Pirata [Import]

1. Cangaceiro

2. Ilvento

3. Dio

4. Tex

5. Raw Hide

6. Cannon Song

7. Pioggia Di Luce

8. Gira Nel Mio Cerchio

9. Tequila

10. Lulu E Marlene

11. Louisiana

Tracks:

Ritorna Vincitor
Qui Radames Verra... O Patria Mia
Pace, Pace Mio Dio
Una Macchia E Qui Tutt'ora
Tu Che Le Vanita
Ave Maria
L'altra Notte In Fondo Al Mare
Voi Lo Sapete, O Mamma
Ils S'Eloignent Enfin... Sombre Foret
Las Fuentecitas De Parque
Cuba Dentro De Un Piano
Chevre
Punto De Habanera
Cancion De Cuna Para Dormir A Un Negrito
Canto Negro

Tracks:

In Quelle Trine Morbide
Si. Mi Chiamano Mimi
Donde Lieta Usci
Vissi D'Arte
Un Bel Di Vedremo
Tu, Tu, Piccolo Iddio!
Signore, Ascolta
In Questa Reggia
Tu Che Di Gel Sei Cinta
O Mio Babbino Caro
Chi Il Bel Sogno Di Doretta
Son Vergin Vezzosa
O Rendetemi La Speme... Qui La Voce Sua Soave...
Torno Il Riso Sul Suo Aspetto... Vien Diletto
Oh! S'io Potessi Dissipar Le Nubi...
Col Sorriso D'Innocenza...
Qual Suono...Oh, Sole! Ti Vela Di Tenebre Oscure

Customer Reviews:

Early Caballe, covering the range of her opera roles.......2006-09-20

Leaving the hype aside, EMI would have been more accurate to entitle this 2-CD ssurvey "Opera Arias by the Young Caballe." In the whole generous 151 min. there are only 6 songs to represent her extensive recital repertoire, and no Zarzuela. For those items you have to go to rCA. Here we get Caballe mostly from the Seventies (1971-79) with bits form the early Eighties.

The reviewers below have given deserved praise to Caballe's abilities as diva. My onw opinion is that she was better on records than in the opera house. She wasn't gifted as an actress and cut a short, wide figure onstage. But as a vocal actress on disc she was very convincing, despite her over-reliance on pathos and delicacy. One longs at times, amid all the beauitful floated notes, for more spine and guts to her heroines. (I find her acclaimed Aida, for example, a one-note portrayal.) Lady Macbeth needs to be more sinister, Elisabetta more tragically enduring.

In all, this two-fer serves as a fine survey of her early career, and for listeners like me, who don't necessarily buy Caballe's complete opera sets, it may be all we need.

A great collection of diva Caballe's best singing!!!!!!!!!!!!!!!!!!!.......2005-12-26

This is a great collection of caballe's eternal art.All the songs here have been remastered and sound wonderful.The very best of, contains a nice selection of caballe's greatest verdi singing.Her rendition,heard here,of la vergine degli'angeli from the forza del destino is the best one in recorded history.She sings it with such feeling and the most glorious soft notes in history.All of the arias on this disc aptly demonstrates her mastery of bel canto, and italian opera for that matter.In signore,ascolta from turandot,another memorable performance from Caballe,she sculpts this aria beautifully like a master craftsman;ending this piece with a ultra high pianissimo bflat,which she holds out all the way to the final bars of the music ,for an astounishing 15 seconds.One of the most beautiful notes ever produced from the human throat.Other noticable mentions would be her pace pace mio dio,her ave maria from othello,col sorriso d'innocenza from il pirata,as well as an entire spanish recital(recorded in 1979,in good voice)are all include here;and much more besides.There is also a nice picture of a young, beautiful, and thin Montserrat Caballe on the cover.The cd booklet includes exstensive linear notes and five rare photes of this divine soprano,who has both a heart and voice of pure gold.

REALLY GOOD !.......2004-02-19

I`VE BEEN LOOKING FOR SO LONG THE "PUCCINI ARIAS" ALBUM AND IT`S ALMOST COMPLETE IN THIS COMPILATION. ENJOY THE PURE VOICE OF MONTSERRAT WITH THIS GREAT COLLECTION OF GREAT ARIAS BY VERDI,PUCCINI,BELLINI,ROSSINI,ETC. YOU`LL NEVER REGRET.CLEAR SOUND DIGITALLY REMASTERED.

Cut-and-Paste Caballe.......2003-05-17

This two-disc recital draws heavily upon two Caballe recital discs (a Bellini/Verdi recital, and a recital of Puccini arias), with some extra material thrown in. At the end of disc one, there are also some Spanish songs thrown in, a good choice, since Caballe sang these songs extensively in her many recitals.

For Caballe fans that already own the backlist of her recitals, there is not enough here to entice you to buy this new recital, unless you like the unique combination of arias. Tracks 1-5 on disc one are wonderful interpretations by Caballe of Verdian arias. I especially like the one from Macbeth- perfectly executed, with the pianissimi in all the right places. Equally as thrilling is her Tu Che Le Vanita, a dramatic, long aria that shows off the interpretive power she was capable of, when she wasn't in a lazy mood. As for the Ave Maria, I find it curious that they chose to cut the preceding Willow Song. In my mind, you can have a Willow Song on a soprano's recital disc without the Ave Maria, but it seems inappropriate for the reverse to be the case. Personally, I don't think that Caballe has anything on Mirella Freni, who is perhaps the most perfect Desdemona of her era.

I must admit to not having heard Caballe's interpretations of L'Altra Notte and Voi Lo Sapete. To imagine Caballe singing Santuzza really seems like a stretch to me. My favorite Santuzzas are Callas, Bumbry, and Verrett (in that order). Of course, Caballe did sing a lot of roles, and it isn't impossible that she could do justice to the aria, but I just can't imagine it, try as I might. A final selection worth mentioning is the aria from William Tell, from a supreme bel canto recording of Rossini's masterpiece.

Tracks 1-11 on the second disc are culled from her famous Puccini Arias recording, with the exception of In Questa Reggia from Turandot (a role that she would sing very late in her career, as opposed to the more familiar and suitable-for-her-voice role of Liu). What is notable is what didn't make the cut. Listeners will be deprived of her heart-wrenching, powerful interpretation of Sola, Perduta, Abbandonata, with its sinister clarinet obligato. They will also miss out on an enchanting aria from Puccini's little known and rarely staged Le Villi. This is a shame, since the original Puccini Aria disc is currently out of circulation.

The rest of disc two focuses on Bellini, in the form of I Puritani and Il Pirata. Listeners will be treated to both the polacca and the mad scene from Bellini' final opera. Caballe, of course, cannot hold a candle to Joan Sutherland, who was a true coloratura soprano (Caballe was more lyrical), but she isn't bad, either, as Elvira. The Bellini role that would garner her more acclaim was Imogene from Il Pirata. This two-disc recital draws to a close with her divine reading of Imogene's mad scene. This is the stuff of operatic legend.

All in all, minor quibbles aside, this is a great introduction to those not familiar with Caballe's grand art.

Renée Fleming: Bel Canto
Average customer rating:

Yes, she DOES sing a High G!

Intriguing and powerful voice

A beautiful voice, but the wrong stylistic approach...

