GL

1. Volver Amar

2. Una Canción

3. Jurare Quererte

4. Ultima Noche

5. Como un Loco

6. Una Cancion [Bolero]

7. Me Alejare

8. Una Mentira

9. Como Se Sabe

10. Dime Que Piensas

11. Cuando Te Toque Llorar

12. Jurare Quererte [Bolero]

GL,George Lamond,Sony International,Latin,Latin Music,Tropical

Average customer rating:

Great Stuff
A Great Introduction to Italian Opera
Best of the best!
Fabulous bargain for anyone
Great songs for a low price.

The Best of Italian Opera

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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The Most Famous Opera Arias
The Most Famous Opera Duets
The #1 Opera Album
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The Best Opera Album in the World...Ever!

ASIN: B000000UXN
Release Date: 1997-01-21

Tracks:

La Traviata: 'Libiamo, Libiamo'
Rigoletto: 'La donna e' Mobile'
The Barber Of Seville: 'Una voce poco fa'
La Boheme: 'Che gelida manina'
Rigoletto: 'Gualtier Malde!' Caro nome'
Il Trovatore: 'Vedi! le fosche'
Il Trovatore: 'Il balen del suo sorriso...Per me ora fatale'
TOSCA: 'Vissi d'arte'
La Traviata: 'Di Provenza il mar, il suol'
The Marriage Of Figaro: 'Voi che sapete'
Aida: 'Se quel guerrier io fossi...Celeste Aida'
Madama Butterfly: 'Un bel di vedremo'
La Gioconda: 'Cielo e mar'
Lucia di Lammernoor: 'Ardon gl' incesi'

Customer Reviews:

Great Stuff.......2007-07-22

The sound quality of this disc is surprisingly good, very good for an ADD. All the selections captured each singer in his/her top form. It is a real treat that this disc contains many work that were not normally in certain singer's repertoire. Gedda's Aida, Moffo's Rossini-Rosina and Cherobino, for example, all were superbly sung. Even Moffo's Lucia sounds much better than I have ever heard in other places.

A Great Introduction to Italian Opera.......2005-05-01

The artists on this CD succeed in their goal to create a CD that displays great Italian opera. Carlo del Monte and Victoria de los Angeles open the disc with the Brindisi from La Traviata. Victoria de los Angeles is not the best Violetta, but she does the job, along with her parner Carlo del Monte, an underappreciated tenor. Victoria de los Angeles also appears on the CD in "Un bel di vedremo" from Madama Butterfly, a role she was well known for. Swedish tenor Nicolai Gedda appears on the disc twice. His first appearence is a superb rendition of "La donna e mobile" from Rigoletto. His final performance on this disc is in the heroric aria "Celeste Aida", a performance in a role that was not in his voice range. Anna Moffo is the star on this CD, appearing three times in three very different roles. First is her beautiful "Una voce poco fa", normally a role that calls for a mezzo-soprano. Her second is "Voi che sapete" from Le Nozze di Figaro, another mezzo-soprano role. Her final appearence is her best, "The Mad Scene" from Lucia di Lammermoor. Underrated tenor Giuseppe Campora performs "Che gelida manina" with a great tenor voice. Soprano Reri Girst is excellent in her performance of "Caro nome" from Rigoletto. One of my favorite baritones appears on this CD. Robert Merrill is a perfect Count di Luna, and it is evident in his rendition of "Il balen del suo sorriso". Another baritone appears on this CD: mario Sereni. He is not a world famous baritone, but he should have been. Overall, this is an excellent introduction to the world of Italian opera.

Best of the best!.......2003-01-11

The performers, the selections, the quality... almost divine!

Fabulous bargain for anyone.......2002-11-24

I would recommend this CD to anyone, from opera novice to experienced listener...

These are older recordings -- I would guess mostly from the 1960's. The recording quality is exceptional for the day and, while not the equivalent of modern engineering, is sufficient to allow sheer physical pleasure from the music and an immediate appreciation of the vocal qualities of the artists. The sound quality is the only mild drawback...

