Fato

1. Lloraré Esperaré

2. Y Veme Aquí

3. Pude Acostumbrarme

4. Hurra

5. Otra Vez Cambio de Casa

6. Posible Manera

7. Sigue el Aviso (Buscando el Paraíso)

8. Se Ha Ido

9. Cuando Era Niño

10. Tranquilo

11. Alma Me Pedía Más

12. Mundo Fakir

13. Monstruo

Fato,Fato,Polygram Records,Latin,Latin Music,Latin Pop,Pop

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Average customer rating: Jaroussky has a gifted voice a voice teacher and early music fan Jaroussky is exceptional A pleasant surprise Another Fine Countertenor Lights Up The World!

Vivaldi: Virtuoso Cantatas Philippe Jaroussky , Unspecified , Antonio Vivaldi , Ensemble Artaserse , and Claire Antonini Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Vivaldi Heroes Beata Vergine Un Concert Pour Mazarin Vivaldi: Griselda Vivaldi: Bajazet [Includes Bonus DVD] ASIN: B0006IQM4O Release Date: 2005-04-12

Tracks:

1. Aria: Alla Caccia Dell'alme E De' Cori
2. Recitativo: Ma Sia Crudele O Infida
3. Aria: Preso Sei Mio Cor Piagato
4. Recitativo: Qual Per Ignoto Calle
5. Aria: Quel Passagier Son Io
6. Recitativo: Deh, Piu Non Regni Nel Tuo Gentil Petto
7. Aria: Qual Dopo Lampi E Turbini
8. Piangero Sinche L'onda - Ruggiero
9. Prelude After Vivaldi (Theorbo Solo)
10. Aria: Care Selve, Amici Prati
11. Recitativo: Ben Mal'accorto E Folle All'or Io Fui
12. Aria: Placido In Letto Ombroso
13. Largo
14. Allegro
15. Largo
16. Allegro
17. Recitativo: Perfidissimo Cor! Iniquo Fato!
18. Aria: Nel Torbido Mio Petto
19. Recitativo: Cosi Dunque Tradisci Chi Contenta
20. Aria: Piu Amar Non Spero, No
21. Di Verde Ulivo - Vitellia
22. Recitativo: Pianti, Sospiri E Dimandar Mercede
23. Aria: Lusinga E Del Nocchier
24. Recitativo: O Ingannato Nocchiero
25. Aria: Cor Ingrato Dispietato

Customer Reviews:

Jaroussky has a gifted voice.......2006-06-21

In early polyphony, the contratenor was a voice part in melodic counterpoint against the tenor. It was written roughly in the same range as the tenor. In the 15th century, contratenor split into contratenor altus and contratenor bassus, which were respectively above and below the tenor. By the 16th century, however, the term became obsolete as Latin lost popularity. In Italy, the contratenor altus became simply alto; in France, haute-contre; in England, countertenor.

Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.

The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.

Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.

a voice teacher and early music fan.......2006-05-20

The vocal selections on this disc include 2 arias from Vivaldi operas. However, at that time the cantatas and the operas were very closely aligned using the same instrumentation and truthfully it would be difficult to tell the difference between them had I not been previously informed. Jaroussky has excellent vocal technique;in fact in some passages he astounds the listener. His aria :Cor ingrato dispietato (from an opera) displays amazing breath control and clean clear notes. If there is something lacking it is in slow passages that demand more intensity and emotion; age and experience will certainly help!!!And his voice sounds better when the music has a high tessitura. He's a fresh new voice in the world of countertenors. My appreciation knows no bounds for the "Ensemble Artaserse";they are truly excellent and skilled on their instruments; wonderful to hear. This is really a great disc!!!!

Jaroussky is exceptional.......2005-09-07

Jaroussky's singing adds to the growing interest in Vivaldian opera. His performance of "Qual Dopo ..." is both a demonstration of the great technique and artistry of his beautiful voice. For those curious to explore his singing range, try his masterful deliverance of arias such as "Tu m'offendi",from La Verita en Cimento, and "Sol da te", from "Orlando Furioso" where he honors the composer with the nuances, adornments, and melodic draws of his voice. This CD would have showcased the cantata genre much better had the musical selection been more diverse in note and tempo. Nonetheless, Jaroussky is at his best!

A pleasant surprise.......2005-05-20

Countertenor is not this reviewer's favorite range of male singer. That's probably so because it is both unfamiliar and underperformed and, when it is sung, never comes off as quite natural to the singer himself. In many respects, it really is an outdated male vocal range that should have gone the way of castrati. Interestingly, it seems to going in just the opposite direction. At least Virgin Classics must think so because last month it released a new CD by countertenor Philippe Jaroussky singing Vivaldi Cantatas, with the Ensemble Artaserse -- and it is surprisingly good. The CD consists of a couple quite beautiful period solo ensemble selections, theorbo etc. (See cut #9 "Prelude to Vivaldi") and vocals that demonstrate the best of what a countertenor sounds like, most notably Piangero Sinche L'onda, Ruggiero. Mr. Jaroussky's voice is both agile and open and his diction is punctuated and enhanced by a smooth delivery that is passionate enough, such that each piece comes off as a personal story that truly captivates the listener. An added plus is the fact that the thematic organization of this CD is even. In other words, you won't be reaching for the "skip" button here. The quality of the recording, too, is excellent. Although many listeners prefer the live aspect of concert performances, the very thing that attracts, can also produce a hollow, almost metallic sound in a live hall. In Cantatas, you won't find any unevenness or harsh selections. You might even find that you are pleasantly surprised by how intriguing it is.

Another Fine Countertenor Lights Up The World!.......2005-04-13

This exciting recording of Vivaldi cantatas for solo voice and instrumental ensemble is one of the more compelling releases of the year to date! While the music of the glorious Venetian Antonio Vivaldi is well known, especially the standard repertoire `The Four Seasons' and the choral works and chamber works - even some operas - the cantatas are rarely performed and this CD of his best ones should change that.

Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.


Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.

This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05

Average customer rating: Monumental Recording Simply fantastic Marvellous fun and great singing Worth it! Gorgeous,but one tiny qualm !