The Voice God

A Bel Canto Cake: Enjoy

Renée Fleming: Bel Canto
Gioacchino Rossini , Patrick Summers , and Orchestra of St. Luke's
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Renée Fleming

Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss

Renée Fleming - Signatures ~ Great Opera Scenes / Sir Georg Solti

Renee Fleming: By Request

Renée Fleming - Visions of Love ~ Mozart Arias / Mackerras

ASIN: B00006589U
Release Date: 2002-08-27

Tracks:

Bellini/La sonnambula: "Ah!..se una volta sola"
Bellini/La sonnambula: "Ah!..non credea mirarti"
Bellini/La sonnambula: "Ah! non giunge uman pensiero"
Donizetti/Maria Padilla: "Abbracciami"
Donizetti/Maria Padilla: "Il piu tenero suon d'arpa morende"
Donizetti/Maria Padilla: "Ah! non sai qual prestigio si cela"
Rossini/Semiramide: Introduzione
Rossini/Semiramide: "Bel raggio lusinghier"
Rossini/Semiramide: "Dolce pensiero di quell'istante"
Bellini/Il pirata: Introduzione
Bellini/Il pirata: "Ah! s'io potessi dissipar le nubi"
Bellini/Il pirata: "Col sorriso d'innocenza"
Bellini/Il pirata: "Oh sole! ti vela di tenebre oscure"
Rossini/Armida: "D'Amor al dolce impero"
Rossini/Armida: "Gli augei tra fronde e fronde"
Rossini/Armida: "La fresca eta sen fugge"
Rossini/Armida: "Ah! si, godete amanti"
Donizetti/Lucrezia Borgia:"M'odi, ah m'odi, io non t'imploro"
Donizetti/Lucrezia Borgia: "Figlio!...Figlio!...Ola, qualcuno!"
Donizetti/Lucrezia Borgia: "Era desso il figlio mio"

Amazon.com

Surely Renée Fleming's soprano must be one of the most beautiful voices before the public today. Though renowned for her interpretations of Mozart, Strauss, and Verdi, as well as for her commitment to contemporary music, she says that the bel canto repertoire has always been central to her career. On this recording, which features scenes and arias from operas by Bellini, Donizetti, and Rossini, she proves that she has achieved total, effortless technical mastery of the uniquely difficult vocal writing characteristic of the style. Every note is perfectly placed. Her runs, including scales over a huge range in both directions, are as clear and evenly paced as a chain of exquisite pearls. Her leaps always land in the center of the pitch. Her intonation is flawless.

Fleming also displays her emotional affinity for the drama, pathos, and lyricism of the music and her ability to identify with her larger-than-life heroines. Chosen from familiar and unfamiliar operas, the music is beguilingly beautiful, ranging from peacefully pastoral to darkly menacing. However, some listeners may feel that Fleming's tendency to overinflect, overphrase, make long pauses, and put swells on long notes, especially in the slow arias, undercuts the music's simplicity and the directness of her expressive communication. The performances are based on the latest scholarly research into the "bel canto" style regarding historically correct ornamentation (only in repeats) and the problems of balancing textual fidelity with imaginative freedom. The Orchestra of St. Luke's gives splendid support, with outstanding solos, especially from the winds. --Edith Eisler

Album Details

Bel Canto is Shrink Wrapped as a Strictly Limited Edition, with a Bonus Disc of Four Unreleased Tracks of Popular Favorites By: Bach, Handel, Mozart and Debussy

Customer Reviews:

Yes, she DOES sing a High G!.......2007-03-21

When I was reading the other reviews of this album, I saw people talking about Renee Fleming going up to a High G (that is G above High C), and I was a bit skeptical...I was used to hearing her in the roles that climax on High B-Flat or High C. But now that I have the album, I can verify that she does indeed go that high! She just touches on it, but hey, that counts! My favorite selections from this album are "Ah! Non Giunge" when she sings a brilliant high E-flat, and because I just love that bouncy little aria. And "Era desso il figlio mio"... that's the one where she sails up to a High G...and She ends the piece with another glorious High E-Flat. Her melismas are delectable. And her high notes are not grating or shrill. Her tone quality is, as usual, plush and sumptuous...and the way she turns the musical phrases so poetically is just amazing. I'm SO glad she made this CD!

Intriguing and powerful voice.......2007-01-21

Renee Fleming has an interesting voice and is obviously an accomplished bel canto singer. Her voice seems to have a heavier, darker sound than many sopranos who essay the coloratura corpus. The sound is very rich. While I'm not sure that I would call her voice ravishing or beautiful, it is clearly up to the task of producing a compelling sound.

This CD begins with a scene from Bellini's "La Sonnambula." Her version of "Ah! Non giunge uman pensiero" is nicely done. She displays an agile voice. She hits the high notes well. Other versions feature trills; hers does not. However, later cuts on this CD surely show that her trill is one of the better ones today. I had never heard even small selections from Donizetti's "Maria Padilla" before. However, Fleming does a very good job. In the final part of the scene that she sings, "Ah, non sai qual prestigio si cela," she trills wonderfully. I have been acquiring CDs and listening to contemporary bel canto singers lately and, to this point of those to whom I have listened, she has one of the best trills around.

"Bel raggio lusinghier" from Rossini's "Semiramide" is nicely sung. Again, she is agile, can hit the high notes, and displays good coloratura technique. The high notes are wonderfully wrought; appoggiaturas well crafted. A number of other reviewers comment on her high note to conclude the cut from Donizetti's "Lucrezia Borgia." She nailed it pretty well, as those others noted.

And so on. No need to go through each cut one by one. All in all, a very good CD. Her darker, heavier voice combined with her vocal agility and coloratura technique make for a very interesting work. She clearly has some of the better coloratura technique among sopranos working in the vineyards of opera today.

A beautiful voice, but the wrong stylistic approach..........2005-11-16

I remember hearing Renee Fleming's first CD - I was instantly struck by the extremely beautiful lyric sound, and the ease with which Ms Fleming sang repertoire that required a high tessitura. I was reminded very much of Kiri Te Kanawa's tone, atlhough at the time, of course, Ms Fleming didn't have the polish of Te Kanawa.

The voice itself is a miracle. It is one of the beautiful voices of this age. But increasingly, I have become disenchanted with the WAY in which Renee Fleming uses her voice. Endowed with such a lovely voice, with a rich and even legato quality throughout, one would think that bel canto repertoire would suit Ms Fleming perfectly. And I think potentially it does... If you do not already possess the full opera recordings of Rosmonda d'Inghilterra (Donizetti) and Armida (Rossini), with Fleming in the title roles, I would like to recommend that you purchase them. They are very beautiful - stunningly so.

A small digression... My CD collection, I should mention (just casually), is nearly 3000 CDs strong, all of which are classical, and the majority of which are vocal (opera, oratorio, Lieder, operetta, early music, French chansons, etc.). The bel canto portion of my collection is substantial. I am also a bel canto singer myself. I speak, thus, with a knowledge of bel canto style, with particular reference to the ways in which the composers would have expected singers to handle their works.