The performances are magnificent! The voices are almost entirely lighter and more agile than the great voices of the 80's and 90's. In fact, the ear of the editor is apparent in his preference for lighter and more agile voices.

For example, there is a beautiful rendition of "Che Gelida Manina" from someone I had never heard before, Guiseppe Campora. He does not have the weight or volume of Pavarotti or Domingo, but has more elegance and a pure, charming tone. A connoisseur performance, but nevertheless a true operatic rendition by a tenor who can hit the high C with authority -- as good for a newcomer to opera who wants to hear the real thing, as for an opera lover who would like to hear something a bit different.

Some of the artists were among the most famous singers of their day: Moffo, de los Angeles, Gedda.

Anna Moffo, one of the greatest sopranos of her day (and all time), is in magnificent voice in famous blockbusters from Rossini's Barber of Seville, Mozart's Marriage of Figaro, and the Mad Scene from Lucia di Lammermoor.

De Los Angeles is at her best in "Libiamo" from La Traviata, but the recording quality (the one inadequately engineered track on the CD) and her lack of oomph make for a second-rate version of "Un bel di".

In keeping with the light and lyrical orientation of the selections, Moffo -- a famous Gilda and hardly a dramatic voice -- is bypassed for the even lighter, sweeter and more agile colatura Reri Grist (while she still had her voice), in a lovely "Caro Nome".

Another nice selection is Mario Sereni performing "Di provenza, il mar". Both this and "Libiamo" are taken from one of my favorite recordings of Traviata -- also a great chance to hear Serafin at the helm of the Rome Opera House orchestra. (The 2-CD version of this is still available from EMI, I think.) Newcomers will love this pretty tune, and Sereni's archtypal Verdi baritone is good, although hardly the best ever.

Franco Corelli has never been a favorite of mine, but he sounds the best I've ever heard him in his rendition of "Cielo et mar".

Anyway, I didn't intend to list every cut. Whether you are an opera lover who would like to hear some of opera's most famous arias performed in a new light, or an opera lover who would like to hear great performances at a cut-rate price, this CD gets my unqualified approval.

Great songs for a low price........2001-08-16

Ranging from selections of La Traviata, Il Trovatore and other popular Italian operas, this is a great cd for under four bucks. The singers may not be well recognized, but they do possess powerful voices.

Don't Go to Strangers/Softly As I Leave You

Average customer rating:

wonderful!
Don't Go to Strangers/Softly as I Leave You
The Greatest Torch Singer!
Track listing
Another re-release that needed to be released!

Don't Go to Strangers/Softly As I Leave You
Eydie Gorme
Manufacturer: Gl Music Co.
ProductGroup: Music
Binding: Audio CD

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Canta en Español
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ASIN: B00009PA0W
Release Date: 2004-06-08

Tracks:

How About Me?
What's New
What Did I Have That I Don't Have
I'll Be Around
If He Walked into My Life
Don't Go to Strangers
I Wish You Love
How Did He Look
I Wanna Be Around
Tell Him I Said Hello
When He Leaves You
Glad to Be Unhappy
You've Changed
For All We Know
Ev'ry Time We Say Goodbye
What Is a Woman
Softly, As I Leave You
All Alone
Don't Worry 'Bout Me
Guess I Should Have Loved Him More
What's Good About Goodbye

Customer Reviews:

wonderful!.......2007-05-13

Eydie Gorme is the original queen of the "torch song." Forget Barbara Streisand (who is also great)--this is the real thing!

Don't Go to Strangers/Softly as I Leave You.......2007-04-26

The performance of Ms. Gorme in just one of the songs ( I want to be around ) is worth the 5 stars for the CD. The orchestration and sound is spectacular!

The Greatest Torch Singer!.......2007-04-11

My long playing record of Don't go To Strangers got lost and all I had was a sorry tape that I had tried to record. I pestered everyone about putting the tape on a CD but no one obliged. How thrilled do you think I was when I found her album among your CD's!? I am so thrilled with my CD of Eydie and I even got a bonus of Softly AS I Leave You on the same CD. I searched high and low to find this and now I have it. It is a true treasure to hear Eydie belt out all those great songs. Thanks, Amazon!

