17: Part I, Rtatif et Scherzetto: 'Bientot de Romeo' - 'Mab! la messagere' - Bientot la mort est souveraine'
6. Romeo et Juliette, Op. 17: Part II, Romseul - Tristesse - Concert eet bal
7. Romeo et Juliette, Op. 17: Part II, Grande f chez les Capulets
8. Romeo et Juliette, Op. 17: Part III, 'Ohe! Capulets! Bonsoir, bonsoir!'
9. Romeo et Juliette, Op. 17: Part III, Sc d'amour

Tracks:

1. Romeo et Juliette, Op. 17: Part IV, Scherzo: La reine Mab ou la fdes songes
2. Romeo et Juliette, Op. 17: Part IV, Convoi fune de Juliette: 'Jetez des fleurs pour la vierge expiree!'
3. Romeo et Juliette, Op. 17: Part IV, Romau tombeau des Capulets
4. Romeo et Juliette, Op. 17: Part IV, Finale. Choeurs et Rtatif du P Laurence: 'Quo! Romeo de retour!'
5. Romeo et Juliette, Op. 17: Part IV, Finale. Air du P Laurence: 'Pauvres enfants que je pleure' - 'Mais notre sang rougit leur glaive'
6. Romeo et Juliette, Op. 17: Part IV, Finale. Serment de rnciliation: 'Jurez donc'

Tracks:

1. Beatrice et Benedict
2. Benvenuto Cellini
3. Overtures: Le roi Lear, Op. 4
4. Les Francs - juges, Op. 3
5. Waverley, Op. 1
6. Le corsaire, Op. 21
7. Carnaval romain, Op. 9

Amazon.com

Berlioz was the first Romantic master of the orchestra. His music hasn't been surpassed in terms of sheer brilliance and accuracy of effect. This set includes all of the overtures, the Symphonie fantastique, Harold in Italy, the Royal Hunt and Storm from Les Troyens, orchestral music from The Damnation of Faust and Romeo and Juliet, and the completely insane Grande Symphonie funebre et triumphale. Davis achieved his reputation as a conductor as a Berlioz specialist, and he proves an expert advocate on behalf of this stimulating, bizarre, and totally original genius. The recording quality, so critical in such colorful music, is also very good. --David Hurwitz

Customer Reviews:

I am in a Box with Berlioz Box Sets.......2004-02-22

First I ordered Hector Berlioz Complete Orchestral Works (Box Set) in a 6-CD set by Sir Colin Davis because orchestral is what I like best. That was in 2002. Now I have ordered The Berlioz Edition (Box Set)in a 24-CD Box Set by Sir Colin Davis because I like what I have heard of Berlioz by Davis. I will put this up for sale, and if it doesn't go I will consider putting The Berlioz Edition up for sale after I have heard it. As I said I am in a Box with Berlioz Box Sets and can't afford both.

A superb set, well worth the price!.......2002-08-16

For those of us who grew up in the 1950s and '60s, the music of Berlioz means Munch and Toscanini: Munch for his incendiary performances of "Symphonie Fantastique," "Romeo et Juliette," "Damnation of Faust," the Requiem and the overtures (among others), Toscanini primarily for his gorgeous reading of "Harold in Italy" but also for his versions of the Roman Carnival Overture and (for those who could find it) the "Romeo" with Gladys Swarthout. These readings had one thing going for them, which was a rhythmic impetus that made even the slow movements exciting. Unfortunately, for those of us who read scores, when we checked these versions against the music we found that Toscanini and Munch had fiddled a bit with tempi and bowing accents in an attempt to make the music more exciting. Is this so bad? Not necessarily, because these conductors had this music in their blood, they were presenting Berlioz as they had processed him over a lifetime of love, and so their fast tempi had little in common with the rattly, jangly readings often turned out by John Eliot Gardiner.