So I hope readers will understand that when I say that Ms Fleming isn't performing on this CD with appropriate bel canto style, I am not speaking out of ignorance, malice, or uninformed opinion. The liner notes shed light on Renee Fleming's approach: she mentions that "like the great singers who premiered these works, we must use our own musical intelligence and imagination to make this music come alive. For someone like myself, trained as a jazz singer, this comes as a liberating reveltion."

Yes. That puts the finger on the major difficulty here. Of course the arias and scenas need to give interpretation and wonderful ornamentation in the repeats of cabalettas, etc. - but NOT, please God, with jazz in mind. The two fields are completely different. This explains to me why Ms Fleming's later recordings fail to satisfy me as much as her earlier ones. I was surprisingly enchanted by her Schubert album, in which I thought a lot of careful interpretative work had gone, and those two earlier full recordings of bel canto operas were superb. How had that wonderful bel canto technique gone astray in this recording? I think - I may be wrong - but I think that Renee Fleming is now relying almost entirely upon her own idea of how bel canto should be sung, rather than being given detailed guidance from an experienced conductor who's both au fait with the requirements and not intimidated by Ms Fleming's very beautiful voice and star billing.

I did buy this CD with great anticipatory pleasure, and I was disappointed because I had such high hopes. I am sorry, because I adore Ms Fleming's voice, but the swoops and the bathos of the interpretations are not moving to me. I so much want Ms Fleming to record bel canto in the future with a great conductor guiding her to avoid the mannerisms that may seem very expressive to Ms Fleming, but strike many listeners as only detracting from the creamy and lovely tone.

Three stars from me, because the voice is unquestionably beautiful.

I do hope that Renee Fleming decides to follow the guidance of some bel canto specialists.

For more authentic bel canto soprano singing, I recommend the peerless Edita Gruberova (still singing wonderfully), the beautiful Sumi Jo, and the great classic recordings of Callas, the young Caballe, and the young Joan Sutherland.

The Voice God.......2005-09-08

I've been a lover of opera for the past 5 years, and I'm 20 now. Never have I been so utterly blown away from a recording, and I have many. After purchasing this CD, I quickly bought 4 of her other recordings, as well as her film. After listening to "Bel Canto" I am sure that you will be convinced, as I am that Renee Fleming is hands down this generation's greatest soprano. Every selection on the CD is amazing, especially the scene from Lucrezia Borgia where she hits a high G above high C. You can feel the passion and drama through her voice, it pierces your heart it's so beautiful! For me, this CD was truly an epiphany. I did not realize that the human voice could be so beautiful, and now singing is all that I want to do! I highly recommend this CD for anyone who wants to hear unbelievable singing.

A Bel Canto Cake: Enjoy.......2005-07-27

Renee Fleming is today's leading American opera diva and her many albums attest to her versatility and superb musicianship. Among these albums, the recent jazz album Haunted Heart, (Fleming originally intende to sing jazz)Strauss- Der Rosenkavalier, Arabella and Cappricio as well as Four Last Songs, Mozart Don Giovanni (in the role of Dona Ana) Nozze Di Figaro (Countess)Cosi Fan Tutte (Fiordiligi)The Schubert Album, and such successful roles as Violetta in Traviata, Massenet's Manon and Dvorak's Rusalka. Not to mention she sang for such films as Lord of the Rings (in Elvish) and Bride of the Wind about the composer Gustav Mahler's ambitious composer wife Alma. Fleming has established herself as the most beautiful voice of recent years in the opera scene. I didn't know of her until she rose to prominence in the late 90's (she is also credited in the Mass In C by Beethoven in the movie Immortal Beloved). Fleming is primarily a lyric voice, whose purity and focus on tone is more important to her than dramatic effect. In this way, she is only following the tradition of the techniques of such sopranos as Elisabeth Schwartkopff, Leontyne Price, Montserrat Caballe and Joan Sutherland. She does have an ethereal beautiful voice, and this album - bel canto - is a showcase for gorgeous legato, pianissimi and coloratura trills and roulade fireworks.

Bel canto literally means "beautiful singing" and Renee Fleming brings that meaning back. Because of the illustrious efforts of such singers as Beverly Sills, Shirley Verrett, Leyla Gencers and inevitably Maria Callas, bel canto has now been a vehicle for dramatic intensity. Callas was never afraid to sound ugly or gritty to bring out the dramatic portions in the opera. But Renee Fleming knows she has a miraculous voice of sheer beauty of sound and she pleasures our ears with the sound of it. But one also sees her own efforts to sound as dramatic as she can sound. In La Sonnambula, Bellini created a vehicle for beautiful lyric sopranos with coloratura prowess. Singers like Anna Moffo made it sound gorgeous but Callas sang it and unearthed its dramatic power. Fleming attempts the Callas effect and even at times sounds like Montserrat Caballe, especially in such arias from Il Pirata (an opera Caballe recorded and performed on stage). She sounds creamy, golden, full-voiced, with gleaming high tops and rich chest registers, effectively colorizing all the melodic lines. I have not heard singing like this in a long time, and again Montserrat Caballe comes to mind. Just listen to how she sings Lucrezia Borgia, especially in the outburst "E sperto! " (He's dead!) the dramatic moment when Lucrezia discovers she has poisoned her own son. Fleming is also exceptional in Rossini's Semiramide. This is not her first experience singing Rossini. She has sung Il Vaggio A Reims, a rare Rossini opera. Bel canto is truly challenging, and it was for her, but she stepped up to the challenge and came out on top.

What's in the future for Fleming ? I would love for her to take on heavier roles, but she is herself very cautious about ruining her voice. Lyric sopranos like her can easily break if not properly trained. While she has sung Handel well and modern operas like "Ghosts of Versailles" I fear she will never take on the roles I long for her to sing - Tosca, Norma, not even Madame Butterfly. Mirella Freni, a voice quite like Fleming's managed to transition to heavier repertoire well- she sang Butterfly and Tosca with flying colors. Perhaps Fleming will continue to sing purely lyric roles- more Desdemonas, more Tatianas in Eugene Onegin or perhaps the heroine in Queen of Spades. But perhaps she can step outside herself and sing Elisabeth Valois in Don Carlo, or perhaps Lucia Di Lammermoor (why hasn't she sung that ? It's tailor made for her)Who knows what she has in mind but whatever it is, she will sound brilliant.

