Amore Dopo Amore [Import]

1. Italiana

2. Cercami

3. Emergenza Noia

4. Mi Ameresti

5. Vive Chi Vive

6. Impossibile Vivere

7. Erotica Apparenza

8. Dimmi Chi Dorme Accanto a Me

9. Grande Assente

10. I Commedianti

11. Pericolosamente Amici

12. Pace Sia con Te

13. Figaro

Editorial Reviews

Product Description
Currently on Italian Charts.

Tracks:

La Boheme: Si. Mi chiamano Mimi
Norma: Casta diva
L'Assedio di Corinto: Giusto ciel! In tal periglio
Sapho: O ma lyre immortelle
Semiramide: Serbami ognor... Alle piu calde immagini
Otello: Piangea cantando (Willow Song) -
Otello: Ave Maria
Herodiade: Il est doux, il est bon
Lucrezia Borgia: Tranquillo ei posa... Com'e bello!
Suor Angelica: Senza mamma
Rigoletto: Caro nome
La Sonnambula: Ah! non credea mirarti

Tracks:

La Traviata: E strano, e strano! -
La Traviata: Follie! Follie! -
La Traviata: Sempre libera degg'io
TOSCA: Vissi d'arte
Il corsaro: Egli non riede ancora!
Il corsaro: Non so le tetre immagini
Armida: D'amore al dolce impero
I Pagliacci: Qual fiamma avea nel guardo!
Roberto Devereux: E Sara in questi orribili momenti... Vivi, ingrato
Il Trovatore: D'amor sull'ali rosee
Stabat Mater: Inflammatus et accensus
Adriana Lecouvreur: Io son l'umile ancella
Anna Bolena: Al dolce guidami
Adelson e Salvini: Dopo l'oscuro nembo
I Vespri Sicillani: Arrigo! Ah, parli a un core

Customer Reviews:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1.......2005-12-23

First off this two cd set is for the price of one,that is always great.Montserrat caballe is the star of this cdset,and she demonstrates all that is beautiful in singing,on ever track.Her ave maria from othello is included here.It is one of the best performed arias by caballe ever,she ends it with a heavenly piano top note.Also included is her magical casta diva from norma.Caballe sings all these arias with her legendary sound and breath control.On this set there are plenty of examples of long sustained notes,seemless legato,glorious high notes,and magically floated soft notes.Check out the cover to,there are some great photos of Caballe in opera costumes.These cds have great sound,and play for over two hours,too.

LA SUPERBA!.......2005-11-22

Montserrat Caballe is an amazing person and an amazing singer. In my opinion she has a more beautiful voice than Maria Callas. The high notes she reaches are just fantastic! Her Sempre Libera is the best ever! Her Ave Maria is stunning and her Vissi D arte is really moving. Her voice is so beautiful, it's as if it's an angels voice coming from her.

Madame Caballé is great!!!.......2003-04-06

This collection of Caballé's recordings is fantastic! Her soprano is the most beautiful that has been recorded. L. Price, Tebaldi, Ponselle, and a few others have gorgeous voices, but can any of those voices compare with Caballé's? Caballé's singing throughout is of the highest standard. Her "Ave Maria" is spectacular. "Vissi d'arte, vissi d'amore" has never sounded more beautiful. I love her "Non so le tetre immagini". Such beautiful singing does not come any better than this. Her "Caro nome" is disappointing. She is clearly not suited to this aria. "Inflammatus et accensus" is glorious. The later recordings are nice, but they are not the best Caballé has committed to disc. "Il est doux, il est bon" betrays a slight wobble in her otherwise still beautiful voice. "Dopo l'oscuro nembo" features very respectable soft singing from Caballé. This version does not do justice to Bellini's exquisite orchestration. For a version that does, check out Opera Rara's "The Collection: Volume 2". That version features competent singing from an inferior-voiced soprano, but the orchestra is ravishing. The one reviewer who mentioned the aria from "I Vespri Siciliani" as having "fioriture effects Berio could sign on to" is incorrect. The aria included here is not "Mercè, dilette amiche". That aria is more famous and much more florid than the aria included in this collection, "Arrigo, parli a un core". By the way, Caballé performs this aria ravishingly well. This is a superb testament to one of the all-time greats in opera.

Amazing collection!.......2003-04-05

I will write this review objectively, but I will not avoid praising Caballé when praise is due.