Sir Colin Davis was, and of this reading remains, the greatest Berlioz interpreter of the stereo/digital era. This is no mean feat when one realizes that he now has several competitors in the field, among them James Levine and Charles Dutoit, but in my view only the wonderful John Nelson (whose recordings of the Te Deum and "Nuits d'Ete" with Susan Graham are so wonderful) really comes close. And what makes Davis so great is that, like those legendary conductors of old, he really gets under the skin of Berlioz and makes him exciting while maintaining score tempi. Listen, for instance, to his "Symphonie Fantastique," still the benchmark modern recording after nearly 30 years. Davis also excels in his readings of the Overtures, music from "Les Troyens," and the Symphonie Funebre et Triomphale which grabs the listener and pulls him/her into its vortex of sound.

In the other two symphonies, "Harold in Italy" and "Romeo et Juliette," I sense a lapse of sorts: the slow music is conducted not necessarily too slowly, but with a certain Romantic mushiness bordering on easy listening. This, for me, robs the "Romeo alone" and "Scene d'amour" of its passion, though of course it is wonderful to hear the score in modern stereo instead of Munch's cramped mono, and for me Toscanini's second movement of "Harold," with its peculiar yet engaging walking gait, shall never be surpassed--and, unlike Munch, Toscanini somewhat transcended his mono sound because of the wonderful clarity and transparency of his orchestra. Nevertheless, if I were forced to I would live with this Davis set over my Munch and Toscanini recordings because of their overall warmth and excellent sound.

Other highlights include excerpts from "Lelio" sung superbly by pre-leukemia Jose Carreras (listen to him ascend fearlessly to those high notes--he hasn't done that in nearly a quarter-century!), dramatically astute singing by Patricia Kerns and John Shirley-Quirk in "Romeo," and marvelous interpretations of the Overtures (oh, and you can forget "Rob Roy"...Berlioz decided after one performance that he would never publish it or even bother revising it, hence it is not here). I do question the omission of the Requiem and Te Deum (after all, they ARE "orchestral works"), but with so many riches at such a low price, who cares? Liner notes are sparse, and this is a slimline box which means paper sleeves and no jewel boxes, but so what? For this much Berlioz, so beautifully sung and conducted, the composer himself would gladly have plunked down ...

all the overtures *NOT*.......2001-05-04

This isn't a "complete" recording of Berlioz' orchestral music - what about the 'Rob Roy' overture? Granted it recycles some of Harold in Italy, but still...

A wonderful collection of Berlioz.......2000-08-15

This incredible six CD set features all of Hector Berlioz's purely orchestral music conducted by the great Sir Colin Davis, widely regarded as one of the greatest living Berlioz interpreters. In addition to favorites such as Symphonie fantastique, Harold en Italie and Romeo et Juliette, the set also includes the lesser known Lelio and several other works. The works were recorded between 1965 and 1980, and the sound is wonderful and rich. His interpretations are also lively and full of energy, especially in the overtures.

The Romeo et Juliette included in this set is my favorite of all the recordings of it that I've heard, although I haven't yet heard Sir Colin's more recent recording with the Vienna Philharmonic. The recording of Lelio is also well done. Jose Carreras and Thomas Allen are the featured singers in Lelio's song movements, and the fantasy on Shakespeare's Tempest at the end of the work is fascinating indeed. If you've only heard Berlioz's Symphonie fantastique and want to hear more of his works, or are looking for a nice collection of classic Berlioz recordings, then take a good look at this set.

Average customer rating: black comedy rossinian style

Auber: Fra Diavolo Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Classical | Styles | Music Similar Items: Auber: La Muette de Portici Adolphe Adam: Le Postillon de Lonjumeau Massenet: Le Jongleur de Notre Dame Grétry: Richard Coeur de Lion; Rousseau: Le Devin du village Gounod - Mireille / Freni, Vanzo, van Dam, Bacquier, Rhodes, Capitole de Toulouse, Plasson ASIN: B000063XQB Release Date: 2002-10-21

Tracks:

1. Ouverture - Orchestre Philharmonique De Monte-Carlo
2. En Bons Militaires - Jules Bastin
3. Je Voudrais Bien - Jane Berbie
4. Un Landau Qui S'arrete - Jules Bastin
5. Voyez Sur Cette Roche - Mady Mesple
6. Oui, Je Vais Commander Le Punch - Nicolai Gedda
7. Ecoutez! Ecoutez! Quelle Est Donc Cette Marche - Nicolai Gedda