Average customer rating:

A captivating and important achievement

Clara Schumann: Complete Piano Works

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

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Fanny Mendelssohn & Clara Schumann Piano Trios [IMPORT]
Clara Schumann: The Artist and the Woman
Clara Schumann Piano Music
Clara Schumann: Piano Concerto; Piano Trio
Works for Solo Piano

ASIN: B00005MAV1
Release Date: 2001-08-21

Tracks:

Sonata In G Minor: Allegro
Sonata In G Minor: Adagio
Sonata In G Minor: Scherzo
Sonata In G Minor: Rondo
Romanze In B Minor
Impromptu In E Major
Romanze In A Minor
Scherzo Op. 10 In D Minor
Deuxieme Scherzo Op. 14 In C Minor
Praludium In F Minor
Soirees Musicales Op. 6: Toccatina In A Minor
Soirees Musicales Op. 6: Notturno In F Major
Soirees Musicales Op. 6: Ballade In D Minor
Soirees Musicales Op. 6: Ballade In D Minor
Soirees Musicales Op. 6: Mazurka In G Major
Soirees Musicales Op. 6: Polonaise In A Minor
Etude In A-Flat Major
Marsch In E-Flat Major

Tracks:

Praeludien Und Fugen Op. 16: Andante-Allegro Vivace
Praeludien Und Fugen Op. 16: Allegretto-Andante
Praeludien Und Fugen Op. 16: Andante-Andante Con Moto
Variationen Uber Ein Thema Von Robert sSchumann Op. 20
Trois Romances Op. 11: Andante
Trois Romances Op. 11: Andante Und Allegro
Trois Romances Op. 11: Moderato
Romance Variee Op. 3
Caprices En Forme De Valse Op. 2: Allegro Moderato
Caprices En Forme De Valse Op. 2: Allegro Moderato
Caprices En Forme De Valse Op. 2: Andantino
Caprices En Forme De Valse Op. 2: Allegro
Caprices En Forme De Valse Op. 2: Allegretto
Caprices En Forme De Valse Op. 2: Allegro Risoluto
Caprices En Forme De Valse Op. 2: Allegro Ma Non Troppo
Caprices En Forme De Valse Op. 2: Allegro Assai
Caprices En Forme De Valse Op. 2: Allegretto
Souvenir De Vienne, Impromptu Op. 9
Valses Romantiques Op. 4

Tracks:

Variatons De Concert Sur La Cavatine Du Pirate De Bellini Op. 8
Quatre Polonoises Op. 1: Polonoise In E-flat Major
Quatre Polonoises Op. 1: Polonoise In C-Major
Quatre Polonoises Op. 1: Polonoise In D Major
Quatre Polonoises Op. 1: Polonoise In C Major
Quatre Pieces Caracteristiques Op. 5: Impromptu. Le Sabbat
Quatre Pieces Caracteristiques Op. 5: Caprice A La Bolero
Quatre Pieces Caracteristiques Op. 5: Romance
Quatre Pieces Caracteristiques Op. 5: Scene Fantastique. Le Ballet Des Revenants
Quatre Pieces Fugitives Op. 15: Larghetto
Quatre Pieces Fugitives Op. 15: Un Poco Agitato
Quatre Pieces Fugitives Op. 15: Andante Espressivo
Quatre Pieces Fugitives Op. 15: Scherzo
Praludium Und Fuge
Drei Fugen Uber Themen Von J.S. Bach: Fuga A 4 Voci In E-flat Major
Drei Fugen Uber Themen Von J.S. Bach: Fuga A 4 Voci In E Major
Drei Fugen Uber Themen Von J.S. Bach: Fuga A 4 Voci In G Minor
Drei Romanzen Op. 21: Andante, Sehr Innig Bewegt, Tempo I
Drei Romanzen Op. 21: Allegretto (Sehr Zart Zu Spielen)
Drei Romanzen Op. 21: Agitato, Langsamer, Tempo I

Customer Reviews:

A captivating and important achievement.......2007-01-15

Robert Schumann was a central figure in the Romantic period of classical music. Fitting the period, the romantic idyll of Robert and Clara Schumann's trial-filled courtship and ultimate marriage against the wishes of Clara's father, Friedrich Wieck, has been endlessly written about.

But it is not until now that we have, for the first time, access to the complete piano compositions of Clara Schumann. I cannot imagine a more sensitive and nuanced performance of these works than that of Jozef De Beenhouwer, a Belgian pianist who has made a specialty of the music of both Robert and Clara Schumann. He received the Robert Schumann Prize from the City of Zwickau, Schumann's birthplace, and has completed an unfinished second concerto of Clara Schumann, not included in this set.

Clara Schumann was prepared by her father not only to be a virtuoso pianist. He also envisaged her as the first great female composer. He opposed her marriage to Robert in part because he reckoned that her probable role as a wife and mother - as well as Robert's ambitions as a comoposer - would bury her talent. Clara's first group of compositions were published when she was only 11 years of age. A surviving piano concerto, Op. 7, was performed to critical acclaim when Clara was 16.

Clara Schumann continued as a famous pianist and musical presence throughout her life (40 years after her husband's tragic death). However, although Robert recognized her compositional talent and encouraged her, the birth of eight children, and her role as a wife and pianist early curtailed her compositional activity (old Wieck was right in this respect). Her compositions have widely been regarded as worth little attention in comparison to those of her husband.

But this collection lets us make up our own minds about Clara's compositions. Most are from her early years, with a few from her later life. Except for her Concerto, many of the early works are in light genres, e.g. Polonaises (Op. 1), Romances, Impromptus, etc, but I found boldness, confidence, and originality in works from her earliest years. The Scherzi, Op. 10 and 14, are powerful and technically demanding. Some of the most remarkable pieces are preludes and fuges based on themes of J.S.Bach, and themes by Robert, written in the year, 1845, which gained favorable reviews for their skill and substance.

In summary, my wife and I both find this four-CD set both highly rewarding music beyond any novelty value associated the fame of the Schumann connection. In fact, I don't hesitate to make my own assessment that had Clara had the same opportunities as Robert, she may well have equalled him as a composer and fulfilled father Friedrich's dream.

Average customer rating:

Ode to the rivers
Awesome!!!!

Pirata
Maria Bethânia
Manufacturer: Biscoito Fino
ProductGroup: Music
Binding: Audio CD

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Mar de Sophia
Tua Presenca
Brasileirinho
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Momento

ASIN: B000K2V77I
Release Date: 2006-10-30

Tracks:

Pedrinha Miudinha Orixa Historia Pro Sinhozinho
O Tempo E O Rio
Todo Cais E Uma Saudade De Pedra Os Argonautas
Perto De Muita Agua Tudo E Feliz Santo Amaro
De Papo Pro Ar
Sereia De Agua Doce
Pensar Na Pessoa Que Se Ama Eu Que Nao Sei Quase Mada Do Mar
Amor E Sede Depois De Se Ter Bem Bebido A Saudade Mata A Gente
Sereno
So Na Foz Do Rio E Que Se Ouvem Os Murmurios De Todas As Fontes Memoria Das Agua
Aguas De Cachoeira
Cantigas Populares Poesia A Coroa
O Mundo Do Rio Nao E O Mundo Da Ponte Onde Eu Nasci Passa Um Rio
O Rio Francisco Francisco
Meu Divino Sao Jose O Sertao E Uma Espera Enorme

Customer Reviews:

Ode to the rivers.......2007-06-08

Accompanying MAR DE SOPHIA(a tribute to the oceans),Bethania offes PIRATA(the ode to the rivers).Adorned with old gems such as Edu Lobo's O TEMPO E O RIO as well as Caetano's OS ARGONAUTAS,this work also boasts new jewels including singer Vanessa de Mata's SEREIA DE AGUA DOCE and the radio hit EU QUE NAO SEI QUASE NADA DO MAR gracefully penned by superstars Ana Carolina & Jorge Vercilo.Devoid of heavy musical arrangements, PIRATA focuses on Bethania's vocal interpretation and spare guitar and drum backings.This approach proves quite earthy yet very groovy.

Awesome!!!!.......2006-11-20

Maria Bethânia really rocks. "Pirata" and "Mar de Sophia" are the best so far. I really love her.