First off, this compilation is amazing! I have always thrilled to hearing Caballé's voice and this compilation is no different. I am amazed at Caballé's instrument; such extraordinary purity combined with great power! Even when she sings pianissimo, she can be clearly heard! Her voice literally fills up the room. These arias really show off her remarkable voice. Of special note is her rendition of the hauntingly beautiful "Non so le tetre immagini". Amazing! Her "D'amor sull'ali rosee" is exquisite, but she sings it too softly. Her trill is quite weak. Voices like hers don't respond well to being forced to trill. The tracks from the 1990's show off the remarkable preservation of her voice. The voice retains its purity and beautiful timbre, but is now heavier and darker. "Sempre libera" is not that good. Her coloratura is not up to par with Verdi's demands and she cannot hit the high E-flat at the end. However, she sings the main part of Violetta's aria very well, with supple, gorgeous tone and ravishing pianissimos. "Ah! non credea mirarti" is ravishing, but it is missing its energetic cabaletta. Presumably, it was cut because Caballé could not deal with the coloratura. Caballé's legato lines in this aria are superb. Her version of the "Lucrezia Borgia" Prologue is masterful. Elizabeth's last aria from "Roberto Devereux" is noble and touching. She is not quite Sills, but that aria benefits from a spinto voice instead of a soubrette one. Her aristocratic phrasing is very well used throughout the selections, with a few exceptions. Her "Willow Song" is beautiful, first time on CD. However, she fails to completely show Desdemona's despair. Some parts were good, but the whole thing failed to touch the heart. Her phrasing here is too indulgent. I have to say that I prefer Sutherland's touching version on her "The Art of the Prima Donna" recording. However, I loved "Ave Maria". Caballé sounds most beautiful when singing softly and this selection really shows her in the best light. Her cadenzas are intoxicatingly beautiful. "Caro nome" is not really her aria. The coloratura is suspect and some of the staccati are replaced with upward flourishes. She avoids the last short passage of staccati. Her phrasing in this aria is way too indulgent and she really fails to suggest Gilda's innocence. Even Sutherland is better at portraying Gilda's girlish qualities. Her "Armida" aria has some nice coloratura. She does the runs really well and is fearless in the triplet passages. For some reason, she does not sing the second "fronde" in the first line of the third stanza nor does she sing the last line of this stanza, "i muti abitator". She also does not sing the last line of the fifth stanza, "il tempo vorator". Caballé's first recorded version of "Vissi d'arte, vissi d'amore" is included here. This just may be the most beautiful version of this aria ever recorded. It certainly is Caballé's best version of the aria. The climax is handled in one breath by Caballé. She diminuendos the big high note twice in the same breath. Amazing! The rolling of the "r" in "Signor" after the last diminuendo is quite nasal and reminds us that the sound we are hearing is coming from a human throat. It also shows that these diminuendos are natural and not studio produced. She infuses Tosca's aria with real feeling and piety. The compilation ends with a knockout reading of "Arrigo, parli a un core". Caballé is at her best in this aria. She sings softly to stunning effect. This version may be the most beautiful of this particular aria ever recorded. RCA has done Caballé justice with this wonderful collection. Caballé is truly a remarkable artist with a million-dollar voice. Brava!

Cannot be called an "ultimate" collection.......2003-02-05

This is a prime example of the a major recording label being fickle with the goods, in order to force you to continue buying other recitals and full-length studio recordings. Of course, any Caballe fan would already want to own those other recordings anyway, so the point is moot.

Other reviewers here have cried out against the exclusion of one of her most essential and artistic roles, Imogene from Il Pirata. I would like to emphatically express the same. In fact, I would even have settled for the exclusion of Casta Diva, in favor of Col Sorriso di Innocenza.

Some other stellar recordings not represented her are the Sleepwalking Scene from MacBeth, and Pace, Pace Mio Dio from La Forza del Destino. Also worth mentioning is her O Patria Mia from Aida. She might not be Leontyne Price or Martina Arroyo, but she gives a superb reading of this wonderful aria.

Of course, brevity does require some editing- a true "Ultimate" Caballe collection would span four or five CDs, at least- but to include late-career and less-than-best selections at the expense of others is a crime.

Tracks:

Questo guajo mancava...Son qual lacera tartana (La secchia rapita)
Che dunque!...Or ei con Ernestina...Ah sia gia (La Scuola dei gelosi)
Vi sono sposa e amante (La Fiera di Venezia)
Voi Lusingate invano lo smarito cor mio...Misera abbandonata (Palmira, Regina di Persia)
E void a buon marito...Non vo gla che vi suonino (La Cifra)
Alfin son sola...Sola e mesta (La Cifra)
Dopo pranzo addormentata (Il Ricco d'un glorno)
No, non cacillera...Suelle mi temple (La secchia rapita)
Lungi da me sen vada quella veste fatal...Dunque anche il cielo...Contro un'alma sventurata (Palmira, Regina di Persia)
Se lo dovessi vendere (La Finta scema)
Eccomi piu che mai...Amor pletoso Amore (Il Ricco d'un Glorno)
La ra la (La Grotta di Trofonio)
E non degg'io seguirla!...Forse chi sa...Vieni a me sull'ali d'oro (Armida)

Amazon.com

Antonio Salieri is, unfortunately, best known as Mozart's great Viennese rival. Some of his work has appeared on recordings, and he was clearly an interesting composer of well-crafted, entertaining music. But now that a singer with the stature and prodigious gifts of Cecilia Bartoli has undertaken an entire CD of his opera arias, he may just become a quasi-household name. Here he proves himself a composer who wrote for virtuosos; Bartoli is nothing if not a vituoso. And, indeed, this CD opens with an impressive bang: An aria from La secchia rapita features a wild vocal line complete with wild coloratura, huge leaps, a range from low G to high D flat (Bartoli flirts more and more with the soprano range while using her chest register even more forcefully!), and vast dynamic changes accompanied by a full orchestra augmented with grand, martial trumpets. Other arias--one from Palmira, Regina di Persia, for example--are more introspective and are spun out with a graceful, seamless legato and seemingly endless pianissimo. Everything one loves about Bartoli is here: the intensity, absolute fluidity in execution, breath control, glorious trill, the ability to whisper or holler, and an identification with the character she's portraying which makes the situation credible and involving for the listener. At the same time, we can't overlook a tendency to overstatement and exaggeration and a breathiness to some of the delivery which can be an annoying mannerism. But where else can one get such excitement and commitment coupled with an irresistible charm in a singer so clearly at her peak? Most/all of the arias and operas here are virtually unknown; this CD whets our appetites for more Salieri. The accompaniments are as superbly thought-out and played as one would hope for--the wacky pizzicato strings and solo wind and brass lines in an aria from La Cifra, for instance, will delight. Bartoli fans and fans of great singing should not wait another moment before ordering this. --Robert Levine

Customer Reviews:

Mostly nice selections sung well.......2007-03-07

This CD features many delightful selections of Salieri's music, expertly performed by Ms. Bartoli and by the Orchestra of the Age of Enlightenment. Anyone who likes Bartoli, and most people (non-experts) who like Mozart, would enjoy this album. The slower pieces, such as "Ah sia gia" and "Lungi da te" are especially beautiful.