Vivaldi: Bajazet [Includes Bonus DVD] Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Biondi, Fabio | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski Vivaldi: Orlando Furioso Lamento Vivaldi: Griselda Handel: Radamisto ASIN: B00022LE38 Release Date: 2005-05-10

Tracks:

1. Allegro
2. Andante Molto
3. Allegro
4. Recitativo: Prence Lo So: Vi Devo
5. Aria: Del Destin Non Dee Lagnarsi
6. Recitativo: Non Si Perda Di Vista
7. Aria: Nasce Rosa Lusinghiera
8. Recitativo: Principe, Or Ora I Greci
9. Aria: In Si Torbida Procella
10. Recitativo: Il Tartaro Ama Asteria
11. Aria: Quel Ciglio Vezzosetto
12. Recitativo: Or Si, Fiero Destino
13. Aria: Vedeste Mai Sul Prato
14. Recitativo: Non Ascolto Piu Nulla
15. Aria: Amare Un'alma Ingrata
16. Recitativo: Cosi La Sposa Il Tamerlano Accoglie?
17. Aria: Qual Querriero In Campo Aramato
18. Recitativo: E Bella Irene
19. Aria: Non Ho Nel Sen Constanza
20. Recitativo: Amico, Tengo Un Testimon Fedele
21. Recitativo: Sarete Or Ostinato
22. Aria: Anche Il Mar par Che Sommerga
23. Recitativo: Gloria, Sdegno Ed Amore
24. Aria: Stringi Le Mie Catene

Tracks:

1. Recitativo: Ah, Disperato Andronico!
2. Aria: La Sorte Mia Spietata
3. Recitativo: Signor, Vergine Illustre
4. Aria: Cruda Sorte, Avverso Fato!
5. Recitativo: Senti, Chiunque Tu Sia
6. Aria: La Cervetta Timidetta
7. Recitativo: Gran Cose Espone Asteria
8. Aria: Sposa, Son Disprezzata
9. Recitativo: Dov'e Mia Figlia, Andronico?
10. Aria: Dov'e La Figla?
11. Recitativo: Asteria, Siamo Al Soglio ...
12. Quartetto: Si Crudel! Questo E L'amore
13. Recitativo: Figlia, Siam Rei
14. Aria: Veder Parmi, Or Che Nel Fondo
15. Recitativo: Andronico, Il Mio Amore
16. Aria: Barbaro Traditor
17. Recitativo: Lascero Di Regnare
18. Aria: Spesso Tra Vaghe Rose
19. Recitativo: Eccoti, Bajazette
20. Arioso: Verro Crudel, Spietato
21. Recitativo: Signor, Fra Tante Cure
22. Aria: Son Tortorella
23. Recitativo: Signore, Bajazette
24. Accompagnato: E Morto, Si, Tiranno
25. Aria: Svena, Uccidi, Abbatti, Atterra
26. Recitativo: Deh, Tu Cauto la Segui
27. Coro: Coronata Di Gigli E Rose

Amazon.com

This stunner of an opera involves the proud sultan Bajazet (bass) and his battle with his bloodthirsty rival-tyrant Tamerlane (counter-tenor). More than 50 operas were composed on the subject. Here Vivaldi has composed all the recitatives and marvelous arias for the dignified, fine characters and used arias by other composers--Hasse, Giacomelli, Carlo Broschi--for Tamerlano and the nasties. The music is energetic and virtuosic throughout. Fabio Biondi leads Europa Galante and soloists with urgent, theatrical precision, making the story come to life. The singing could not be better: Ildebrando d'Arcangelo is a remarkably sympathetic Bajazet, singing with fluency and power; David Daniels amazes as Tamerlano; Marijana Mijanovic sings the role of Asteria (Bajazet's daughter) with love and precision; and Viveca Genaux dazzles with her perfect coloratura as Irene. This is a treasure trove of singing, and a bonus DVD allows us to see/hear the performers in rehearsal. Highly recommended. --Robert Levine

Customer Reviews:

Monumental Recording.......2007-03-14

From the same composer that
brought us "The four Seasons"
Antonio Vivaldi, comes this
'dramma per musica' it tells
us the story of Bajazet, a Turkish
leader who ruled vast portions of
the Ottoaman empire, and his defeat
by his great foe, Tamerlano(Timur Lenk).
In the past composers like Handel and
others had taken an interest in the story.
This is the World Premiere recording of
the work. Much musicological research was done
by conductor and violinist Fabio Biondi and others
to put together this monumental recording.As personally
for me this is the first complete opera that
I hear by Vivaldi. This opera comes with a
DVD that features all six soloists in an aria.
Europa Galante and Maestro Biondi do a wonderful
job, and the soloists are great. Wonderful work,
thank you Maestro Biondi...

Simply fantastic.......2007-02-28

This is one of the best recordings that I have bought recently. The entire opera is a treasure, and they couldn't have picked a better cast. Vivica Genaux, Elina Garanca, and David Daniels are especially strong, and Fabio Biondi's orchestra is always clean and polished. The recording quality is also top-notch. It's unlike me not to offer some kind of a criticism, but I can't think of one for this recording. Highly recommended.

Marvellous fun and great singing.......2006-09-19

I have to say that I prefer Handel's Tamerlano for musical reasons. However, Vivaldi's opera on the same subject is very enjoyable and entertaining. Like it has been said of the operas of Haydn, Vivaldi's operas are not great operas, but they do contain great music.

Europa Galante, directed from the 1st violin by Fabio Biondi, is in great form and I've never heard them play better. I have their older recording of Handel's opera Poro, and I enjoyed that one, too.
The singers here are an excellent ensemble. I like the dark and expressive voice of Ildebrando D'Arcangelo - he was also marvellous as Leporello in Gardiner's Don Giovanni. David Daniels is fantastic, as usual, and he is possibly the best operatic countertenor in the world at the moment. Patrizia Ciofi is best heard and not seen - sweet voice coming from a madwoman (check out the DVD!). Vivica Genaux has been hyped to within a centimetre of her life recently. She has a nice flexible mezzo voice. A little too much vibrato for my tastes and she looks like a chipmunk when she attacks coloratura passages. Marijana Mijanovic sings well - she was excellent as the neurotic Penelope in the Christie / L.A.F. DVD of Monteverdi's Il Ritorno d'Ulisse in patria. She is alarmingly thin - possible health problems? She doesn't engage with the conductor or orchestra at all in the DVD - the only singer who doesn't. Elina Garanca looks beautiful (and healthy!) and sings beautifully. She has a lovely contralto voice. I hope I see and hear more from this artist in the future.

I am not a big fan of Vivaldi's operas - I enjoy them as collections of arias. I wonder how well Bajazet worked on stage?
I'd love to have a DVD of this production, I would like to see how a Vivaldi opera works on stage. Vivaldi's operas don't have imaginative scorings and the orchestral passages are fairly prosaic. A lot of what goes on in the Vivaldi operas I've heard (I have a few in my CD collection) is pretty routine. However, I am open minded on the subject and I would like to see how well a Vivaldi opera works on stage.