Average customer rating:

Carulli, the Master of Sweetness!

Carulli: Music For Flute & Guitar

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Carulli: Guitar Sonatas Op. 21, Nos. 1-3 & Op. 5
Giuliani: Duets for Flute and Guitar
Music of Giuliani
Giuliani: Complete Guitar Concertos
Ferdinando Carulli: Complete Works for Guitar & Fortepiano

ASIN: B0000026EK
Release Date: 1990-10-25

Tracks:

Concerto For Flute, Guitar & Orchestra In G Major: I. Allegro
Concerto For Flute, Guitar & Orchestra In G Major: II. Tema con variazioni; III. Allegro
Duo For Flute & Guitar, OP. 104, No. 1 In D Major: I. Larghetto; II. Poco allagretto
Fantasy For Flute & Guitar, Op. 337 In G Major: Largo assai- Larghetto- Piu animato- Cantabile- Variazioni
Nocturne For Flute & Guitar, Op. 190 In A Major: Intoduzione: Largo- Alla polacca- Largo- Tempo primo (Alla polacca)
Duo For Flute & Guitar, Op. 104, No. 3 In C Major: I. Largo - II. Allegretto

Customer Reviews:

Carulli, the Master of Sweetness!.......2007-02-22

One just has to love Ferdinando Carulli. My love affair with his music started when I learned to play guitar as a teenager, on my own, from his "Guitar Method". The story that I have heard is that Carulli wrote his "Guitar Method" for a pretty student of his, who, however, was short on talent. He thus made even the simplest exercise sound very melodic, romantic, and sweet.
I have several recordings of Carulli's music, all of which I adore, but this one is quite unique, since it portrays flute. Carulli conveys "Italianate lyricism, mixed with joie de vivre and tendresse", in the words of the author of the booklet, which comes with the CD.
Jean-Pierre Rampal's flute is appropriately sweet, romantic, very lyric, but also playful. Alexandre Lagoya, guitar, is delicate, tender and gentle. As the record plays on, I imagine that I am strolling down some street in Italy and I begin to whistle along with the flute.
The selections on this CD are: "Concerto for flute, guitar and orchestra" in G Major, with Franz Liszt Chamber Orchestra, "Duo for flute and guitar", Op. 104, No. 1, in D Major, and No. 3, in C Major, "Fantasy for Flute and Guitar", Op. 337, on themes from Bellini's "Il pirata" (this is where one wants to whistle), and "Nocturne for flute and Guitar", Op. 190, in A Major.
You cannot go wrong with this most charming record!
I dedicate this review to my brother Vladimir, who is responsible for my introduction to guitar. As a teenager he traded an old bicycle chain for the guitar method, which he then gave to me. This is how it all started. Thank you, Vladimir!

Average customer rating:

Il pirata: young Bellini's masterpiece
If You Don't Enjoy This Music, I'll Double Your Popcorn Back
THIS IS AN OPERA TO ENJOY LIFE
By far Caballe's best studio recording!
What a glorious production

Bellini: Il Pirata

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Bellini: Beatrice Di Tenda
Bellini: I Capuleti e i Montecchi
Donizetti: Lucrezia Borgia
Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini
Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan

ASIN: B00001SVM2
Release Date: 2002-08-05

Tracks:

Il pirata: Sinfonia
Il pirata: Act One - Scene One: Ciel! qual procella orribile
Il pirata: Act One - Scene One: Nume, che imperi, che affreni il mare
Il pirata: Act One - Scene One: Coraggio! costanze! (Solitario)
Il pirata: Act One - Scene One: io vivo ancor! (Gualtiero, Solitario)
Il pirata: Act One - Scene One: Ascolta. Nel furor delle tempeste (Gualtiero, Solitario)
Il pirata: Act One - Scene One: Del disastro di questi infelici
Il pirata: Act One - Scene One: Per te di vane lagrine (Solitario, Gualtiero)
Il pirata: Act One - Scene One: Sorgete; e in me dover (Imogene)
Il pirata: Act One - Scene One: Lo sognai ferito, esangue (Imogene)
Il pirata: Act One - Scene One: Quando a un tratto il mio consorte (Imogene)
Il pirata: Act One - Scene One: Sventurata, anch'io deliro (Imogene)
Il pirata: Act One - Scene Two: Evviva! allegri!
Il pirata: Act One - Scene Two: Ebbeme?...Verra (Imogene)
Il pirata: Act One - Scene Two: Perche contanta io prendo
Il pirata: Act One - Scene Two: Se un giorno fia che ti tragga
Il pirata: Act One - Scene Two: Tu sciagurato! Ah! fuggi
Il pirata: Act One - Scene Two: Pietosa al padre!
Il pirata: Act One - Scene Two: Bafnato dalle lagriime d'un cor (Imogene, Gualtiero)
Il pirata: Act One - Scene Two: Grazie, pietoso ciel (Imogene)
Il pirata: Act One - Scene Three: Piu temuto, piu splendido nome
Il pirata: Act One - Scene Three: Si, vincemmo (Ernesto)
Il pirata: Act One - Scene Three: M'Abbraccia, o donna (Ernesto, Imogene, Solitario)
Il pirata: Act One - Scene Three: Il suo disegno (Imogene, Gualtiero, Ernesto, Solitario)
Il pirata: Act One - Scene Three: Parlarti ancor per poco
Il pirata: Act One - Scene Three: Ebben; cominci, o barbara
Il pirata: Act One - Scene Three: Ah! partiamo, i miei tormenti (Gualtiero, Ernesti, Imogene, Solitario)

Tracks:

Il pirata: Act Two - Scene One: Che rechi tu?
Il pirata: Act Two - Scene One: Vieni; Siam sole alfin (Imogene)
Il pirata: Act Two - Scene One: Arresta...Ognor mi fuggi!
Il pirata: Act Two - Scene One: Tu m'apristi in cor ferita
Il pirata: Act Two - Scene One: Ah! lo sento: fra poco disciolta
Il pirata: Act Two - Scene One: Che rechi? (Ernesto, Imogene)
Il pirata: Act Two - Scene Two: Lasciami, forza umana non puo (Gualtiero)
Il pirata: Act Two - Scene Two: Eccomi a te, Gualtiero (Imogene, Gualtiero)
Il pirata: Act Two - Scene Two: Per noi tranquillo un porto
Il pirata: Act Two - Scene Two: Crudele! e vuoi?
Il pirata: Act Two - Scene Two: Parti alfine: il tempp vola (Gualtiero, Imogene, Ernesto)
Il pirata: Act Two - Scene Two: Sventurata! fa core (Imogene)
Il pirata: Act Two - Scene Three: Lasso! perir cosi
Il pirata: Act Two - Scene Three: Giusto ciel! (Gualtiero)
Il pirata: Act Two - Scene Three: Tu vedrai la scenturata (Gualtiero)
Il pirata: Act Two - Scene Three: Gia s'aduna il gran sonsesso
Il pirata: Act Two - Scene Three: (ma on fia sempre odiata (Gualtiero)
Il pirata: Act Two - Scene Three: Udiste? E forza, amiche
Il pirata: Act Two - Scene Three: Scena
Il pirata: Act Two - Scene Three: Oh! s'io potessi sissipar le nubi
Il pirata: Act Two - Scene Three: Col sorriso d'innocenza
Il pirata: Act Two - Scene Three: Qual suono ferale echeggia (Imogene)
Il pirata: Act Two - Scene Three: Oh, Sole! ti vela tenebra fonda (Imogene)