Track listing.......2006-01-05

1. How About Me
2. What's New
3. What Did I Have That I Don't Have
4. I'll Be Around
5. If He Walked into My Life
6. Don't Go to Strangers
7. I Wish You Love
8. How Did He Look
9. I Wanna Be Around
10. Tell Him I Said Hello
11. When He Leaves You
12. Glad to Be Unhappy
13. You've Changed
14. For All We Know
15. Ev'ry Time We Say Goodbye
16. What Is a Woman
17. Softly, As I Leave You
18. All Alone
19. Don't Worry 'Bout Me
20. Guess I Should Have Loved Him More
21. What's Good About Goodbye

Another re-release that needed to be released!.......2005-11-07

My Father bought the "SOFTLY AS I LEAVE YOU" & "GREATEST HITS" albums on vinyl a long time ago back in the 60's and it somehow managed to survive in good shape. Later, I myself bought the "DON'T GO TO STRANGERS" album from a used vinyl store and was fairly happy with how these albums sounded on my Linn Turntable. WOW! When I heard these GL Music remasters on my Linn CD12, I could not believe the difference! (And this from a guy who usually finds the vinyl version sounds better.) An absolute must have, for not only Eydie Gorme fans, but ESPECIALLY all the people who think "WHAT'S NEW" is an album by Linda Ronstadt. The smooth soothing relaxing sound of these Eydie Gorme versions will make you forget about ever listening to the Linda Ronstadt versions again. Both of these albums are again one of MY ALL TIME FAVORITES in my collection.

Average customer rating:

Steve and Eydie
Great Compilation of Steve and Eydie!
A delightful tease!

Greatest Hits, Vol. 1
Steve Lawrence & Eydie Gorme
Manufacturer: Gl Music Co.
ProductGroup: Music
Binding: Audio CD

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Steve & Eydie Sing More Golden Hits

ASIN: B0000CA0UO
Release Date: 2004-06-08

Tracks:

If He Walked into My Life
Go Away Little Girl
Through the Years
What Did I Have That I Don't Have?
Portrait of My Love
That's What Friends Are For
Blame It on the Bossa Nova
More
Hallelujah
Tonight I'll Say a Prayer
Room Without Windows
Sunrise, Sunset
What Bi Did for Love
I Gotta Be Me
True Love

Customer Reviews:

Steve and Eydie.......2007-01-30

I was at a dance when he caught my eye
Standin' all alone lookin' sad and shy
We began to dance, swaying' to and fro
And soon I knew I'd never let him go

Blame it on the bossa nova with its magic spell
Blame it on the bossa nova that he did so well
Oh, it all began with just one little dance
But then it ended up a big romance
Blame it on the bossa nova
The dance of love

(Now was it the moon?)
No, no, the bossa nova
(Or the stars above?)
No, no, the bossa nova
(Now was it the tune?)
Yeah, yeah, the bossa nova
(The dance of love)

Steve Lawrence and Eydie Gorme performed flawlessly both as soloists and as a duo; and this CD showcases some of their finest work. Their voices are in top form on this album. Steve and Eydie never sing a superfluous note and they harmonize perfectly. Wow!

The CD starts with Eydie Gorme singing "If He Walked Into My Life" from the musical Mame. Eydie belts this out without failing to express any of the subtler emotions this song generates. Steve Lawrence then continues with his classic "Go Away Little Girl." Steve sings passionately; and you can feel his heart break as he sings to tell the younger girl that they cannot share a love because she is just too young.

Eydie sings "What Did I Have That I Don't Have?" with passion and sensitivity; the lush musical arrangement complements Eydie's voice so well. Steve and Eydie perform together on "That's What Friends Are For" which boasts a beautiful arrangement, too.

Many people will instantly remember "Blame It On The Bossa Nova;" Eydie sings her ballad with both emotion and precision. The musical arrangement with a somewhat Latin beat enhances this song greatly. Steve also performs "I Gotta Be Me," another very famous song with a terrific melody. "Sunrise, Sunset," a passionate ballad, describes the amazement parents experience as they think back and realize that so much time has passed now that their children are full grown.