Worth it!.......2006-05-23

This album exceeded my expectations. In the true pasticcio form, Vivaldi copied and pasted other composers' work, and his own of previous operas. The arias are un-paralleled in harmony, balance, up-beat rhythm, and beauty. The orchestration by Fabio Biondi is first rate and world class. Vivica Genaux rocks in her interpretation of "Qual Guerriero in Campo Armato" as so much energy, control, and speed are gushed out at once and sustained without wavering. Her ornamentation in the da capo aria is amazing. Vivica's voice is powerful, ethereal, and acrobatic. She recreates what a castrato voice might have sounded like, beautiful and strong. While Vivica sings perfectly the most demanding and technically difficult aria of the opera, Ciofi delights us with the most beautiful "Nasce rosa". After listening to her, it would be near to impossible to imagine anyone else singing this aria with such charm. But what she excelled at "Nasce", she lacked at "Anche il mar". This aria is perhaps as technically and impossibly challenging as "Qual guerriero", but Ciofi's coloratura is discontinuous. Cecilia Bartoli executes this aria in her Vivaldi Album stunningly in one breath. If there was ever a team of opera gold medalists, that team is put together in this album. Ildebrando's "Dov'e la Figla?" is a handsome showcase of his voice and strong presence. While his singing is worthy of high praise, his hand movements and wedding band flashing might have already cost him 90% of his fan base, not to mention dashing his chances at becoming a teen idol or gay icon. His comportment at the high note of the aria is reminiscent of an opera Olympiad doing a vocal triple summersault in mid-air and sticking a perfect landing. "Dov'e la figlia?" is also an aria that illustrates the great genius of Vivaldi as an opera composer. He wrote very distinct music for the same lyrics and for different registers (basso and castrato) in Bajazet, and Motezuma (with Dominique Visse). At the same time, he used the identical music for two different lyrics in Motezuma, and Orlando Furioso (Sorge l'irato Nembo).The bonus DVD proves not only interesting but also very entertaining at the gesticulations and facial configurations sometimes taken for granted to sing bel canto's finest arias. Superb job!

Gorgeous,but one tiny qualm !.......2006-04-20

While I agree with all the good things that have been written of this splendid perfomance,there is a small,but I feel important, detail about the recording which I find vexing.
When a recitative is is sung the performers are placed across the audio stage,disposed left or right,as you will.When an aria is sung ,the soloist leaps to the very center of the sound stage, which is quite disconcerting,especially when listening through headphones.This points to the arias and recits being recorded in separate sessions.Nothing wrong with that given the ravishing perfomance.Well worth the purchase price.

Average customer rating: Focus on the Recordings This is a fantastic deal! Excellent, Broad Selection $70....when was this??? $70/40... you do the math.

Vivaldi: The Masterworks (Box Set) Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Trio Sonatas | Sonatas | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Bassoon | Reeds & Winds | Instruments | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music Oboe | Reeds & Winds | Instruments | Classical | Styles | Music Piccolo | Reeds & Winds | Instruments | Classical | Styles | Music Recorder | Reeds & Winds | Instruments | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Vivaldi, Antonio | ( V ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Brilliant Classics | Amazon.com Label Stores | Stores | Music Similar Items: Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set) Bach: Complete Works - 155 CD Box Set Beethoven: The Masterworks (Box Set) Dvorák: The Masterworks [Box Set] Handel: The Masterworks (Box Set) ASIN: B00062FLHY Release Date: 2004-11-30

Customer Reviews:

Focus on the Recordings.......2007-07-23

I've made this small review of the Vivaldi Masterworks set because it is SO difficult to find a review of such a big collection.

The price is killer and you HAVE to buy it, but be warned: these are not the best recordings, you get what you pay for.

First of all, I'm not a Vivaldi expert, but I've heard his compositions throughout my life in so many different places and recordings and have a vague idea of how some have to be played. Secondly, I'm not a classical music connoisseur, but I love it and have over 300 discs of various composers and styles. Third, I know what a good audio recording should sound like and this will influence my critique of some discs in the collection. Finally, it's easy to get lost among all the tracks contained, so in some cases I will give you my favorite tracks in a disc.

I'm sorry, but I've only reached disc 20 of the box-set, as I listen to more this review will be expanded.


DISC 1:
Why would you use an AAD recording as a first impression for a 40 disc box-set and for the "Four Seasons", which is probably Vivaldi's best know work. The concertos are played enthusiastically, but lack any additional virtuosity to put it ahead of other much better recordings out there.

DISC 2:
Same as DISC 1, played and recorded by the same people.

DISC 3:
The pieces in this disc are VERY well played, nonetheless, you can hear heavy breathing from the soloist which can be a bit annoying.

DISC 4:
Very well performed as well, heavy breathing is less present.

DISC 5:
A very good recording, excellent execution by the hapsichord and good by the recorder.
Tracks 4, 6, 7 and the whole "La Notte" are extraordinary.

DISC 6:
Exquisitely recorded and performed by the Budapest Strings.

DISC 7:
Marvelous performance on the whole disc.
Tracks 22 & 24 are non-plus-ultra.

DISC 8:
Great performance too.
Suggested tracks: 7, 12, 15, 24

DISC 9:
To have an original baroque organ playing is a plus.
Solo strings are lacking in quality (for example: tracks 6 & 7).
Suggested tracks: 1, 4, 8, 15

DISC 10:
Despite being and ADD recording, the quality is fairly good. The cello is very well played.
Suggested tracks: 3, 4, 12
Excellent track: 13

DISC 11:
Same musical group and soloist as DISC 10. The contrabass is extremely distorted sometimes, and if you take into consideration that this is an ADD recording, it can get pretty bad. Some background noise is perceived.
Suggested tracks: 3, 6, 9

DISC 12:
The compositions are somewhat boring, either way the performance is plain decent.
Suggested tracks: 10, 12

DISC 13:
Good performance and sound quality.
Suggested tracks: 1, 4, 6, 7
Excellent track: 12

DISC 14:
Good performance and sound quality too.
Suggested tracks: 10, 14, 16
Excellent track: 5

DISC 15:
Badly mixed, the basoon is blocking the whole ensamble by being in the foreground.
The playing precision is lacking.
An AWEFUL thing about this recording is that you can hear the basson key-sticking with the instrument and the saliva. It's horrible.
Such a pity, the sound of the basson with other instruments can be pretty interesting.