That said, some of the selections seem to drag on (Salieri's fault). After a while listening, one just gets the feeling that "Vi sono sposa e amante" should have ended already, and the same goes for "Sulle mie tempie."

Painful introduction to Salieri.......2006-10-27

Ms. Bartoli is one of the great mezzos of our recent era, and her voice used to delight me, especially in the repertoire of Rossini, Mozart, & Handel sung by other great mezzos like Teresa Berganza.
Unfortunately, the voice that used to move so smoothly and accurately through florid passages is entirely absent here, and I have no explanation or understanding for the fervent praise bestowed upon this CD by others.
It is, in short, a travesty.
Bartoli emits the most painful and harsh pecking sounds......listening to just ONE of the tracks all the way through is a test of willpower and endurance! Granted, as someone else pointed out, these Salieri pieces are not an ideal choice for Bartoli, which explains some of the discomfort, but there is no way to excuse the vocalization that permeates the entire disc.
Sadly, this is a recording that should never have been released, and is a mockery of what the bel canto voice used to be.

Bartoli- The Most Important Voice of Our Age.......2006-02-27

Cecilia Bartoli is not only noteworthy for her unique voice, but for her contributions to musical study. She seems to be effectively and singlehandedly changing the face of how we approach music history with her recordings. This is why this recording is important.

She has been recording rare arias from operas which have dropped out of common repetoire for centuries. She has unearthed forgotten operas of great musical innovators such as Glueck and Vivaldi, and now Salieri. And due to what she achieves here, I will happily put "Salieri Album" in a rank next to my most prized Mozart records.

It seems as though Mozart dominates today's ouvre as the sole Classical Period composer of opera, but it was composers like Vincente Martin y Soler and Antonio Salieri who dominated the scene. Salieri was also just as innovative as Mozart. Works such as the overture to "Cesare in Farmacusa" harbor proto-Beethovenian storms, while his opera "Axur," in it's ahead-of-its-time construction, look foreward to the music-dramas of Wagner. These days, we look mainly at Mozart and his Donna Anna or Queen of the Night as THE voices of the Classical Period, but when you consider the bigger picture, Salieri's heroines, especially those the Cecilia Bartoli electrifyingly portrays on this record, equate or exceed what we might hear from Mozart in technical demand and overall beauty (Take for example the first track on this record).

With Cecilia Bartoli, opera is never boring. Some might thing she overacts, but is opera not essentially a fusion of music and drama? In this respect, Signora Bartoli is the perfect voice to define our generation, a generation which is looking to expand its musical horizons by exploring operas of more obscure composers. It is a relief that she knows how to bring her roles to LIFE. This is why her mission to revive these works has been so succesful. She has people interested.

As for the composer himself, Salieri was without a doubt, the most influential on the upcoming Romantic Period, even more so than Mozart. Notable names who had their musical education nurtured under Salieri's wing include Schubert, Weber, Beethoven, Mozart's son Franz Xaver, and even Liszt. It really is unfortunate that Pushkin and Peter Shaffer have pinned against Mozart, a composer who Salieri admired and had good relations with, according to letters.

The recording quality is excellent, and the Orchestra of the Age of Enlightenment compliments Bartoli's voice perfectly. Adam Fisher, furthermore, has a difficult task since much of this recording is world-premiere material. However, he presents the material as vividly as though they have never left the repetoire.

Buy this recording. I believe Signora Bartoli has set out on something great, and "Salieri Album" will have a ripple effect in the music world. I love this release.

Genius! Sheer genius!.......2005-12-19

Cecilia Bartoli is known for recording unfamiliar music. Here she recorded arias by Mozart's great rival Salieri and how beautifully she does it. She finds the right colours for every single piece, combined with her brilliant technique you get a feast of tasteful singing that will take your breath away! Buy it!

A revelation!.......2005-04-05

I came rather late to this CD. Am I the only one who saw "Amadeus" and came out wanting to hear more of the music of Salieri?

Ms Bartoli brings a her wonderful skills to the recording of some feriously difficult arias and proves up to the task. I know that some people have commented on flaws in her singing or the recording but the the joy of the album is the journey of discovery....each track is an adventure and a revelation.

A revelation of two great musical talents in top form ..Bartoli and Salieri.

Salieri's music is technically sophisticated and he wrote some truly glorious music for the female voice.

I can only recommend this to any lover of music.

Main Titles: 40 Motion Pictures, Volume One - Music Composed, Orchestrated And Conducted By Ennio Morricone, 1965-1995

Average customer rating:

Main Titles: 40 Motion Pictures, Volume One - Music Composed, Orchestrated And Conducted By Ennio Morricone, 1965-1995

Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Soundtracks | Indie Music | Stores | Music

Movie Soundtracks | Soundtracks | Indie Music | Stores | Music
Similar Items:

The Singles Collection: 47 Themes From 25 Movies, Volume Two - Music Composed, Orchestrated And Conducted By Ennio Morricone, 1969-1981
Ennio Morricone, Vol.3: Main Titles
With Love, Vol. 2
With Love: Music Composed & Conducted By
Ennio Morricone - Film Music, Vol.1

ASIN: B000000PJ9
Release Date: 1996-11-19

Tracks:

Slalom: Main Title
The Hellbenders: Main Title
Blood And Guns: Viva La Revolucion
L'Alibi: Una Fotografia
The Heart Of A Mother: Ricreazione Divertia
The Invisible Woman: Alla Serenita
The Nun From Monza: Main Title
Machine Gun McCain: La Ballata Di Hank McCain
The Lady Caliph: Main Title
The 5th Dawn: Lontano
Private Pictures Of A Lady: Main Title
Revolver (Blood In The Streets): Un Amico
Maddalena: Chi Mai
The Poetry Of A Woman: Main Title
What Am I Doing In The Middle Of The Revolution?: Main Title
This Kind Of Love: Main Title
Devil In The Brain: La Ragione, Il Cuore, L'Amore
Two Seasons Of Life: Main Title
The Children Who Are Asking Why: Main Title
Without Apparent Motive: Main Title
One Could Die Of Love: Main Title
My Name Is Nobody: Main Title
The Secret: Main Title

Tracks:

The Infernal Trio: Main Title
The Cousin: Main Title
Around The World With The Lovers Of Peynet: Forse Basta
Who Saw Him Die?: Main Title
The Lady Bunker: Dedicace
The Professional: Le Vent, Le Cri
The Outsider: Main Title
The Resenter: Main Title
The Venetian Woman: Baci Dopo Il Tramonto
Farewell To Moscow: Main Title
The Neighborhood: Romanza Quartiere
Nuovo Cinema Paradiso: Main Title
A Time To Kill: Main Title
To Forget Palermo: Main Title
Three Columns On The Front Page: Main Title
Piazza Di Spagna: Main Title
The Night And The Moment: A Caccia Di Lei

Amazon.com

This double-disc treat covers Morricone's work from 1965 to 1995 and contains mostly never-before-released material from 40 different motion pictures, many of which demonstrate his quirkier side. Many are from less-known films like To Forget Palermo and What Am I Doing in the Middle of the Revolution? But there are also more famous tracks like the main titles to Cinema Paradiso and My Name Is Nobody as well as the haunting "Chi Mai" from Maddalena. Though best known for his much-imitated and oppressively cute spaghetti-Western themes, Morricone here demonstrates his much more intriguing romantic and melancholic sides. His title song to Farewell to Moscow is among his saddest and menacing works and, like several other selections, can be the preferred antidote to Prozac. --Joseph Lanza

Average customer rating:

Paolo Tosti: Recital of Songs

Manufacturer: Symposium
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

La Mia Canzone: Songs By Francesco Paolo Tosti
Renato Bruson sings Tosti

ASIN: B00005B8OU
Release Date: 2001-07-31

Average customer rating:

Bravissimo!!
Bravissimo!
BRAVISSIMO
Awesome
Italy

Amore Dopo Amore
Renato Zero
Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Euro Pop | Pop | Styles | Music

Italian | Euro Pop | Pop | Styles | Music

International | Imports | Stores | Music

Rock | Imports | Stores | Music
Similar Items:

Cattura
L' Imperfetto
I Miei Numeri

ASIN: B00001ZUEZ
Release Date: 1998-04-01

Tracks:

Italiana
Cercami
Emergenza Noia
Mi Ameresti
Vive Chi Vive
Impossibile Vivere
Erotica Apparenza
Dimmi Chi Dorme Accanto a Me
Grande Assente
I Commedianti
Pericolosamente Amici
Pace Sia con Te
Figaro

Album Details

Currently on Italian Charts.

Customer Reviews:

Bravissimo!!.......2000-08-04

This summer I discovered this fantastic singer/song writter through my boss who had received this double CD as a gift from siblings in Italy... This is our non-stop music in the office... Even though I don't understand italian (planning on learning this fall) it is an enjoyable CD, my first one of Renato Zero, but surely not the last! Enjoy the moment!

Bravissimo!.......2000-06-05

This is the kind of performance that confirms the great ability of Renato Zero as a singer. This performance was recorded live near Milan, Italy and gives "on stage" a global view of what this singer made throughout the years. Clearly, if you understand Italian it conveys a high degree of emotionality, which is one of the reasons why in Italy people love him. Part of the revenue that Renato Zero will receive from this sale will be endorsed to "Fonopoli" a musical village for people with musical talent, which has been created in the outskirts of Rome. Again, bravissimo Renato!

BRAVISSIMO.......2000-05-03

I bought the double CD beforeI left Rome and I just loveit! I play it in my car andmy friends and family justcan't help but admire thesinger. You don't have toknow the language to like the songs in the album, youjust have to go with the flowof the sound and the voice of the artist. I bet you AndreaBoccelli is a fan of thissinger too.

Awesome.......2000-03-01

This CD is Wonderful! I heard his music the whole summer that I was in Italy and absolutely love all of it. Even though I do nto understand the words, it is still beautiful and always brings a smile to my face. A MUST BUY!

Italy.......1999-12-20

I bought this album when I was in Italy and fell in love with the music. I don't even speak Italian but I love the songs!

Average customer rating:

A little repetitive, but great.
SUBLIME! MUSICAL PERFECTION! 10 STARS NOT ENOUGH.
brilliant, premiere!

Nuovo Cinema Paradiso

Manufacturer: GDM
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

International | Imports | Stores | Music
Similar Items:

Cinema Paradiso (Two-Disc Deluxe Edition)
Cinema Paradiso: The Classic Film Music Of Ennio Morricone

ASIN: B00008MJ8Y
Release Date: 2003-01-01

Tracks:

Nuovo Cinema Paradiso (Titoli)
Maturit
Tema d'Amore
Infanzia E Maturit
Ripensandola
Cinema in Fiamme [Extended Version]
Tema d'Amore
TotAlfredo
Dopo il Crollo [Extended Version]
Tema d'Amore Per Nata
Visita Al Cinema
Prima Gioventi
Quattro Interludi
Fuga Ricerca E Ritorno
Dal Sex Appeal Al Primo Fellini
Tema d'Amore
Proiezone a Due
TotAlfredo
Tema Della Bicicletta
Visita Al Cinema
Maturit
Per Elena
Nuovo Cinema Paradisa

Album Description

Available for the first time the complete version of the super soundtrack composed by Morricone for the Oscar prize film by Giuseppe Tornatore. Containing 9 previously unreleased tracks!