Tracks:

1. Ne Craignez Rien Milord... Quel Bonheur, Je Respire - Mady Mesple
2. Allons Ma Femme, Allons Dormir - Jane Berbie
3. Agnes La Jouvencelle - Nicolai Gedda
4. Oui, C'est Demain Qu'enfin L'on Nous Marie - Nicolai Gedda
5. N'etait-il Pas Prudent De Reonnaitre Ce Qui Se Passe La-bas - Nicolai Gedda
6. Entracte - Orchestre Philharmonique De Monte-Carlo
7. J'ai Revu Nos Amis - Nicolai Gedda
8. C'est Grande Fete - Jules Bastin
9. Pour Toujours, Disait-elle - Thierry Dran
10. Allons, Allons, Mon Capitaine - Jules Bastin

Customer Reviews:

black comedy rossinian style.......2003-03-30

Fra Diavolo is based on a true character although the plot of
this opera is totally ficticious - it is a black comedy about
a highway robber - the music is rossinian in style with florid
arias and many group ensembles with every singer pattering at
the same time but recitatives are replaced by spoken-dialogues
as is the custom in french opéra-comique. It takes a first-class
cast to pull it off and that is what we get here although most
soloists are in their twillight years. Nicolai Gedda at 58 re-
mains amazingly suave and dexterous as Diavolo - Mady Mesplé
(52) is charmingly girlish and very agile - Jane Berbié (52)
and Rémy Corazza (50) are delighfully funny as an english cou-
ple recently robbed - the rest of the cast is excellent. It is
well conducted and recorded - it comes on two super-bargain CDs
with a synopsis but no libretto which may be a drawback for non
french-speaking people - otherwise it is highly recommandable.

Average customer rating: A relative success AN ALMOST GREAT CARMEN Leontyne Price a Great Carmen A Gloriously Sung Carmen Maybe I'm a little partial...

Bizet: Carmen / Price, Corelli, Merrill, Freni; Karajan Georges Bizet , Wiener Philharmoniker , Herbert von Karajan , Leontyne Price , Franco Corelli , Vienna State Opera Choir , Mirella Freni , and Robert Merrill Manufacturer: RCA ProductGroup: Music Binding: Audio CD Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Freni, Mirella | Divas | Opera & Vocal | Styles | Music Price, Leontyne | Divas | Opera & Vocal | Styles | Music Price, Leontyne | ( P ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Puccini: Madama Butterfly Tristan Und Isolde Verdi: Un Ballo in Maschera Mozart: Così fan tutte Puccini: Turandot ASIN: B000009W7K Release Date: 1997-02-03

Tracks:

1. Carmen: Overture - G. Bizet
2. Carmen: Sur la place, chacun passe - G. Bizet
3. Carmen: Regardez donc cette petite (Micaela) - G. Bizet
4. Carmen: Avec la garde montante (Don Jose) - G. Bizet
5. Carmen: C'est bien la (Don Jose) - G. Bizet
6. Carmen: La cloche a sonne - G. Bizet
7. Carmen: La voila, la voila (Carmen) - G. Bizet
8. Carmen: L'amour est un oiseau rebelle (Carmen) - G. Bizet
9. Carmen: Carmen! sur tes pas - G. Bizet
10. Carmen: Quels regards! Quelle effronterie (Don Jose) (Micaela) - G. Bizet
11. Carmen: Parle-moi de ma mere (Don Jose) (Micaela) - G. Bizet
12. Carmen: Reste la maintenant, pendant que je lirai (Don Jose) (Micaela) - G. Bizet
13. Carmen: Que se passe-t-il donc la-bas? - G. Bizet
14. Carmen: Mon officier, c'etait une querelle (Don Jose) - G. Bizet
15. Carmen: Tralalalala, coupe-moi, brule-moi (Carmen) (Don Jose) - G. Bizet
16. Carmen: Pres des ramparts de Seville (Carmen) (Don Jose) - G. Bizet
17. Carmen: Voici l'ordre; partez (Carmen) - G. Bizet

Tracks:

1. Carmen: Entr'acte - G. Bizet
2. Carmen: Act 2 - Les tringles des sistres tintaint (Gypsy Song) (Carmen) - G. Bizet
3. Carmen: Act 2 - Messieurs, Pastia me dit (Carmen) - G. Bizet
4. Carmen: Act 2 - Vivat! vivat le Tor - G. Bizet
5. Carmen: Act 2 - Votre toast, je peux vous le rendre (Toreador Song) (Escamillo) - G. Bizet
6. Carmen: Act 2 - La belle, un mot (Escamillo) - G. Bizet
7. Carmen: Act 2 - Eh bien, vite, quelles nouvelles? (Carmen) - G. Bizet
8. Carmen: Act 2 - Nous avons en t une affaire (Quintet) (Carmen) - G. Bizet
9. Carmen: Act 2 - Mais qui donc attends-tu? (Carmen) - G. Bizet
10. Carmen: Act 2 - Halte lQui va l(Don Jose) (Carmen) - G. Bizet
11. Carmen: Act 2 - Enfin c'est toi! (Carmen) (Don Jose) - G. Bizet
12. Carmen: Act 2 - Lalalala - Attends un peu, Carmen (Don Jose) (Carmen) - G. Bizet
13. Carmen: Act 2 - La fleur que tu m'avais jet(Flower Song) (Don Jose) - G. Bizet
14. Carmen: Act 2 - Non! tu ne m'aimes pas (Carmen) (Don Jose) - G. Bizet
15. Carmen: Act 2 - HolCarmen! HolHol(Don Jose) (Carmen) - G. Bizet
16. Carmen: Act 2 - Bel officier, bel officier (Carmen) (Don Jose) - G. Bizet

Tracks:

1. Carmen: Entr'acte - Georges Bizet
2. Carmen: Act 3 - Ecoute, ecoute, compagnon, ecoute (Carmen) (Don Jose) - Georges Bizet
3. Carmen: Act 3 - Reposons-nous une heure ici (Carmen) (Don Jose) - Georges Bizet
4. Carmen: Act 3 - Melons! Coupons! (Card Scene) (Carmen) - Georges Bizet
5. Carmen: Act 3 - Eh bien? - Eh bien (Carmen) - Georges Bizet
6. Carmen: Act 3 - Quant au douanier, c'est notre affaire (Carmen) - Georges Bizet
7. Carmen: Act 3 - C'est des contrebandiers (Micaela) - Georges Bizet
8. Carmen: Act 3 - Je dis que rien ne m'epouvante (Micaela's Air) (Micaela) - Georges Bizet
9. Carmen: Act 3 - Je ne me trompe pas (Micaela) (Don Jose) - Georges Bizet
10. Carmen: Act 3 - Je suis Escamillo, Torero de Grenade! (Escamillo) (Don Jose) - Georges Bizet
11. Carmen: Act 3 - Hola, hola Jose! (Carmen) (Escamillo) (Don Jose) - Georges Bizet
12. Carmen: Act 3 - Moi, je viens te chercher! (Micaela) (Don Jose) (Carmen) - Georges Bizet
13. Carmen: Act 3 - Helas, Jose! (Micaela) (Don Jose) (Escamillo) - Georges Bizet
14. Carmen: Entr'acte - Georges Bizet
15. Carmen: Act 4 - A deux cuartos ! - Georges Bizet
16. Carmen: Act 4 - Les voici! Voici la quadrille! - Georges Bizet
17. Carmen: Act 4 - Si tu m'aimes, Carmen (Escamillo) (Carmen) - Georges Bizet
18. Carmen: Act 4 - C'est toi! - C'est moi! (Carmen) (Don Jose) - Georges Bizet
19. Carmen: Act 4 - Ou-vas-tu? - Laisse-moi! (Don Jose) (Carmen) - Georges Bizet

Customer Reviews:

A relative success.......2007-07-11

From his multiple readings of the nine Beethoven symphonies, to his controversial, unconventional production of Wagner's Der Ring des Nibelungen, to his individual achievements in the realms of Mozart, Verdi, Wagner, Puccini, Sibelius, Mahler, Strauss, and Schoenberg, the Austrian conductor-legend Herbert von Karajan left his irreplaceable fingerprint on the world of music. However, in spite of all his brilliance in the aforementioned and unmentioned spheres, Georges Bizet's relentlessly celebrated opera Carmen was as musical tapestry Karajan never fully understood.