DISC 16:
Violins sound a bit off tempo.
Suggested tracks: 4, 8

DISC 17:
Good sound quality and performance.
Suggested tracks: 1, 7, 9

DISC 18:
Despite being an old recording, it is a very welcome one.
The performance is very well above par. Tempo is fantastic.
The quality of the recording could have been better due to some string plucking that is heard and which can become bothersome.
These are some of Vivaldi's best know tunes.
Suggested tracks: 4, 6, 13
Excellent tracks: 1, 3

DISC 19:
Lively recording.
Track 6 is the same piece found in another disc in the collection, but with a better performance.

DISC 20:
By now you've heard all of this pieces before in the other discs. Nothing new here, nor better.

This is a fantastic deal!.......2007-02-25

If you are a fan at all of the Four Seasons you should love this music. I will admit right now that I am a classical music fan. I don't write or perform it. I am a novice listener. I have never taken any music lessons(though I am leaning in that direction) and certainly have not gone through any university music training. I started out in rock and roll but found classical as I got older and fell in love with it a few years ago.

With that context in mind I do hope I am able to recognize quality and this work is of the highest. It helps when you are starting with good ingredients in the first place. You can't bake great bread without great ingredients and Vivaldi's music library has some of the greatest musical ingredients of the last 300 years. They are very much the foundation for modern western culture and music. His talent is woven through what we are

The first 26 CDs are instrumental starting with the four seasons and working through many of the Master's many popular works. I will admit the four seasons are not the best interpretation I have heard but it is definitely acceptable. The rest of the music shows us many facets of the Baroque style and you can see themes emerging through some of the pieces that give us a 'fingerprint' of Vivaldi's style and the parameters of the stylistic leanings of the genre at the time. If you want to immerse yourself in 18th century music this is your chance

This music would be ideal for someone who owns a store and is looking for background music. With over 26 CDs of instrumental music alone you could have those constantly looping and you'd probably never get bored of them(OK I may be stretching it a little there). The reason is that the music does not leave a bad 'aftertaste' in your mind. It fits into the background as easily and naturally as it is to listen to it consciously in the foreground. If you are a fan of classical Baroque you don't usually need to be in the mood for this, it will adjust your mood to itself and Vivaldi's music is almost always of an uplifting sort if this collection is any indication. If you want something to listen to at your job 8 hours per day this is good for the mind and it would take you over a week to get through it if you listened to it every minute of every work day. You will also work without the worry of the music distracting your concentration. I find it enhances it when I'm working. I don't know how well this would work on school kids but teachers might want to try playing this during school time. You may create a few geniuses, we certainly could use more!

If you are looking for something to ease your sleep and oil your dreams I have put these CD's on in the background. Not only can I easily fall asleep when they are playing quietly in the background but it helps you sleep and you wake up in a very pleasant atmosphere if the music is still playing quietly when you wake(you probably would need to rip them to your MP3 player to do that). It's like napping at a classical music concert without the worry of being nudged by your spouse or offending the other concert goers with your snoring. That will be quite a unique experience for you and possibly give you some real sweet dreams. It has for me

So to wrap it up this is very intelligent, uplifting music that is great for your mind and your soul. It is definitely worth the purchase if you are a fan of the Four Seasons and the Baroque genre in my novice classical music fan's opinion

Excellent, Broad Selection.......2007-01-25

This 40-cd collection affords me a rare pleasure almost daily: the thrill of hearing something new by Vivaldi. Despite my best efforts over the years, I've managed to miss hearing a lot of great works by the master. Listening to a single CD now and then, catching tunes on the radio... you can't possibly get a comprehensive understanding of Vivaldi's output that way.

But when you work your way systematically from CD 1 through 40, you're sure to find many pleasant surprises. I've been skipping through everything I already know -- in some cases, it has only taken me about a minute to get through a whole CD (first 3 seconds of each track is usually enough). But then I stop and listen carefully three or four times to anything that's new.

Ah, what a pleasure. I've already acquired some new favorites. And some old standbys have proved even more rewarding, e.g. at first I thought RV 127 (CD 7, tracks 10-12) was performed too slowly (Naxos No: 8.553742 is much faster), but now I'm not sure; maybe it's BETTER that way! I can't recommend this set highly enough.

$70....when was this???.......2006-11-25

Wish the cost was $70 now. Guess the record producer (or Amazon) got tired of making less than $2 per CD.

$70/40... you do the math........2006-04-07

No, I don't own this collection...yet. However, the price of the collection compels me to review it beforehand. Never have I seen such a complete collection of Vivaldi compositions at such an incredibly low price. At $1.75 dollars a CD, the record producer (Brilliant Classics) isn't making much of a profit. The compilation pulls some of its works from DG Achiv Produktion's vault (see Standage), such as the violin concertos, as well as from unknown producers (the Poland Philharmonic Chamber Orchestra is heavily featured). The collection is so complete that it is academic, and I would not be surprised if music libraries quickly emptied it from Amazon's shelves. The collection is simply worth it for the incredible price (English Concert's recording of the violin concertos cost nearly 30 bucks, and is exactly featured here). Overall, the price alone makes this collection exceptionally attractive, and the ensembles featured aren't bad either.

Average customer rating: Refreshing and Surprising! Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard. Best ever!!

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music The Decca Records Store | Specialty Stores | Music Similar Items: Beethoven: Symphonies Nos. 1-9 (Fra) Wagner: Der Ring des Nibelungen Mozart Opera Glyndebourne Collection: Cosi fan Tutte, Don Giovanni, Le Nozze di Figaro, Die Entfuhhrung aus dem Serail, Idomeneo, Die Zauberflote (6 DVDs) Complete Mozart Symphonies / Pinnock, English Concert Tchaikovsky: Violin Concerto Op35; Brahms: Violin Concerto in D Op77 ASIN: B00006IU7V Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.