Customer Reviews:

A little repetitive, but great........2006-03-22

The one I bought had a different cover, but the same tracklist. It's nice to hear extended versions, as well as previously unreleased tracks.

My only gripe with the score is the slight clipping on some of the tracks, and this is the case with every recording that I have heard.

This is a great score, and along with the solid performances by the actors, makes the film great.

SUBLIME! MUSICAL PERFECTION! 10 STARS NOT ENOUGH........2005-04-06

Ennio Morricone's score for Cinema Paradiso is inspired. There is, in my opinion, no more perfectly-suited score for a film. I purchased the original DRG version as soon as possible after seeing the film. The great thing about this "newer" version is that is features additional tracks--the more the better, in this case. Melodic, sweet, nostalgic, and lyrical. The absolute best of Morricone, universally acclaimed, and among the favorites of the composer's admirers [and there are legions]. A wonderfully engaging listening experience apart from the film.

One of my favorite selections [that may not be an obvious choice for many] is the medley that underscores the movie-reel montage, where the composer takes the main theme and plays it in different styles, including dixieland, swing, and lush-romantic. The love theme, co-composed by the Maestro's son Andrea [then a budding composer], is almost too beautiful. This is music that sweeps you along, rising and falling at just the right moment.

This music has been widely emulated in commercials to evoke nostalgia for a time-gone-by. And, for good reason, it's just plain delightful.

ABSOLUTE ESSENTIAL TOP 5 MORRICONE ON ANYONE'S LIST.

brilliant, premiere!.......2005-01-01

fast shipping from caiman_com, I ordered it during the Christmas holidays and received it right before the New Year's Eve. Far beyond my estimation! Besides, the most important thing is the soundtract. This CD has 23 tracts. I compared this one with another version: "Cinema Paradiso: Original Soundtrack Recording (1988 Film) [SOUNDTRACK]" and found out that the former one included all the tracts the latter had and much more than that. The price between these two version is very similar. That's why I bought this imported soundtract! The quality of the songs is perfect!

This CD is a great companian with the original movie! It will remind you of every sentimental scene in the film. Highly recommanded!

Average customer rating:

Lotte Lehmann in her Prime

Mattia Battistini: Il re dei baritoni

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B0000023QE
Release Date: 1997-03-18

Tracks:

I Puritani: Ah! Per Sempre Io Ti Perdei
I Puritani: Bel Sogno Beato
Maria Di Rohan: Bella E Di Sol Vestita
Tannhauser: Allor Che Tu Coll'estro
Tannhauser: Nel Rimirar Quest'adunanza Eletta
Tannhauser: Forier Di Morte...O Tu Bell'astro
La Traviata: Di Provenza Il Mar
Faust: O Santa Medaglia...Dio Possente
Amleto: O Vin Discaccia La Tristezza
Amleto: Come Il Romito Fior
Werther: Ma Come Dopo Il Nembo
Werther: Ah! Non Mi Ridestar
Thais: D'acqua Aspergimi - Mattia Battistini/Attilia Janni
I Pagliacci: Si Puo?
Tosca: Tre Sbirri, Una Carrozza
Le Soir

Tracks:

Guglielmo Tell: Resta Immobile
Linda Di Chamounix: Ambo Nati In Questa Valle
Linda Di Chamounix: Un Buon Servo Del Visconte - Mattia Battistini/Maria Moscisca
Lucia Di Lammormoor: Cruda Funesta Smania
Rigoletto: O Mia Gilda - Mattia Battistini/Maria Moscisca
La Traviata: Madamigella Valery? - Mattia Battistini/Maria Moscisca
L'Africana: Figlia Di Regi...Quando Amor M'accende
L'Africana: Averla Tanto Amata
Otello: Era La Notte
I Pagliacci: Decidi Il Mio Destin...E Allor Perche? - Mattia Battistini/Maria Moscisca
Quo Vadis?: Errar Sull'ampio Mar
Quo Vadis?: O Febea Pur Essa
Quo Vadis?: Amici, L'ora Attesa E Questa
Macbeth: Pieta, Rispetto, Amore
Nero: Imen! Imen!
Erodiade: Vision Fuggativa
Trauerwalzer No.2, D 365: Delizia

Tracks:

Don Giovanni: Deh! Vieni Alla Finestra
La Favorita: Vien, Leonora...Dei Nemici Tuoi
Ernani: Vedi Come Il Buon Vegliardo - Mattia Battistini/Elvira Barbieri/Giuseppe Tommasini/Vincenzo Bettoni
Il Trovatore: Mira D'acerbe Lagrime - Mattia Battistini/Elvira Barbieri
Un Ballo In Maschera: Ve', Se Di Notte Qui Colla Sposa - Mattia Battistini/Elvira Barbieri/Vincenzo Bettoni
Don Carlo: Per Me Giunto E Il Di Supremo
Faust: Per Di Qua...Stammi Ad Udir, Margherita - Mattia Battistini/Elvira Barbieri
Malia
Amour, Amour!
Culto
Ideale
O Ma Charmante
Mia Sposa Sara La Mia Bandiera
La Serenata
La Gondola Nera
Non M'ama Piu
Occhi Di Fata

Customer Reviews:

Lotte Lehmann in her Prime.......2006-07-08

Lotte Lehmann is one of the great German sopranos of the Twentieth Century. For many years, from her creation of the role of the Composer in the revised version of Richard Strauss's "Ariadne auf Naxos" in 1916 up to her departure in 1937 prior to the Nazi occupation of Austria, she was a star at the Vienna State Opera and a darling of the Viennese audience. She was also enthusiatically received at the Royal Opera House Covent Garden, as well as the Metropolitan Opera in New York.