While Karajan aficionados plot their revenge for this seemingly gratuitous attack, it should be noted that he was not alone among conductors in this fault; in fact, when one considers than Carmen is the "C" in any beginner's guide to opera ("A" being Verdi's Aïda and "B" being Puccini's La Bohème), it is almost laughable to discover how many disregarded the proper form in which Carmen should be played. Carmen was not a grand opera, despite what Sir Thomas Beecham, Georges Prêtre, Thomas Schippers, and the like wished so ardently to believe. Bizet composed Carmen in the tradition of the opéra-comique, a parallel of the modern musical, with musical sections coupled with spoken melodramas or dialogues. The most superb recorded example of the properly performed Carmen is the Sir Georg Solti recording with Tatiana Troyanos, Plácido Domingo, José van Dam, and Dame Kiri te Kanawa. (Karajan did make a similar recording later in his career, with Agnes Baltsa, José Carreras, van Dam, and Katia Ricciarelli, but his interpretation was regrettably slow and vapid, and the melodramas were spoken (one must wonder why) by actors, rather than the singers.)

In spite of all this, the stars of this recording are superb. Leontyne Price injects a little bit of Bess into her Carmen, which results in a soulful, lyrically beautiful, and dramatically venomous gypsy vamp. Her Habanera ("L'amour est un oiseau rebelle") and Seguidilla ("Près de remparts de Séville") are bewitching. Franco Corelli, who, in 1963, embodied the entire institution of opera with his sultry, sheik-like physique and his hot-blooded, titanic tenor register, is a full-fledged madman as the obsessed Don José. Robert Merrill is a bit too American as the swaggering toreador Escamillo, but his rendition of "Votre toast je peux vous le rendre" is nonetheless suave and debonair. Mirella Freni had not yet reached her silkiest prime in 1963, but she glides through Micaëla's Act III aria ("Je dis que rien ne m'épouvante") like a songbird. (It should be noted that the diction of the four stars is poor, particularly Corelli and Freni; the two of them coupled in Alain Lombard's 1968 recording of Gounod's Roméo et Juliette with similar overall success, hampered only by their abysmal pronunciation.)

The high water mark of this recording is the final track, featuring the opera's cataclysmic finale ("Où vas-tu?"..."Laisse-moi!"). Corelli is so venomously fanatical ("Ainsi, le salut de mon âme"), Price is so inanely noxious and cruel ("Eh bien! Frappe-moi donc, ou laisse-moi passer!"), and the Wiener Philharmoniker is in such tempestuous voice, the following three lines deserve special recognition:

- Don José: "Pour la dernière fois, démon, veux-tu me suivre?"

- Carmen: "Non! Non! Cette bague, autrefois, tu me l'avais donnée. Tiens!"

- Don José: "Eh bien! damnée!"

The above excerpt is literally worth the entire recording; Corelli and Price are unmatched in bravado.

AN ALMOST GREAT CARMEN.......2007-04-13

This Carmen could have been a great one without the role of Don Jose held by Corelli who butchered the french text , which makes me think by the way that unfortunately there is no french opera singers able to deliver an acceptable Opera Comique version ( with the dialogue). (Corelli had also made a mess of the Faust role -with a splendid Ghiaurov-with his
dreadful french accent)..Sorry to say that of deceased great singer but the Carmen libretto is not a text to be only sung but deeply felt which french language does not allow to a singer who does not rehearse enough.
Robert Merrill marvelous dark tone and Mirella Freni, almost a debutante at that time saved the day.

Leontyne Price a Great Carmen.......2007-03-26

Having several Carmen cds, I bought this one on the advice of a great opera expert, Ron Shaheen of San Diego fame. Glad I did. Miss Price is a dramatic on-fire Carmen. Sings with passion and panache. My favorite of all the ones I've heard. Unless you can find one with Milena Kitic singing Carmen, I recommend this version. Corelli, Merrill and Freni, of course, are automatic harbingers of a great cd purchase. All this from an avid opera buffoon. Viva L'Opera!