Average customer rating: Una de la mejores interpretaciones en CD del Cosi fan tutte Overrated, but decent Which classic Cosi to buy--Karajan or Bohm? AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE

Mozart: Così Fan Tutte Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances German | Languages | Opera & Vocal | Styles | Music Similar Items: Puccini: Tosca / Freni, Pavarotti, Milnes, Rescigno, National Philharmonic Britten - Death in Venice / Peter Pears · John Shirley-Quirk · James Bowman · Kenneth Bowen · Stuart Bedford Cosi fan tutte (Opera Journeys Mini Guide Series) Puccini Without Excuses: A Refreshing Reassessment of the World's Most Popular Composer Mozart's Letters, Mozart's Life ASIN: B000BL98ME Release Date: 2006-01-10

Tracks:

1. Sinfonia/Overture - Philharmonia Orchestra & Chorus
2. La Mia Dorabella Capace Non E - Rolando Panerai
3. Cessate Di Scherzar - Rolando Panerai
4. E La Fede Delle Femmine - Rolando Panerai
5. Scioccherie Di Poeti! - Rolando Panerai
6. Una Bella Serenata - Rolando Panerai
7. Ah, Guarda, Sorella - Elisabeth Schwarzkopf
8. Mi Par Che Stamattina - Elisabeth Schwarzkopf
9. Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Sesto Bruscantini
10. Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf
11. Sento, Oddio, che Questo Piede - Various Artists
12. O Cielo, Questo E Il Tamburo Funesto - Various Artists
13. Bella Vita Militar! - Philharmonia Orchestra & Chorus
14. Non V'e Piu Tempo - Various Artists
15. Muoio D'affano!...Di Scrivermi Ogni Giorno - Various Artists
16. Oh, Di, come Veloce Se Ne Va Quella Barca! - Elisabeth Schwarzkopf
17. Soave Sia Il Vento - Elisabeth Schwarzkopf
18. Quante Smorfie...Quante Buffonerie! - Sesto Bruscantini
19. Che Vita Maledetta - Elisabeth Schwarzkopf
20. Ah, Scostati!...Smanie Implacabili Che M'agitate - Nan Merriman
21. Signora Dorabella, Signora Fiordiligi - Elisabeth Schwarzkopf
22. In Uomini, In Soldati Sperare Fedelta? - Lisa Otto
23. Despinetta!...Chi Batte? - Lisa Otto
24. Alla Bella Despinetta - Various Artists
25. Oh, Ciel! Mirate: Uomini In Cosa Nostra - Various Artists
26. Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
27. Ah, Non Partite! - Various Artists
28. Non Siate Ritrosi - Rolando Panerai
29. E Voi Ridete? - Rolando Panerai
30. E Avete Ancora Coraggio Di Fiatar? - Rolando Panerai
31. un'aura Amorosa Del Nostro Tesoro - Leopold Simoneau
32. E Come Credi Che L'affar Finira? - Lisa Otto

Tracks:

1. Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf
2. Si Mora, Si, Si Mora - Various Artists
3. Eccovi Il Medico - Various Artists
4. Dove Son? Che Loco E Questo? - Various Artists
5. Dammi Un Bacio, O Mio Tesoro - Various Artists
6. Andate La, Che Siete Due Bizzarre Ragazze! - Elisabeth Schwarzkopf
7. Una Donna A Quindici Anni - Lisa Otto
8. Sorella, Cosa Dici? - Elisabeth Schwarzkopf
9. Prendero Quel Brunettino - Elisabeth Schwarzkopf
10. Secondate, Aurette Amiche - Rolando Panerai
11. Cos'e Tal Mascherata? - Various Artists
12. La Mano A Me Date - Various Artists
13. Oh, che Bella Giornata! - Various Artists
14. Il Core Vi Dono - Rolando Panerai
15. Ei Parte...Senti...Ah No! - Elisabeth Schwarzkopf
16. Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
17. Amico, Abbiamo Vinto! - Leopold Simoneau
18. Donne Mie, La Fate A Tanti A Tanti - Rolando Panerai
19. In Qual Fiero Contrasto - Leopold Simoneau
20. Tradito, Schernito - Leopold Simoneau
21. Bravo, Questa E Costanza - Rolando Panerai

Tracks:

1. Ora Vedo Che Siete Una Donna Di Garbo - Elisabeth Schwarzkopf
2. E Amore Un Ladroncello - Nan Merriman
3. Come Tutto Congiura - Elisabeth Schwarzkopf
4. Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf
5. Ah, Poveretto Me, Cosa Ho Veduto! - Rolando Panerai
6. Tutti Accusan Le Donne - Rolando Panerai
7. Vittoria Padroncini! - Various Artists
8. Fate Presto, O Cari Amici - Lisa Otto
9. Benedetti I Doppi Coniugi - Various Artists
10. E Nel Tuo, Nel Mio Bicchiero - Various Artists
11. Bella Vita Militar! - Various Artists
12. Bella Vita Militar! - Various Artists
13. Sani E Salvi Agli Amplessi Amorosi - Various Artists
14. No, Signor, Non E Un Notaio - Various Artists
15. Ah, Signor, Son Rea Di Morte - Various Artists
16. A Voi S'inchina, Bella Damina - Various Artists
17. Fortunato L'uom Che Prende - Various Artists

Customer Reviews:

Una de la mejores interpretaciones en CD del Cosi fan tutte.......2006-11-16

Esta es una de las mejores interpretaciones en CD del Cosi Fan tutte, en compañìa de la versión de Böhm de 1962. Uno de los méritos fundamentales de esta excelsa grabación es la magnífica dirección de Karajan. El maestro austriaco se demuestra en todo momento como un estilista consumado, obtiene timbres orquestales sugerentes y refinados, construye y define adecuadamente lo que es el "dramma giocoso", con gracia, con humor y justos toques de seriedad, todo con una elegante presición. Cuenta, por lo demás, con un cast abolutamente modélico; Elizabeth Schwarzkopf es considerada unánimemente por todos los criticos musicales como la intérprete de referencia del rol de Fiordiligi, por su imponente modo de esculpir y modelar las frases con un estilo y elegancia de fraseo espectaculares. Leopold Simoneau, es un Ferrando sutil e insinuante, ideal por su voz leve, clara y robusta a la vez. Es junto a Alfredo Kraus, de la versión Böhm 1962, el mejor intérprete histórico de este rol. Lisa Otto configura con musicalidad, vitalidad y fino humor una Despina excelente. Sesto Bruscantini, es sin duda el Don Alfonso de referencia, por su fina ironia y discreta elegancia, aunado a la belleza de su voz baritonal y excelente técnica. Rolando Panerai es el barítono brillante que todo aficionado serio a la opera conoce a la perfección. Excelente técnica, fraseo inteligente e incisivo, en suma un Guglielmo de referencia. Quizás el punto un poco mas debil del cast sea la Dorabella de Nan Merriman, pero solo si se la compara con el resto del cast, ya que se trata de una fina artista, muy musical y de excelente estilo (es necesario recordar que fue una de las artistas preferidas del gran Arturo Toscanini). En suma un clásico absoluto de la discografia, reconocido casi por unanimidad, por toda la crítica especializada y por los mozartianos en particular. Sería interesante comprarla junto a la versión de Böhm de 1962, ya que las dos son complementarias y no excluyentes.