Customer Reviews:

Il pirata: young Bellini's masterpiece.......2005-07-08

Il pirata was Bellini's first great success and don't think it is a work of a beginner. For me it is on the same level with his most famous operas. It even has something that his later operas don't. It is so dramatic and exciting from the beginning to the end! I don't know if you can find so many beautiful melodies in any other opera. Every scene is a hit. Just listen to "Nel furor delle tempeste", "Lo sognai ferito, esangue", or "Parlarti ancor per poco". His recitatives, ariosos and ensembles are sometimes even more interesting than his arias. I don't know why this opera doesn't belong to the standard repertory. Perhaps because it is almost unsingable.
But fortunately we have this wonderful recording conducted by Gavazzeni. Caballé (Imogene) and Cappuccilli (Ernesto) are simply excellent. Marti (Gualtiero) is not the greatest tenor in the world, but he is not bad at all and I am grateful to him that he sang this role to us. I don't know why other great tenors avoid it because it offers so much!
I think this recording is the best available. Callas in her live performance is dramatically more intense and sometimes even better but the other singers are not on her level and the opera is cut. The newer Aliberti recording has an interesting Gualtiero of Stuart Neill, but the others are not as great as here.

If You Don't Enjoy This Music, I'll Double Your Popcorn Back.......2003-11-16

In his short life, Bellini was a major innovator. He was the ONLY composer that Richard Wagner praised whole-heartedly (and deliberately imitated in his "long melodies"). The plot of IL PIRATA is about as stupid as any in all of opera, but its music is out of this world. Here and there, one hears passages that remind us that this is the person who composed the far better-plotted and, rightly, more famous opera NORMA. Forget about IL PIRATA's plot and immerse yourself in this amazing man's music.

THIS IS AN OPERA TO ENJOY LIFE.......2002-11-07

Actually, I love opera, although I am not an opera-goer. This opera is sung by Montserrat Caballé as Imogene, and her husband, Bernabé Martí, as Gualtiero. I saw her onstage at the Teatro Colón, in Buenos Aires, and if you want to know my opinion, her singing is so beautiful personally as it is in her recordings. In this, for example. You have to listen to it if you want to know who is Calla's best pupil. Just amazing.

By far Caballe's best studio recording!.......2002-03-25

I can't remember the last time I enjoyed Caballe so much! This is one of her favourite roles and we hear why. It is also an answer to those who say that she can't sing the high notes. Just listen to the way she ends the ensembles and eventually the entire opera. Sure, her highest notes are not as secure as Sutherland's or Callas' but I couldn't care less. I can't listen to the boring Sutherland for more than an aria / cabaletta and Callas' piano sounds like speaking although I admire them both. Montserrat here is simply unsurpassed, justifying her title as the last true diva. A voice so radiant, clear and beautiful we definitely miss today.

Il Pirata has so many beautiful moments that I cannot understand why it is neglected. Maria Callas revived the score in the late 50s but from extracts that I have heard she doesn't sound as involved and enchanting as Caballe. Next to Caballe here is, her husband if I'm not mistaken, Bernabe Marti. He is the only thing I don't like in this recording. He sounds monotonous and sings loud most of the time but one gets used to him after a while and then he's ok. What a pitty that Kraus (as in the Lucrezia Borgia set) or Bergonzi (as in the Traviata) could not be in this recording. Capuccilli is good, though not an expert in bel canto. Raimondi is better. Maestro Gavazzeni is a very fine conduct. Never trying to compete with the singers or overpower them.

On the whole, a lovely opera and an amazing performance by Montserrat Caballe.

What a glorious production.......2000-07-28

Despite some tessitura problems with Caballe and some ugly noises from hubby Berbie that should have been redone, this is the kind of exceptional production that reminds us that RAI can bowl us over with the real whiff of the opera house...from the studio.

The entire cast is amazingly on cue, rehearsed within an inch of its life by Gavazzeni, and the extraordinary contribution of the RAI Rome Orchestra is surrounded with some of the loveliest sound EMI ever came up with in an opera recording. The plot, full of intrigue and a wide emotional spectrum gave Verdi all kinds of room to move around and paint a great diorama for us to take in. Every artist has room for characterization and all parts show Verdi's loving attention. It amazes me that this great work isn't better known outside Italy. But, then again, Italy is swamped with so many beauties maybe she simply can't get around to sharing all of them.

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Average customer rating:

A Must Have for Callas Fans
Awesome!
Bizzare Liner
The PASSION of Callas
La Callas at her very best!

The Passion of Callas

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | 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

German | Languages | Opera & Vocal | Styles | Music

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

The Very Best Of Maria Callas
Maria Callas, the Voice of the Century
Maria Callas - Life & Art (2 CD's & Bonus DVD)
Maria Callas: The Legend
Verdi: Arias by Maria Callas (includes DVD - rare performance of Callas on film)

ASIN: B0000DZGGR
Release Date: 2004-03-23

Tracks:

Una Voce Poco Fa
Merce, dilette Amiche
O Mio Babbino Caro
Si. Mi Chiamano Mimi
Gaultier Malde...Caro Nome
Ah, Fors'e Lui
Dov'e L'indina Bruna (Bell Song)
Un Bouquet !...Ah ! Je Ris (Jewel Song)
Samson, Recherchant Ma Presence...Amour ! Viens Aider Ma Faiblesse
L'amour Est Un Oiseau Rebelle (Habanera)
Ah, Pour Ce Soir...Je Suis Titania (Polonaise)
Divinites Du Styx
Casta Diva
La Luce Langue
In Questa Reggia

Tracks:

Vissi D'arte
Un Bel Di Vedremo
Senza Mamma
Ebben? Ne Andro Lontana
La Mamma Morta
D'amor Sull'ali Rosee
Col Sorriso D'innocenza
Surta E La Notte...Ernani, ernani, Involami
Ritorna Vincitor!
Carreau! Pique! (Card Song)
In Quali Eccessi, O Numi!...Mi Tradi Quell'alma Ingrata
Tu Che Le Vanita
Suicidio!
Sola, Perduta, Abbandonata

Album Description

Limited edition double CD 2003 compilation from EMI with a slipcase.

Customer Reviews:

A Must Have for Callas Fans.......2007-08-06

Many fans of Opera know of Maria Callas and that she set a standard that is rarely reached in this genre. This album features a great variety of works that will satisfy even the most jaded fans. I adore this album and even friends who know nothing about artistic music or Opera love this Cd. This is a must have for any music fan!

If you are not an Opera fan and you only owned 1 Opera album; this would be a great choice . . . None nicer!

Awesome!.......2004-07-14

What a compilation! Like listening to an enraptured goddess! This is a must for every fan of great singing!

Bizzare Liner.......2004-06-27

I am a huge Callas fan and own most of her discography, both commercial and pirate/private. I only bought this collection for 2 arias I did not previously have on other recital/collection discs of hers - the jewel song from Faust and the aria from Alceste (in French).