A Gloriously Sung Carmen.......2006-08-09

One of the sad ironies of opera history is that Bizet never lived to see Carmen become the smash hit of the opera world. Described as the world's first musical, with one hit song after another, the opera is packed with great music and memorable melodies such as the Seguidilla, the Habanera and the Toreador Song. It is one of the first operas set in real time in a real place with ordinary people. Today it is arguably the most popular opera in production.
While there are many wonderful recordings, here it's the voices that make this recording so memorable. Leontyne Price is simply in sumptuous form, with the richness of a mezzo in the lower register plus her ringing top notes. Franco Corelli is a clarion and passionate Don Jose, Mirela Freni a sweet voiced Micaela, and Robert Merrill a rich and robust Escamillo. In some respects this is the "Italian" Carmen, (Corelli and Freni don't have the best French accents and Price was never known for her diction), but the quality of the voices make up for any linguistic deficiency.
As is his wont, Herbert von Karajan emphasizes his orchestra, which becomes almost another member of the cast in his hands--this can sometimes be at the expense of his singers, but Price, Corelli, Freni and Merrill But a von Karajan performance is always thrilling, whether it is this album or his Salzburg Festival DVD with Grace Bumbry, Jon Vickers, Mirela Freni and a very young Justino Diaz.
For a fan of Leontyne Price this is a MUST HAVE, and a worthy addition to any opera collection.

Maybe I'm a little partial..........2006-04-23

I first heard this version of Carmen many years ago, and for two main reasons, I can not give up listening to it. Reason #1: Leontyne Price's voice is so rich and spot-on, and reason #2: the Vienna Boys Choir add the necessary youthful element to the opera. I feel that this is a good, solid recording, well worth the five stars I gave it and far, far better than the versions of Carmen that make me cringe (and which shall remain nameless). The voices were cast well, and as usual, Herbert von Karajan conducts superbly.

Average customer rating: Excellent collection of enjoyable rarities

Berlioz - La Révolution Grecque (Grandes Oeuvres Chorales) Michel Plasson , Laurent Naouri , Rolando Villazon , and Nicolas Rivenq Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Berlioz: Benvenuto Cellini Berlioz: Huit Scènes de Faust Opera Recital [Includes Bonus DVD] Verdi - Don Carlo / Villazon, Roocroft, Urmana, Croft, Lloyd, Ryhanen, Giuseppini, Chailly, Amsterdam Opera Russian Album ASIN: B00008ODZY Release Date: 2004-01-13

Tracks:

1. Sara, Belle D'indolence
2. Meditation Religieuse: Ce Monde Entier N'est Qu'une Ombre Fugitive
3. La Mort D'Ophelie
4. Marche Funebre Pour La Derniere Scene d'Hamlet
5. Formez Vos Rangs, Entrez En Danse!
6. Dieu Tout-Puissant, Dieu De L'aurore
7. Veni Creator Spiritus
8. Tantum Ergo Sacramentum
9. Recit & Air: Leve-toi, Fils De Sparte!
10. Choeur: Mais La Voix Du Dieu Des Armees
11. Priere: Astre Terrible Et Saint, Guide Les Pas Du Brave!
12. Final: Des Sommets De L'Olympe

Tracks:

1. Des Espagnols M'ont Pris Sur Leur Navire
2. Introduction
3. Recit & Air: Pretresses De Bacchus... O Seul Bien Qui Me Reste!
4. Recit: Quels Cris Affreux Se Font Entendre?
5. Bacchanale: O Dieu Puissant, Fils De Latone... O Bacchus Evoe!
6. Tableau Musical
7. N'oublions Pas Ces Champs, Dont La Poussiere
8. Amis, La Coupe Ecume
9. C'est Le Grand Jour, Le Jour De Fete
10. Dieu Tout-Puissant, Dieu De L'Aurore
11. Bien Que Le Ciel Parfois Se Couvre D'un Nuage

Customer Reviews:

Excellent collection of enjoyable rarities.......2005-08-13

Before I get verbose here I'll start with this: the superb performance of the cantata "The Greek Revolution" in this set alone is worth the price of the entire set. This is very early Berlioz but it contains some astonishing things, including a big ending "The Summit of Olympus"--a classic snowballing "call-to-arms" that would make anyone want to go out and battle the Turk--that consistently avoids the trite and obvious and contains ideas about generating excitement a modern rut-ridden choral composer like Philip Glass should pay close attention to. Fornet's recording of this on Denon is also nice and brings out the detail better, and is very powerful, but ultimately isn't as viscerally rousing. Savvy conductors know that even youthful Berlioz contains great stuff.