Overrated, but decent.......2006-03-29

As a whole, this recording isn't bad at all. As far as quality of sound goes, while it definitely shows its age, you probably wouldn't notice unless you compared it side-by-side with a modern recording.

My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.

In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.

Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).

Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.

Which classic Cosi to buy--Karajan or Bohm?.......2006-03-20

Whereas EMI was fortunate enough to make one Don Giovanni and one Marriage of Figaro for the ages, both under Giulini, they achieved mixed results with two versions of Cosi fan tutte. Neither is an obvious first choice, so I thought it was worthwhile comparing their respective pluses and minuses.

Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.

Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.

Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.

AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE.......2006-01-30

EMI had been incredibly consistent with their Mozart opera recordings in the 1950's. Of course, their great fortune was to have conductors like Van Karajan, Giulini, and Furtwangler under contract. It was an age of great Mozart singers---Elisabeth Schwarzkopf, Anton Dermota, Irmgard Seefried, Sena Jurinac, and Leopold Simoneau - all of whom recorded for EMI. By 1954, Schwarzkopf and Von Karajan were already big ticket talent at EMI (they also had exclusive contracts with Maria Callas, Victoria de los Angeles, Nicolai Gedda, Tito Gobbi, Giuseppe di Stefano ---- seven-eighths of the greatest opera singers in the world at the time). This recording of Mozart's "Cosi Fan Tutte" comes from the height of that period, and it's very impressive indeed. Von Karajan's musicians make the most of Mozart's lush music, and the entire performance has a "float" to it that I find eludes other presentations of this opera. The legendary and gifted Schwarzkopf sings a beautiful Fiordiligi ---her "Come Scoglio" a real piece of virtuoso singing covering a span of two and a half octaves. Her singing throughout the opera is exemplary (I cannot understand one critic years ago referred to her performance as "pufferies of sound"---he's dead wrong!).
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.

Average customer rating:

Mozart: Così fan tutte Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music ASIN: B00008IAII Release Date: 2003-03-04

Average customer rating: What a wonderful recording!

Cavalli: Arias and Duets Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Cayalli: La Didone Cantatas for Solo Countertenor Zarzuela Arias & Duets Cavalli - La Calisto Lully - Persee / Novacek, Auvity, Lenormand, Whicher, Laquerre, Coulombe, Niquet, Tafelmusik Baroque Orchestra, Toronto ASIN: B0007ACVLY Release Date: 2005-02-22

Tracks:

1. Passata Dell'Armata
2. Smoderati Insolenti
3. Dormi O Cara
4. Porgetemi La Spada
5. Son Le Tue Leggi Amore/Godiam Dunque Godiamo!
6. D'Hipparco/Lasso Io Vivo/Di Chi Mi Lamento?
7. Rendetemi Euridice!
8. Piante Fiorite
9. Fortunato Mio Cor
10. A Dio
11. Io Moro
12. Oh Ritrovato Padre
13. D'Amor Non Si Quereli
14. Delitie E Contenti
15. Son Qui/Son Gobbo Son Demo/Linguaggio Curioso
16. Ecco Il Fatal Castello/Ti Lascio
17. Infelice
18. Godi Isifile
19. Piacere Maggiore
20. Piangete
21. Erme E Solinghe/Lucidissima Face
22. Dolcissimi Baci
23. Mio Tonante

Customer Reviews:

What a wonderful recording!.......2005-08-15

This recording features arias, duets and some instrumental sinfonias and ritornello from five of Francesco Cavalli's operas: Didone (1641), Egisto (1643), Ormindo (1644), Giasone (1649) and La Calisto (1651).
Five singers are featured and all bring something to this music. In particular, I liked the voice of the countertenor, Gianluca Belfiori Doro. He has a rather attractive and strong sounding alto voice. The baritone, Roberto Abbondanza, is in excellent voice and the tenor, Mario Cecchetti, and the two women, Gloria Banditelli (mezzo-soprano) and Rosita Frisani (soprano) sing well.

The instrumental ensemble, Mediterraneo Concento, features period instruments - strings, brass and basso continuo. I hope I hear more from this ensemble soon.

Maestro Sergio Vartolo directs from the harpsichord and he brings the music to life. Bravo, signor!

If you bought this CD, please consider Sergio Vartolo's very stylish and expressive recording of "Toccatas and Correnti" by Michelangelo Rossi (NAXOS 8.557321). Cavalli and Rossi were both born in 1602.

This new Cavalli CD is an excellent sampler of Cavalli's operatic music and I am sure that those who already own some recordings of Cavalli's complete operas will find much to enjoy on this new disc.

Average customer rating: The first complete opera to have survived in a fine recording Complete opera at mid-price

Peri - Euridice / Banditelli · Fagotto · Cecchetti · Zambon · Foresti · Bertini · Benvenuti · Zanasi · Ensemble Arpeggio · de Caro Sergio Foresti , Rossana Bertini , Monica Benvenuti , Furio Zanasi , and Paolo Da Col Manufacturer: Arts Music ProductGroup: Music Binding: Audio CD General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Caccini: Le Nuove Musiche [Germany] Cavalli - La Calisto Dvorak: Kate and the Devil (Cert a Kácal) Grétry: Richard Coeur de Lion; Rousseau: Le Devin du village Cavalieri: Rappresentatione di Anima, et di Corpo ASIN: B000005AQ4 Release Date: 1996-06-18

Tracks:

1. Prologue: Io, Che D'alti Sospir Vaga E Di Pianti - Gloria Banditelli
2. Scene I: Ninfe, Ch'i Bein Crin D'oro - Sergio Foresti/Mario Cecchetti
3. Scene I: Vaghe Ninfre Amorose - Monica Benvenuti
4. Scene I: Donne, Ch'a' Miei Diletti - Gloria Banditelli
5. Scene I: Credi, Ninfa Gentile - Mario Cecchetti
6. Scene I: In Mille Guise E Mille - Gloria Banditelli
7. Scene I: Al Canto, Al Ballo All'ombra, Al Prato Adorno - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
8. Scene II: Antri, Ch'a' Miei Lamenti - Gian Paolo Fagotto
9. Scene II: Sia Pur Lodato Il Ciel, Lodato Amore - Giuseppe Zambon
10. Scene II: Tirsi Viene In Scena Sonando La Presente Zinfonia - Paolo Da Col
11. Scene II: Deh Come Ogni Bifolco, Ogni Pastore - Giuseppe Zambon
12. Scene II: Lassa! Che Di Spavento E Di Pietate - Rossana Bertini
13. Scene II: Per Quel Vago Boschetto - Rossana Bertini
14. Scene II: Non Piango E Non Sospiro - Gian Paolo Fagotto
15. Scene II: Ahi! Mort'invid'e Ria - Giuseppe Zambon
16. Scene II: Sconsolati Desir, Gioie Fugaci - Mario Cecchetti
17. Scene II: Cruda Morte, Hai! Pur Potesti - Monica Benvenuti
18. Scene III: Se Fato Invido E Rio - Giuseppe Zambon
19. Scene III: Con Frettoloso Passo - Giuseppe Zambon
20. Scene III: Io Che Pensato Havea Di Starmi Ascoso - Giuseppe Zambon
21. Scene III: Se De' Boschi I Verdi Onori - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
22. Scene III: Poi Che Dal Bel Sereno - Mario Cecchetti