During the years of her prime Lehmann created a couple of Strauss's operatic heroines, including the Dyer's Wife in "Die Frau Ohne Schatten" and Christine in "Intermezzo." She also sang a great variety of roles ranging from Wagner's romantic heroines to the Italian verisimo parts by Giordano and Puccini. Puccini was said to have been one of her bigget admirers, especially for her renditions of Mimi in La boheme and Suor Angelica. However, her most famous roles were the Marshallin in Strauss's "Der Rosenkavalier" and Sieglinde in Wagner's "Die Walkure." This Preiser issue documents accoustic recordings of nearly all her more renowned roles, made between 1914 and 1925.

Although Lehmann later made more amenable electrical recordings of many of the arias here, as well as excerpts from "Der Rosenkavalier" and Acts One and Two of "Die Walkure," these accoustic recordings more often than not show her in fresher voice with a joyous freedom on top. Her hallmarks as a singing-actress, such as her always vivid enunciation of the text and her great variety of tonal colors and moods, are also evident even in the earliest of these recordings.

This set is one of the gems in Preiser's famous historic singers series and anyone interested in operatic singing should consider investing in this set. The CD transfer unavoidably contains some surface noise but the vibrancy and color of Lehmann's voice are faithfully recaptured.

Average customer rating:

Five stars for Yu Qiang Dai
Alagna the Over-rated -- He's fine for the deaf!
Alagna brings verismo favorites and rarities to 'real life'
5 for Variety 3 for Voice
What a cool recital!

Nessun Dorma; Roberto Alagna
Ermanno Wolf-Ferrari , Mark Elder , Roberto Alagna , London Voices , Ruggiero Leoncavallo , and Orchestra of the Royal Opera House - Covent Garden
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Roberto Alagna - Verdi Arias / Gheorghiu, Berlin Phil., Abbado
Roberto Alagna & Angela Gheorghiu - Duets & Arias
Roberto Alagna - Opera Arias
Roberto Alagna - French Arias / Bertrand de Billy
Bel Canto: Arias by Bellini & Donizetti; Roberto Alagna

ASIN: B0000DD76K
Release Date: 2003-10-21

Tracks:

Nessun Dorma!
Colpito Qui M'avete...Un Di All'azzurro Spazio (Improvviso)
Come Un Bel Di Di Maggio
Quando A Solden
Giulietta, Son Io
Non Parlate Cosi...Io Non Ho Che Una Povera Stanzetta
Musetta! O Gioia Della Mia Dimora!...Testa Adorata
Cielo E Mar!
Comare Lola...Viva Il Vino Spumeggiante
Mamma! Quel Vino E Generoso
La Dolcissima Effigie Sorridente
L'Anima Ho Stanca, E La Meta E Lontana
Dammi Un Amore Selvaggio E Ribelle
Che Piu Mi Resta! Tu Sola A Me Rimani
E Un Riso Gentil Qual'alba D'April
Mai Piu, Zaza, Raggiar Vedro
Tornato E Maggio Dopo Lungo Viaggio
Amor Ti Vieta
Un Orso In Musoliera Innamorato
Nessun Dorma!...O Sole! Vita! Eternita!

Amazon.com

Here Roberto Alagna takes on verismo arias, works which require a type of exclamatory delivery very unlike arias from the bel canto period or the French repertoire. The danger for any tenor in this music is overstatement and oversinging - passions run high in this music, and the orchestral accompaniment is big and aggressive. Alagna is, for the most part, remarkably successful, bringing interesting nuances to even the most familiar of the arias ("Nessun dorma," "Cielo e mar") and making a fine case for a beautiful, sad aria from Zandonai's Giulietta e Romeo and painting a vivid portrait of the drunken title character from Wolf-Ferrari's Sly. He occasionally sings sharp: a phrase or two at the close of Turiddu's "Addio" from Cavalleria and every so often in the otherwise mellow "Amor ti vieta." But this recital never bores or tires the listener, and there's a good chance that Alagna is finally living up to his reputation as "the fourth tenor." This is terrific, and worth repeated hearings. --Robert Levine

Customer Reviews:

Five stars for Yu Qiang Dai.......2005-01-28

It was a big shock to hear Yu Qiang Dai's debut cd. He is, I think, the best lirico-spinto tenor nowadays. He has a lovely voice, which is very well produced. The center is wonderful, the lower notes are good, the high notes are shining and of fantastic quality... the singing through the passage is very well handled. He is an itelligent musical interpreter and singer, with an interesting and appealing line and sense of style. Very good dynamic changes. He offers some of the absolutely best renditions of some arias (nessun dorma and cielo e mar, for example) that I have heard in many years.
He still has to work his Italian (specially the consonants) and his French. But there were great historical tenors with bigger idiomatical problems.

Despite taking spinto repertoire, Yu never pushes, never tries to make the voice sound darker than it is, everything is always under control, and he takes the chance to give very stylish renditions (for example, of una furtiva lagrima), which is strange for tenors who "want to sing spinto".