Anyway:

It's a bit sad that Berlioz is known to many listeners only through a handful of works like the Symphonie Fantastique (his most famous, yet an early work), maybe the Requiem and Harold in Italy, and a few other items (the short list seems to vary from person to person but it's always short). Sad, because unlike some other composers who are one or two trick ponys, Berlioz was a continuously strong and imaginative composer, in fact he was a great composer, up there with the best of them, who let loose with a long string of masterpieces that still need attention--like his opera Benvenuto Cellini and twenty other things. The man, even when trying to write boring music, was incapable of writing boring music. Then there's his incredible writing: his autobiography, his criticisms, his satires. He's not only one of my very favorite composers but one of my very favorite writers too. There's no other composer I can say that about.

So what's up with him, and why should you pay attention to this pricey collection of unknowns? Jacques Barzun, another favorite writer and an authority on Berlioz, thinks the Frenchman was so advanced in his ideas that he's been thoroughly misunderstood and grotesquely underappreciated up until fairly recently. Even Donald Francis Tovey, an insightful musical commentator (and another favorite writer--his books are highly recommended) of over 100 years ago talks of Berlioz as if, at times, he didn't known exactly what he was doing. There's an awful comment by him about how Berlioz allegedly knew how to start and end a piece but got a bit lost in between. How untrue. Barzun, on the other hand, mentions an incident where some critic complains about a series of wrong (meaning incompetently judged and not conforming to theory of that time) chords used in Harold in Italy and the response by a sharp conductor was "So tell me then why they sound so right?" (Someone later did a proper modern analysis and found the chord use was subtle and brilliant) Barzun's point, in a wonderful essay "Berlioz after a Hundred Years" (In "Critical Questions")is that we have yet to totally figure out why so much of his music sounds right. I'd also add that we are only just maybe starting to learn how to make it sound right. Berlioz was smart, possibly smarter than any of us and it's taking us 200 years to catch up with him.

[My guess at one explanation of his greatness was his total mastery of the very poetic French language and his ability to translate that into a sort of music. His melodies often sound like someone speaking. Elliot Carter is another great composer who is intensely literate and a fine writer... and a great composer perhaps for similar reasons.]

I'll go even further, after 30 years of listening to his music I'm convinced he stands at the top platform with the handful of all-time great composers. Berlioz transformed Western art music--single-handedly--into a supple, breathing, colorful, and living thing, and in a way that few composers have managed since. Moving from the Masters (Bach through Beethoven) to Berlioz is like moving from great oil painting to motion pictures in Technicolor and that's about the best way I can describe the phenomenon (Barzun notes his unique multidimensionality). Listen to Mozart's Marriage of Figaro and then listen to Benvenuto Cellini. The music, over 150 years old and only about 50 years older than Mozart's sounds totally modern, and often modern like a modern that hasn't even happened yet. Listen to Schumann's "Faust" (and I dearly love Schumann) and listen to Berlioz's and be shocked. The Schumann version sounds like flat soda in comparison. The only other composer I've encountered whose music has this same visceral "aliveness" (at times) is Shostakovich. Oddly, Berlioz can make even the mighty Strauss sound wooden and fussy (some would say Germanic).

The argument then is one shouldn't avoid anything by Berlioz and one should shop around to find recordings by conductors who understand his music (Gad! Solti doing Faust is stunning)and orchestras who can handle the twists, turns and other race car demands of the scores. This collection of choral works, many rare, many early (keeping in mind the ever-popular Fantastique is early too), is excellent with the only drawback being that a few, lovely as they are, don't showcase his best compositional assets. He was, regardless, a striking choral composer as Colin Davis noted during the recording sesssions for "Cellini." Personally, I never cared much for choral music or even opera until I forced myself to listen to the non-orchestral Berlioz. Well, at least I like HIS stuff in these genres! Everything about this disc is first-rate: performances, conducting (Plasson is an excellent Berlioz conductor) and sound. The only complaint is the cover art is awful. It looks like someone at EMI wanted to save a few bucks so they hired a vaguely talented teenage niece or something to handle it.