The CD closes with the very romantic "True Love" sung by Steve and Eydie together. This romantic song provides a strong conclusion to this album and leaves the listener wanting MORE!

The liner notes are sparse. The liner notes give the songs credits but no essay. There are no lyrics in the liner notes but do not worry; Steve and Eydie sing so clearly that you'll never be left guessing what they sang!

Steve and Eydie fans will be delighted with this CD; the album is worth every penny of the higher price for this CD. People who enjoy classic pop vocals will also love this album.

Great Compilation of Steve and Eydie!.......2005-07-02

I have always enjoyed Steve and Eydie, but after some time had forgotten just how great they are. This compilation is a real joy. It provides most of their hits and some of their best work. Eydie's "Blame it on the Bossa Nova" is upbeat and was one of the reasons I bought this compilation. I love "Go Away Little Girl," Steve's biggest solo hit, and his rendition of "I Gotta Be Me." Although "Hallelujah" is not as good as the original Israeli version (by Milk and Honey with Gali Atari), it is still a lovely song. "Sunrise, Sunset," is a great duet. Overall, a great compilation -- a must for all Steve and Eydie fans!

A delightful tease!.......2004-07-08

A teasing little appetizer that is far from giving good music listeners enough of Eydie & Steve. Eydie's solos are more classic than Steve's top 10sh material. Still, both are great together & apart. Any cd with Eydie belting out If He Walked Into My Life & What Did I Have could only be great! The best duet, Sunrise Suunset, is another reason to buy this. I recommend buying so much more of S&E than this one cd has to offer. Still, it's a good beginning!

Average customer rating:

Unfortunately Brazilian Music is not Latin Music!
When Will A Career Retrospective Be Available?
Most versatile singing star!

Blame It on the Bossa Nova
Eydie Gorme
Manufacturer: Gl Music Co.
ProductGroup: Music
Binding: Audio CD

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ASIN: B000068G49
Release Date: 2004-06-08

Customer Reviews:

Unfortunately Brazilian Music is not Latin Music!.......2006-02-10

I am Brazilian and I have been a big fan of Ms. Gorme for her extraordinary voice and feeling when singing in her native language and in Spanish. So I should be specially proud about this album but ... there's something wrong here!

This is one her albums with Bossa Nova ensemble but arrangements do not hip as they should. Unfortunately, Brazilian Music is not to be approached as a Latin sound with 'maraccas' and all that percussion typical from Cuba.

Despite this big discomfort, you'll find great renditions of 'Dansero', 'The Sweetest Sounds', 'Almost Like Being in Love' and the Brazilian samba 'The Message'.

When Will A Career Retrospective Be Available?.......2005-05-08

What a shame that "Blame It On the Bossa Nova" is not a greatest hits album! And, yes, what a shame that her other CD which appears to be a greatest hits package - Golden Hits - is not a definitive retrospective of her hits either! What's going on? Almost everyone of her CDs contains only a few tracks. When will we get a chance to hear "Don't try to Fight It Baby" or "I Want You To meet My Baby"? Please give us a CD or double CD packed with this wonderful woman's hits!