Tracks:

1. Scene IV: Scorto Da Immortal Guida - Monica Benvenuti
2. Scene IV: L'oscuro Varc'onde Siam Giunti A Queste - Monica Benvenuti
3. Scene IV: Funeste Piagge, Ombrosi Orridi Campi - Gian Paolo Fagotto
4. Scene IV: Ond'e Cotanto Ardire - Furio Zanasi
5. Scene IV: Dhe, Se La Bella Diva - Gian Paolo Fagotto
6. Scene IV: Dentro L'infernal Porte - Furio Zanasi
7. Scene IV: O Re, Nel Cui Sembiante - Gloria Banditelli
8. Scene IV: A Si Soavi Preghi - Gian Paolo Fagotto
9. Scene IV: Sovra L'eccelse Stelle - Sergio Foresti
10. Scene IV: Trionfi Oggi Pieta Ne' Campi Inferni - Furio Zanasi
11. Scene IV: Poi Che Gl'eterni Imperi - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
12. Scene V: Gia Del Bel Carro Ardente - Giuseppe Zambon
13. Scene V: Voi, Che Si Ratt'il Volo - Mario Cecchetti
14. Scene V: Quand'al Tempio N'andaste, Io Mi Pensai - Mario Cecchetti
15. Scene V: Chi Puo Del Cielo Annoverar Le Stelle - Mario Cecchetti
16. Scene V: Gioite Al Canto Mio, Selve Frondose - Gian Paolo Fagotto
17. Scene V: Quella, Quella Son'io Per Cui Piangeste - Gloria Banditelli
18. Scene V: Modi Or Soavi Or Mesti - Gian Paolo Fagotto
19. Scene V: Felice Semideo, Ben Degna Prole - Mario Cecchetti
20. Scene V: Ritornello Strumentale - Ens Arpeggio/Roberto De Caro
21. Scene V: Biond'arcer, Che D'alto Monte - Gloria Banditelli

Customer Reviews:

The first complete opera to have survived in a fine recording.......2005-11-01

Opera grew out of the court festivals of late sixteenth century Italy. The nobles were quite interested in all the arts and employed skilled painters, sculptors, poets, and musicians. There was also a great deal of interest in reviving all things Greek because they were seen as the ideal model for all things intellectual. Reviving Greek music involved a great deal of conjecture and imagination because only a few fragments of their music survive and it is by no means agreed upon, even to this day, what they actually mean. One of the groups of Florentine intellectuals surrounded a Count Bardi, which he called the Camerata. They wrote letters to each other, so we have some idea of their thoughts about what it was they were trying to do.

They called what they did the "New Music" or the "Second Practice" and music students learn to call this style monody (solo voice with simple accompaniment). It caused quite a furor among those who were proponents of the older style of counterpoint. One of those who opposed Monteverdi was a fellow named Artusi. Every music student reads his articles against those composers with "smoke in their heads". And of course, Artusi always comes out on the wrong side of history and made to look the fool. However, the art of these composers was shocking and their free use of dissonance compared to the rules of Zarlino and the practice of Palestrina, Ockeghem, Josquin, and others is jarring. However, we have a hard time hearing the difference in these musical styles unless you pay close attention and develop some familiarity with what the argument was all about.

Some of these Second Practice composers came to believe that the Greeks sang their plays from beginning to end. This is almost certainly not true, but the point was they believed it. Composers such as Caccini, Peri, and Monteverdi developed a style of solo singing they felt captured this idea and called it the "stile rappresentativo" (the representative style). It is this recitative style that Caccini and Peri used in developing their art. When you listen to Peri's "Euridice" you will notice that most of it is a very expressive version of what we would call recitative - the almost spoken parts between the arias - and that the aria as even Monteverdi developed it a few years later is almost nonexistent. If you understand that they were trying to recapture the Greek storytelling that they believe was a sung style, this makes a great deal of sense.

In fact, this kind of work was not called "opera" until the mid-seventeenth century (opera simply means "work" as in a work of art). Before that term came into general use, the composers referred to their works as musical fables or music dramas. However, our referring to all of it as opera makes sense given the genealogy of the art form.

Peri's "Euridice" is the first surviving opera we have in complete form. His "Dafne" came first, but is now lost. Caccini was a court rival and was working on his own version of "Euridice" and at the first performance there was apparently a mix of the two composer's works. But the nod is given to Peri and Caccini published his own version, but he completed his version later. It is interesting the Monteverdi also did a version of this myth, but called his "Orfeo".

This is a beautiful recording of this work. It is important to know that even though the complete opera in printed form survives, there is a great deal that is not in the score. A great deal of scholarship and artistic sensitivity has to go into recreating a version of this opera that both succeeds musically and has some claim of authenticity to Peri's intentions for performance.

You will also note the vocal style has nothing to do with Verdi or Wagner. This was for a much smaller hall with only a few hundred of the nobility present. And while it was first performed for a wedding festival and did not please those for whom it was written, it began a four hundred year development of an art form that millions adore and consider to be one of mankind's great achievements. I am one of them.

Enjoy! There is a very helpful booklet with these disks to help you understand the history and the libretto is provided in English and Italian.

Complete opera at mid-price.......1999-03-18

As Peri's Dafne of 1598 is largely lost this work of 1600 counts as "the first ever opera" (CD Box). With Gloria Banditelli as Euridice obviously this is a subtantial release for lovers of early opera.

Recorded in Bologna in 1992. Full libretto and English translation. Total time 101'40.