As an introduction to Callas this CD is as good as any I guess. The liner notes are Bizarre though, linking each aria to Callas's personal life. Weird and pointless. Much more interesting would have been information about Callas relationship to the arias as an artiste. (not as a debutante or a divorcee or whatever... I repeat Weird!)

Anyway, I think to fully appreciate Callas's talent and her legacy, listening to a complete opera rather than a recital or compliation disc is a better idea. The studio recordings obviously have the best sound reproduction but some of the live recordings are terrifically exciting and capture something intangible which the studio does not.

Five suggestions for the Callas novice;

1953 Studio Tosca (careful, not the 1964 version!)
1953 Studio Cavelleria Rusticana (paired wth Pagliacci, a bonus but buy it for Cavelleria)
1955 Live Lucia di Lammermoor (performed in Berlin with Karajan conducting)
1955 Studio Rigoletto (Gobbi in the title role who was as talented a baritone as Callas was soprano. Gobbi is also in the above mentioned Tosca)
Norma - There are two studio versions and about 5 live versions - pick one, any one!

Cheers & Ciao

The PASSION of Callas.......2004-05-21

Callas wasn't only a beautiful, feminine woman but a superb singer. Here her very best recordings are put together with some lovely pictures. It's as essential as Sutherland's SUPREME "The art of the primadonna". Enjoy the recital of a lifetime!

La Callas at her very best!.......2004-05-20

You never heard this CD, did you? It's absolutely beautiful. BTW: Many called Amazon to have your nasty, against the guidelines reviews checked. Bashing isn't right, you'll learn that one day!

Average customer rating:

I agree with the Above Reviewer....
An excellent CD for young baritones
A marvelous sound....
Quintessential bel cantos
The best Baritone in the world, period.

Songs of Love and Desire
Gioachino Rossini , Gaetano Donizetti , Vincenzo Bellini , Ion Marin , and Dmitri Hvorostovsky
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Verdi Arias
I Met You, My Love
Dmitri Hvorostovsky - Passione di Napoli
Dmitri Hvorostovsky in Concert 1998
Moscow Nights

ASIN: B000004155
Release Date: 1994-09-20

Tracks:

Il Barbiere di Siviglia: Largo Al Factotum
La Favorita: Vien, Leonora
Il Duca d'Alba: Nei Miei Superbi Gaudi
La Favorita: A Tanto Amor, Leonora
Poliuto: Di Tua Beltade Immagine
Il Pirata: Si, Vincemmo
L'Eliser D'Amoure: Come Paride Vezzoso
Don Pasquale: Bella Siccome Un Angelo
Guglielmo Tell: Resta Immobile
I Puritani: Per Sempre Io Ti Perdei
Don Sebastiano, Re Del Portogallo: O Lisbona, Alfin Ti Miro
Lucia di Lammermoor: Cruda, Funesta Smania

Customer Reviews:

I agree with the Above Reviewer...........2004-10-25

simply the greatest baritone of our time! As an aspiring baritone, I can only aspire to achieve the kind of vocal perfection that Hvorostovsky displays so well. I first encountered his voice in 2001, when I was looking around in a Borders for baritone recordings; the CD I found was "Passion di Napoli" (Delos, I believe). I listened to it and was completelely blown away. Since then, I've seen him in the Met's production of "Don Giovanni" a while back, as the title character, and I've bought other albums of his. Honestly, I was amazed with his voice back in 2001, and I'm amazed now, perhaps moreso, with more of a vocal education. I envy his voice full-heartedly. I would not be ashamed to develop a voice similar to Hvorostovsky's. In fact, I would deem it a gift from God if this happens. I highly recommend this recording, and any other Hvorostovsky recordings out there, to anyone who wants to hear what the greatest singer in the world (sorry Terfel and Allen, but Hvorostovsky's got you beat) sound like. If you value operatic vocal music at all, then DO NOT OVERLOOK THIS SINGER! Off the charts!

An excellent CD for young baritones.......2004-03-29

With so many young baritones listening to powerhouses like Robert Merrill and Ettore Bastiannini singing monstorous arias, it is nice to find a CD from a well known baritone like Hvorostovsky singing on the more lyrical side of the baritonal spectrum. Hats off to Dimitri on this one. It truly is a "must-have" for any aspiring young baritone, let alone the average listener.

A marvelous sound...........2003-08-20

... and his Italian is wonderful. I'm not going to say that he's today's greatest baritone, but he's sure up there. His sound is simply delicious, fat and round, not an unpleasant tone in the bunch. Moreover, he is so personable even unseen. I like him a LOT.

Quintessential bel cantos.......2002-03-23

You can't say enough about this brilliant baritone. Hvorostovsky is the quintessential lyric baritone of all time. He is much gifted and just too good to be true. He made himself a big star out of winning at Cardiff Singer of the World Competion. He's been riding high ever since. Thanks to his star power, he has pretty good discography as for his recital albums. His superb singing and sheer beauty of his voice is showcased in this bel canto collection. It's easy to get addicted to intoxicating Dmitri sounds. I can't get enough of him and it happened to many people.

He has done stage productions of Puritani, Favorita, Barbiere, and L'elisir d'amour so far. I'v heard his Favorita at Carnegie Hall, and it was stanning performance. I still can't get over. I'd very much like to hear more of his bel canto operas but he became very good dramatic actor and his temperament is towards Verdi's. So you can't expect much of bel canto out of him yet at least he can do good recital program with them, I hope. My dying wish is to have all his bel canto repertories in full length commercial recordings. So help me God!

The best Baritone in the world, period........2000-12-17

OK, I know its a bold statement, but this artist has something going for him. I kid you not when I say, he has a phenomenal voice! If you know anything about classical voices then upon first hearing this man's voice you will agree that he deserves much more recognition. The power, line, and sheer beauty he possesses is unbelieveable. I know I keep going on and, but you must check Dmitri out. Forget Bryn Terfel and his breathy tone. His voice lacks the sheer vocal potency that Dmitri has. Listen to the first track on this CD, one of the most famous and vocally demanding in opera, he has it all. The track from La Favorite showcases Dmitri's ability to sing a beautiful melodic line and still retain vocal consistancy. Decca needs to pick this artist up. Enjoy, he is definitely someone to look forward to in the future.

Average customer rating:

Sings a wide range of works well
A great Caballe cd at a bargin price!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1
A Bit disappointed
Bad sound :((((
Voice from heaven!