Finally, unlike most collections of rarities and odds and ends by composers--even the best of them--this is a set of discs I drag out, play, and enjoy regularly.

Average customer rating:

Roi Danse Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music All Works by Lully | Lully, Jean-Baptiste | ( L ) | Featured Composers, A-Z | Classical | Styles | Music Marches | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Ballets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Antiqua Musica | ( A ) | Featured Performers, A-Z | Classical | Styles | Music Cologne Musica Antiqua | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Sonaten aus Dresden Le Roi Danse (Original French Version with English Subtitles) Rameau - Les Indes Galantes / Petibon, Croft, Hartelius, Agnew, Rivenq, Berg, Strehl, Christie, Les Arts Florissants, Paris Opera ASIN: B000207LZU Release Date: 2004-08-10

Tracks:

1. Te Deum: Symphonie
2. Bocanne Primitive
3. Bocanne Compliqu
4. Phan: Troupe d'AstrDansante (Prologue)
5. Ballet de la Nuit: Ouverture
6. Ballet des Plaisirs: Sarabande
7. Ballet de la Nuit: Le Roi Reprntant le Soleil Levant
8. Xerx Air Pour Les Matelots Jouant des Trompettes Marines
9. Xerx Air Pour Les Esclaves et Singes Dansants
10. Xerx Air Pour Les Postures de Scaramouche
11. Xerx Air Pour Les Docteurs, Frivelins et Polichinelles
12. Xerx Air Pour Les Esclaves Dansants
13. Idylle Sur la Paix: Air Pour Madame la Dauphine
14. Ballet d'Alcidiane: Ritournelle et Air de Mademoiselle Hilaire
15. Ballet d'Alcidiane: Ouverture
16. Triomphe de l'Amour: Ouverture
17. Pers Entrdes DivinitInfernales (Acte III, Sc 10)
18. Bourgeois Gentilhomme: Marche Pour la Cmonie des Turcs
19. Bourgeois Gentilhomme: Giourdina
20. Bourgeois Gentilhomme: Chaconne des Scaramouches, Frivelins et ...
21. Ombre de Mon Amant (Air de Cour)

Tracks:

1. Triomphe de l'Amour: Prde de la Nuit
2. Pomone: Passons Nos Jours Dans Ces Vergers (Acte I, Sc 1)
3. Pomone: Que Voyez-Vous, Mes Yeux? (Acte II, Sc 1)
4. Armide: Plus J'Observe Ces Lieux (Acte II, Sc 3) [Instrumental]
5. Atys, Le Sommeil: Dormons, Dormons Tous (Acte III, Sc 4)
6. Armide: Passacaille (Acte V)
7. Armide: Prde (Acte II, Sc 5)
8. Folies d'Espagne
9. Amants Magnifiques: Entrd'Apollon
10. Triomphe de l'Amour: Entrd'Apollon
11. Triomphe de l'Amour: Deuxi Air (Acte IV, Sc 2)
12. Isis: C'est Lui Dont Les Dieux Ont Fait Choix - Publions en Tous Lieux
13. Armide: Que l'lat de Son Nom (Prologue)
14. Amadis: Esprits EmpressNous Plaire - Que le Ciel Annonce la ...

Average customer rating:

The Four Seasons: A Musical Calendar of Favourite Classics Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music Dances | Ballets & Dances | Classical | Styles | Music Polkas | Ballets & Dances | Classical | Styles | Music Waltzes | Ballets & Dances | Classical | Styles | Music Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by J.S. 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Featured Composers, A-Z | Classical | Styles | Music Strauss Jr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Vaughan Williams, Ralph | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Character Pieces | Short Forms | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & 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Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music ASIN: B000084T05 Release Date: 2003-03-11

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