The tenor is a fantastic discovery, one of the best ones around. Actually, all my criticism goes to EMI and the production of the CD: no choirs, no solists (for example, for the aria of Cavalleria, where the mother should sing her line), and the acoustic "atmosphere" has made some people to doubt if Yu's voice is really as big as it seems (people who saw his Cavaradossi at Covent Garden say that it is very big, actually).
Not a the best production job by the people of EMI, but five stars (ten if possible) for the singer. Simply wonderful.

Alagna the Over-rated -- He's fine for the deaf!.......2004-12-18

For Heaven's sake, it is ludicrous to compare Alagna -- who has talent but is NOT one of the "greats" -- to the likes of Jussi Bjorling or Domingo. The only reason other reviewers are impressed by this recording is because they haven't heard these arias sung by other, better tenors. First of all, Alagna is a lyric tenor, not a dramatic tenor, and his voice simply isn't big enough to handle the material without displaying a highly unattractrive raspiness, almost a bleating sound, on virtually every aria on the disc. How come no one noticed it (or did his fans simply choose to ignore it)? Alagna can be expressive in his singing, and I have no quibbles with the orchestra or conductor, but this vocal rasp or near-choke hardly makes this CD a listening pleasure for the discerning opera fan. Mario Del Monaco, who had the right dramatic voice for this material, recorded an album of "Verismo" arias which is available on CD and shows how these works should be sung -- with great dramatic power and vitality, not to mention ringing high notes. Alagna hits the high notes, but they are hardly "ringing." This CD demonstrates all too aptly why Alagna has never really caught on with serious and discriminating, knowledgeable opera fans who are familiar with many different tenors of the classic period. Alagna is one of the most over-hyped singers of his generation.

Alagna brings verismo favorites and rarities to 'real life'.......2004-03-21

The composers of the verismo school made it their mission to take opera away from the gods, royalty and nobles which it had exclusively depicted in the previous centuries and to finally have it concern people who lived 'real lives.' Unfortunately, too many opera fans and performers - especially tenors - make the mistake of assuming that the intense passions and 'crude realism' depicted by these composers is a license for excessive sobbing, gulping, screaming, macho posturing and other inartistic distortions of the music and drama. Roberto Alagna doesn't. What is so wonderful about his new disc of verismo arias is that none of what he sings is here merely a 'tenor showpiece'. His emotion is absolutely genuine, never 'look at me emote!'. He is always totally in tune with the dramatic situations, and serves them with a wide palette of tonal colors and vivid word-painting made even more intense by the clarity of his Italian diction, as superb as his native French. Although he has plenty of power and drama when required, more often he sings sweetly, smoothly, gently, and lyrically, even in the heaviest repertory. Best of all, Alagna's recent tendency to overuse the darker, rougher sides of his voice in recordings of Italian works has disappeared. This CD is his best work in that language and his singing here bodes extremely well for his future live excursions into these roles.

The title track 'Nessun Dorma' sets the stage for much of what follows. I can think of no higher praise than to say that it recalls that of Jussi Bjorling. Although Alagna doesn't have Bjorling's blazing voice and unsurpassable tonal beauty, he provides just as much sensitivity, nuance, and soft singing - this is a young man in love with a beautiful princess, not a soccer fan. His Andrea Chenier truly is a poet - youthful, passionate and desperate, and is Loris is equally impressive. Turridu in 'Cavalleria Rusticana' is surely an ideal vehicle for this tenor of Sicilian parentage, with his high spirits and smile in the voice for the drinking song turning serious and repentant for 'Addio alla madre'. For Enzo in 'La Gioconda', Alagna's 'Cielo e mar' is thoughtful and introspective, with a gorgeous diminuendo on 'O sogni d'or'. And what a joy to have Maurizio in 'Adriana Lecouvreur' sung by such a beautiful lyric voice, especially with more lovely pianissimo singing in 'L'anima ho stanca'! Can we hope for at least a live performance of the complete opera with his wife Angela Gheorghiu, who would be ideal in the title role?

Of course, any CD project Alagna undertakes will include a high percentage of rarities, and the very best of these are 'variations on a theme' to operas that Alagna is already famous for singing. Many consider his greatest role to be Romeo in Gounod's 'Romeo et Juliette', so it is no surprise that he is just as moving a Romeo in the tender and passionate tomb scene from Zandonai's 'Giulietta e Romeo'. In going from Puccini's version of 'La Boheme' to Leoncavallo's, Alagna switches from Rodolfo to Marcello, who is the tenor lead in this version. Having heard this opera in its entirety, I had originally thought that it was interesting but clearly inferior to the Puccini. Now I'm beginning to think all it needs is the right cast! More Leoncavallo rarities show Alagna at his most lighthearted and ebullient, even while playing some rather unsympathetic characters, from the feckless, selfish prince in 'I Zingari' to the married man having an affair with the title character in 'Zaza'. But in the wonderful 'Tu sola a mei rimani, poesia' from 'Chatterton', written by Leoncavallo when he was 17, Alagna is once again a heroic figure unlucky in love.

The 'Song of the Bear' from Wolf- Ferrari's 'Sly' is another triumph. Alagna darkens his tone to a rich bronze to become both the drunken poet of the title and his alter ego, the pathetic, lovestruck performing bear. He even improvises a delightful growl after 'voglio l'orsa!' ('I want the she-bear!'). Giordano's 'La Cene della Beffe' with its tale of a tenor jester's terrible revenge, would be a superb stage vehicle for Alagna's considerable dramatic talents, although here we only hear the character sweetly serenading about love in springtime. It is also nice to hear 'Quando a Solden', Hagenbach's anguished apology to the title character from Catalani's 'La Wally', an opera known mainly for the soprano aria 'Ebben? Ne andro lontano'.