Diva:Montserrat Caballe
Giacomo Puccini , Gioachino Rossini , Vincenzo Bellini , Giuseppe Verdi , Arrigo Boito , Pietro Mascagni , Sir Charles Mackerras , Lamberto Gardelli , Gianandrea Gavazzeni , Riccardo Muti , James Levine , Anton Guadagno , Julius Rudel , Carlo Maria Giulini , Bruno Bartoletti , Alain Lombard , Montserrat Caballe , Alfredo Kraus , Agostino Ferrin , Julia Hamari , Stefan Elenkof , Astrid Varnay , and Jose Carreras
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music
Similar Items:

Montserrat Caballé: Ultimate Collection
Very Best of
Grandi Voci: Renata Tebaldi
Great Operatic Duets
Bellini - Norma / Patane, Caballe, Vickers, Veasey, Theatre Antique d'Orange

ASIN: B000002S6A
Release Date: 1995-08-08

Tracks:

Madama Butterfly: Un bel di vedremo (Atto II)
TOSCA: Vissi d'arte, vissi d'amore (Atto II)
Guillaume Tell: Sombre foret (Acte II)
Il pirata: Col sorriso d'innocenza (Atto II)
I Puritani: Son vergin vezzosa (Atto I)
Giovanna d'Arco: O fatidica foresta (Atto I)
Macbeth: Una macchiae qui tutt'ora (Atto IV)
Mefistofele: L'altra notte in fondo al mare (Atto III)
Don Carlo: Non pianger, mia compagna (Atto II)
Aida: Qui Radames verra . . . O patria mia (Atto III)
Manon Lescaut: In quelle trine morbide (Atto II)
La Boh: Donde lieta usci (Atto II)
Cavalleria Rusticana: Voi lo sapete, o mamma
Turandot: Signore, ascolta! (Atto I)
Turandot: In questa reggia (Atto II)
La rondine: Chi il bel sogno di Doretta (Atto I)

Customer Reviews:

Sings a wide range of works well.......2007-04-29

On this CD, Montserrat Caballe sings a wide range of arias. She runs the gamut from the bel canto works of Rossini and Bellini to the verismo works of Puccini and Mascagni, with Verdi in between. Overall, this is a nice introduction to her work. While I would not rate her among the very greatest of sopranos, she certainly ranks high in the pantheon of sopranos from the 20th century.

A brief sampling of her work on this CD. From Puccini's "Madam Butterfly," the CD begins with "Un bel di vedremo." She sings smoothly with a nice sound to her voice. Normally, when she increases the volume of her singing, the sound of her voice is still good. There are some occasional unpleasant sounds, but nothing notable. This is a nice dramatic rendering of an iconic aria. She hits the higher notes well.

Rossini's "William Tell" isn't much performed these days. But Caballe's version of "Sombre foret" suggests that some good operatic music is not played often enough. This is well sung; Caballe shows good vocal agility at the close.

"Son vergin vezzosa," from Bellini's "I Puritani," shows off her agile vocal technique. Early on, she floats a nice piano high note. In terms of technique, it is disappointing that the trills are not evident. In the end, this is a good version of this work, but not at the level of Jo, or Sills, or Sutherland. Outside of trills, ornamentation is good, but that is like saying that outside of its lack of speed, a sports car is a lot of fun to drive. Still, other ornamentation is well done, including appoggiaturas. The Wikipedia says (under ornamentation): "In music, ornaments are musical flourishes that are not necessary to the overall melodic (or harmonic) line, but serve to decorate or "ornament" that line. Many ornaments are performed as "fast notes" around a central note. . . . From the Italian word appoggiare, "to lean upon". . . . The long appoggiatura is important melodically and often suspend the principal note by taking away the time-value of the appoggiatura prefixed to it (generally half the time value of the note, though in triple time, for example, it might receive two thirds of the time). The added note (the unessential note) is one degree higher or lower than the principal note; and, if lower, it may or may not be chromatically raised (see mordent)." I'm not sure, as a musical nonexpert, that I fully understand the technicalities here, but Caballe does seem to exhibit nice ornamentation as per the above.

From "La Boheme," we have "Donde liata usci," very nicely done. This is prettily sung, for the most part, with only a rare unpleasant sound intruding. Finally, from "Turandot," "Signore ascolta." This is a smoothly sung version. From this CD, it is clear that Caballe can sing Puccini very well indeed. There is a nice piano high note at the close.

So, Caballe is clearly an excellent soprano although not, in my judgment, among the "all time greats."

A great Caballe cd at a bargin price!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1.......2005-12-23

I love this cd.I've been playing it often for three years.Included here are a selection of arias from Caballe's greatest complete recordings,as well as a few selections from her solo puccini arias cd.This is a great starter cd for someone who is curious about Caballe's art.All the selections on Diva,effortlessly demonstrate the supreme beauty of the Caballe sound.On this cd are definitive selections from Don Carlo,Macbeth,Tosca,and many more.Most of these arias she sings here are the most beautiful editions in recorded history.In Un macchia e qui tutta'ora from Macbeth she even sings like a dramatic soprano with extraordinary power,I feared for her vocal chords,and yes the beautiful sound was still there.She even ended the Macbeth aria with an ultra high pianissimo,high d flat.All the tracks are first rate.Great picture of Caballe on the cover too.

This is one of the first caballe cds I bought,and I still feel it makes a nice demonstration of the legendary caballe sound.This cd is full of examples of why caballe is considered by many to have the most beautiful voice in opera history.The selection from don carlos has a ends with a stunningly beautiful pianissimo,on non pianger,mia compagna.And her signore ascolta,is the most beautiful ever recorded ending with a 15 second high piannissimo,that has to be heard to be believed!

A Bit disappointed.......2003-10-15

I liked Caballe the minute I heard the two Liu arias in a Decca release. I found her voice sweet and her floating notes exceptional, yet I'm a little bit disappointed with this CD. I've bought this CD at least a month ago and have only listened to it once.

What I find distracting in this CD is the sloppiness in which she sung the arias. Upon listening to it, I keep wondering why she can't sound as wonderful as she did on that Decca CD that I heard her in. Part of the reason I guess is that I find other sopranos to sing some of this repertoire much better than Caballe. Apart from the aria in Turandot, I find Tebaldi to be a better puccinian, while I like a true coloratura or a dramatic in the other roles. Even her one Liu aria in this CD is not as good as the one I've owned, again sloppiness.

The high notes are another problem. She sounds excellent when she floats them, but when she sung them in full voice they sounded more like screams. I just couldn't get over these two humps in which a soprano of her caliber should not have done.

Better luck next time I guess.

Bad sound :((((.......2001-03-07

The selection is very good, i just love her L'altra notte in fondo al mare but.... there's a noise, in my cd player i can't hear it, but when i hear it out loud it's unbearable! Barely can hear the orchestra.Montserrat is one of the best sopranos EVER in my opinion, but i would have saved my money to other cd

Voice from heaven!.......2000-12-22

This is a wonderful collection of arias and a marvellous introduction to the World of Montserrat Caballe, indisputably among the most beautiful soprano voices I've ever heard! Amazing legatos, perfect endings and unbelievable pianissimos(listen to "o patria mia"). One does usually not expect high powerful notes from Montserrat Caballe. I must however say that this is not always the case. A lot of times this woman surprises me and produces some trully enchanting high notes! Even though she is not my most favourite Puccinian soprano (it's Renata Tebaldi), her arias in these operas are ravishing! Just listen to her "signore Ascolta".On the other hand, I adore her and find her really unforgettable when it comes to Donizetti, Bellini and sometimes Verdi. Especially some of her recordings of their operas are a must for every true opera fan. (for example her Lucrezia Borgia, her Norma and her Aida). Even if an aria is a bit boring, she manages to enrich it with her personal touch that makes the aria unforgettable!The touch that only the melting, creamy voice of Montserrat has.If you want to find out why Montserrat Caballe is one of the greatest sopranos of the world, here's the proof.

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