Average customer rating: Not a bad BALLO For Carreras fans only

Un Ballo in Marschera (Dig) Verdi , Carreras , Caballe , Roh , and Davis Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music General | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Giordano - Andrea Chenier / Jose Carreras, Eva Marton, Piero Cappuccilli, Silvana Mazzieri, Riccardo Chailly, La Scala Opera ASIN: B00006LENO Release Date: 2003-02-11

Tracks:

1. Preludio - Colin Davis
2. Posa In Pace - Robert Lloyd
3. S'avanza Il Conte ... La Revedra Nell'estasi
4. Il Cenno Mio Di La Con Essi Attendi
5. Alla Vita Che T'arride ... Il Primo Giudice
6. Volta La Terrea Fronte Alle Stelle
7. Signori: Oggi D'Ulrica Alla Magion V'invito ... Ogni Cura Si Doni Al Diletto
8. Zitti... L'incanto Non Dessi Turbare ... Ogni Cura Si Doni Al Diletto
9. Su, Fatemi Largo, Saper Vo' Il Mio Fato
10. Che V'agita Cosi? ... Della Citta All'occaso
11. Su, Profetessa, Monta Il Treppie
12. Di' Tu Se Fedele Il Flutto M'aspetta
13. Chi Voi Siate, L'audace Parola Puo Nel Pianto Prorompere
14. E Scherzo Od E Follia Siffatta Profezia
15. Finisci Il Vaticinio ... O Figlio D'inghilterra
16. Preludio - Orchestra And Chorus Of The Royal Opera House, Covent Garden
17. Ecco L'orrido Campo - Montserrat Caballe
18. Ma Dall'arido Stelo Divulsa - Montserrat Caballe
19. Teco Io Sto. - Gran Dio! ... Non Sai Tu Che Se L'anima Mia Il Rimorso Dilacera
20. M'ami, M'ami! ... Oh, Qual Soave Brivido

Tracks:

1. Ahime! S'appressa Alcun! ... Tu Qui! - Per Salvarti Da Lor
2. Seguitemi. - (Mio Dio!) - Montserrat Caballe
3. Ve', Se Di Notte Qui Colla Sposa - Montserrat Caballe
4. A Tal Colpa E Nulla Il Pianto - Montserrat Caballe
5. Morro, Ma Prima In Grazia - Montserrat Caballe
6. Alzati; La Tuo Figlio A Te Concedo Riveder - Chorus Of The Royal Opera House, Covent Garden
7. Eri Tu Che Macchiavi Quell'anima - Chorus Of The Royal Opera House, Covent Garden
8. Siam Soli ... Dunque L'onta Di Tutti Sol Una ... V'e Oscarre - Montserrat Caballe
9. Il Messaggio Entri ... Di Che Fulgor, Che Musiche - Montserrat Caballe
10. Forse La Soglia Attinse
11. Ma Se M'e Forza Perderti
12. Ah! Dessa E La ... Ignota Donna Questo Foglio Diemmi ... Fervono Amori E Danze ... Altro De' Nostri E Questo
13. Saper Vorreste Di Che Si Veste ... Fervono Amori E Danze - Chorus Of The Royal Opera House, Covent Garden
14. Ah! Perche Qui! Fuggite ... T'amo, Si, T'amo, E In Lagrime ... E Tu Ricevi Il Mio
15. Ella E Pura ... Cor Si Grande E Generoso

Customer Reviews:

Not a bad BALLO.......2007-07-07

It seems to me that the one other reviewer (Sherlock Holmes' ladyfriend?)has been overly harsh on this recording. No question that tempos are a bit slower and more deliberate than usual and that Carreras sounds as good as he's ever been. Caballe does not sound listless or uninvolved to me -- more like someone caught in a romantic plot beyond her control. This recording strikes me as a bit of a warmup for DON CARLOS, with its king, queen and courtiers, all with their various agendas and all pretty much doomed. The Callas EMI set is also very good, with Gobbi a fine Renato. Listen to them both; this one has the advantage, so far, of mediuim price.

For Carreras fans only.......2006-04-27

The best (and only) reason to get this recording: Jose Carreras caught at his prime. His gorgeous voice will make you wish that Verdi had written more arias for Riccardo. Heck, he might as well have just sung all the male parts in this opera.

As long as you buy this recording with the understanding that Carreras' performance is the only merit it has, you won't be disappointed. In terms of overall performance, this is far from the best Ballo committed to record. Go for one of the more popular recordings if you are new to Ballo (either the Solti/Pavarotti/Price or one of the di Stefano/Callas recordings will do fine). The conducting is lackluster, which places a serious limitation on how the orchestra sounds. Caballe here is inexplicably mediocre: spiritless, wobbly interpretation; it's a marvel how she can sing such an elegant Violetta for Pretre just years earlier and somehow turn in such an ugly performance here. Wixell is an awful Renato, with none of the passion of Brunson. However, without a doubt, the worst performance here is the Ulrica. Her octave-wide vibrato on every single note sustained longer than a quarter-second is irritating in the extreme. If Ludwig and Simionato are the major leagues, this Ulrica doesn't know what a ball looks like.

If you decide that that's too much garbage to deal with for the sake of Jose Carreras, Opera d'Oro has a live recording of him in this opera, also in his prime. The individual performances there are better, though there are other caveats. Personally, it's a total toss-up between the two.

Average customer rating: Lives up to the reviews

Vivaldi Edition: Le Quattro Stagioni (with bonus CD: Portrait) Manufacturer: Opus 111 ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Monteverdi | Monteverdi, Claudio | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Marenzio | Marenzio, Luca | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Alessandro Scarlatti | Scarlatti, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Domenico Scarlatti | Scarlatti, Domenico | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Concerto Italiano | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Madrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Bach: Brandenburg Concertos Vivaldi Edition: Vespri per l'Assunzione di Maria Vergine Vivaldi Edition: I Concerto di Dresda Vivaldi Edition: Concerto per archi Bach: The Art of Fugue; Keyboard Concertos ASIN: B00006IWQR Release Date: 2003-07-15

Customer Reviews:

Lives up to the reviews.......2006-03-11

This recording has gotten extremely positive reviews, and I feel
that it more than lives up to them. The Concerto Italiano plays with extreme sensitivity, and with unparalleled sweetness. Everything about their handling of accents and phrases really *is* unlike others'. They tend to linger in the moment, especially the violins, and announce the beauty of moment after moment. This is definitely not for everyone, understandably, and if you are in a musical hurry, this is decidedly not the recording for you. But if you would rather sip a glass of wine than gulp a beer, I think this might just be the merlot you've been looking for.

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