The only problem I have with this disc, and I considered but decided against deducting the final star because of this, is that at least in the familiar selections I find conductor Mark Elder's tempos a little too slow. Although this allows Alagna to be at his most expressive, it takes away from the drama and urgency that is so necessary in this music. The Covent Garden orchestra does their usual splendid job, as does London Voices in their choral contribution, and Marianne Coterill and Tasmin Dalley are fine as Lola and Mamma Lucia. In addition to a wonderful background essay by John Steane, the documentation includes full texts and translations and - FINALLY - a biography of Alagna, as well as one of Elder.

I hope Alagna will get the opportunity to perform much of this material on stage, especially the rarities, although it might be best to limit his appearances in these roles to small theaters. Although Alagna has recently left EMI to go freelance, I am sure we will hear and see more of him in this and other interesting repertory - especially as he wants all his roles on DVD. Until then, "Nessun Dorma" is an ideal showcase for the marvelous voice and adventurous spirit of one of the greatest tenors of our day.

5 for Variety 3 for Voice.......2004-03-19

First off I think that it is really awesome that Roberto Alagna is recording rare works. On the flip side of that coin I dont really see how his voice can last through much more.
It is very clear that Alana should not really touch Verismo. I don't say this to be cynical or dismissive, he just goes very sharp and shows alot of force. The voice is very comfortable in French lyric Rep. When building a carrer, I think, a singer must find what his voice natually tends to and build around that. Certainly you can test and push boundaries, but If you make it your whole life pushing boundaries, than the voice breaks down. A similar fate befell Carreras, Di Stefano and many other singers. When I say that he should not touch verismo, I don not say that he brings nothing to the table, but that his voice does not have squillo and he goes very sharp when he hits high notes under stress, a sign of forcing. There is no squillo in his tone or dramatic declamation, and he has picked up the odd habit of scooping to seeminly every higher note.

The real positive is the interpretative ability, it is clear that Alagna is really thinking about each note, expecially in his excellent stuff from Cavalleria. I really enjoyed the Aria from sly, and listen to it more than most of the other tracks combined. Overall this is a good buy for some arias that you probably havent heard before.
I am not suggesting that roberto Alagna will ruin his voice. I am suggested that he is slowly beating the bloom out of his high notes, and taking the flexibilty and bright color by doing many artificial things in heavier rep.
So although I enjoyed this disc, and would recommend its purchace, I don't think it is the idiomatic verismo voice that one might expect in a verismo recital disc.

What a cool recital!.......2004-02-18

After a downright magnificent account of Berlioz, Roberto Alagna ventures into an equally demanding world of verismo. With Ruggero Leoncavallo most prominently featured, a wealth of material abounds.
Some of the grounds covered here were recently treaded by Argentinean tenor José Cura. I would venture to say that while Cura's recital was unusual and interesting, the CD at hand provided a lot more exciting moments in its 65-min time span save for the double-take of "Nessun Dorma." (the "updated" version would be welcome on another disc, I don't believe we need to have them both here for contrast).
Alagna's matured tenor is remarkably agile and the top notes are very secure. Even the rare sharps don't sound out of place. While there is an occasional unsteadiness in upper range, he makes up for it by a strong attack and seemingly endless breath span. He is also able to infuse a little sob when called for - some argue that this sob and not a hair more is what verismo demands. Such treatment of little known aria from Zaza "mai piu, Zaza, raggiar vedro" brought to mind young Carreras on his extremely rare Philips album. It's really a heart-gripping piece and it's a shame that a full recording of the opera is not available. Aside from this brief comparison, I wish Mr. Levine et al would stop the senseless references to the "4th tenor". The only "package" deal that Alagna participates in is with the missus - soprano Angela Georghiu. I sincerely hope he would not ever consider forming another duo or trio and ever venturing into pop. It's better to be a leader than a follower, even if the latter approach makes more money.
With his latest two CDs, Alagna shines as a pioneer of wonderful, but forgotten material. I have little doubt that composers such as Zandonai and Franchetti just found legions of fans thanks to this recital. I hope to be treated to a full recording soon!

Average customer rating:

Royal treatment of rare repertoire

The Salieri Album [Hybrid SACD]

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Gluck: Italian Arias
Midnight at Notre-Dame [Hybrid SACD]
Stravinsky: Petrouchka; Firebird Suite [Hybrid SACD]
Puccini - La Bohème / Alagna · Gheorghiu · Scano · Keenlyside · D'Arcangelo · Di Candia · Chailly
Dvorak Symphony No. 7 & Carnival Overture & Smetana Die Moldau / Szell, Cleveland Orchestra (SACD)

ASIN: B0000AF0YT
Release Date: 2003-11-04

Tracks:

Son Qual Lacera Tartana
Or Ei Con Ernestina...Ah Sia Gia
Vi Sono Sposa E Amante
Voi Lusingate Invano...Misera Abbandonata
E Voi Da Buon Marito...Non Vo' Gia Che Vi Suonimo
Alfin Son Sola...Sola E Mesta
Dopo Pranzo Addormentata
NoL Non Vacillera...Sulle Mie Tempie
Lungi Da Me Sen Vada...Contro Un'alma Sventurata
Se Lo Dovessi Vendere
Eccomi Piu Che Mai...Amor, Pietoso Amore
La Ra La
E Non Degg'io Seguirla...Lungi Da Te...Forse, Chi Sa? Veranno...Vieni A Me Sull'ali D'oro

Customer Reviews:

Royal treatment of rare repertoire.......2004-08-02

About as good a way to promote little known music as can be hoped for. Top notch performances from all involved in glorious SACD sound. Looking forward to more of the same!