Most versatile singing star!.......2004-06-18

During this period of pop music, Eydie Gorme was the most versatile of pop singers. Her Columbia period & that just before were all genre-themed albums. Her 1st on Columbia, BLAME IT ON THE BOSSA NOVA, was her only jazz venture. The title tune which was her biggest comemrcial hit, 11 other jazz styled tracks , & 2 bonus Bossa Nova tracks compose this cd.. That title tune was fun, arty & as nuanced & off keyed as any Peggy Lee. Whatever the instrument is in the song's middle, it works just fine! The cd sound, which makes E.G.'s voice sound richer, is better than the lp sound. I can't think of any other singer who did more to make her voice so different to fit the respective material. I stated that Jo Stafford was the most verstatile of singers. Well, then, Eydie Gorme took ovet the honor followed by Linda Ronstadt. With today's music, who knows & who cares! Still, Linda did not change her voice as much as she did genres; Eydie & Jo could make their voices sound different. During Eydie's period, her big selling Blame It On Bossa Nova & Grammy winning If He Walked Into My Life were the farthest vocal stretch in pop music. In the BLAME IT ON BOSSA NOVA opener, One Not Samba, Gorme strays very far from that note. Paradoxically, she sings every note on key. Eydie starts & ends with that glorious high note & scats so well Ella must have cringed! In Dansero, Eydie sings the same line off & on key to give stylistic & artistic effects to the same feeling of love. The cross overs to jazz (Melodie D' Amour, The Sweetest Sounds, Almost Like In Being In love, The Coffee Song, Moon River, & I Remember You ) artfully equal the stritly jazz ones, (Desfinado, The Message, The Gift, Dansero, & One Nore Samba) while the big hit nicely supports those "better songs". Eydie was quite the revealation. She was jovial, dramatic, wide-ranging & vibrant. Most jazz singers have to stretch their voices to do this materail; but on those other 11 & the 2 bouus songs, she was straight on key, never flinching. She was & is what other singsers could never be: EYDIE GORME! PS. Only Eydie could make Moon River really swing. It's that's song definitive version because everyone else did it as a ballad.

Average customer rating:

Highest Level of Artistry Displayed
"Behold the Tomb"
Well-sung Shakespearean travesty
beautiful and moving opera
Wonderful nostalgia

Bellini: I Capuleti e i Montecchi

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel

ASIN: B0002XV2XO
Release Date: 2005-02-15

Tracks:

Sinfonia
Aggiorna Appena...
O Di Capellio, Generosi Amici
E Serbata A Questo Acciaro
Si: M'abbraccia
L'amo Tanto, E M'e Si Cara
Vanne Lorenzo
Lieto Del Dolce Incarno
Ascolta. Se Romeo T'uccise Un Figlio
Riedi Al Campo
La Tremenda Ultrice Spada
Eccomi In Lieta Vesta...
Oh! Quante Volte
Propizia E L'ora
Si, Fuggire: A Noi Non Resta
Odi Tu? L'altar Funesto
Vieni, Ah! Vieni

Tracks:

Lieta Notte, Avventurosa
Deh! Per Pieta, T'arresta
Tace Il Fragor
Che Miro?
Soccorso, Sostegno Accordagli
Accorriam...Romeo!
Ne Alcun Ritorna!
Morte Io Non Temo Il Sai
Prendi, Gl'istanti Volano
Deh! Padre Mio, Deh Padre Mio!
Deserto E Il Luogo
Chi Sei Tu?
Qua' Voci! Oh Dio!
Ella E Morta, O Sciagurato
Siam Giunti
Ecco La Tomba
Tu Sola, O Mia Giulietta
O Tu, Mia Sola Speme
Ah! Crudel! Che Mai Facesti?

Customer Reviews:

Highest Level of Artistry Displayed .......2007-02-13

This isn't the Shakespearean version, in case you get disappointed, but is based on an Italian source. In spite of the obvious fact the Sills and Gedda were already past their prime by the time of this recording, they still have plenty to give us, and their musical insight makes this recording better than other well-sung performances recorded in the studio. Baker is absolutely fantastic throughout and gave a very satisfying performance both musically and artistically.

Now coming to the comparison made by a reviewer between Bellini and Verdi. Well, even if Bellini had lived to 80, it would not be his aim to write like Verdi. Bellini stood alone amongst the great opera composers of Italy. Even his contemporaries recognized it and called his music 'filosofico'. Bellini's aim was not to create dramas with music like Donizetti or Verdi, but rather music drama - a fact which Wagner recognized. Only that Bellini's aim was to realize it via the voice (think Norma), while Wagner did it with the orchestra. It is note-worthy that Wagner spared Bellini the usual bashing he gave to the Italians. Not only that - he admitted to Cosima that the love duet from Capuleti was the source of his inspiration for his own in Tristan. In his old age, he was proud to say that he learned from 'these pages' what Messrs Brahms etc had failed to learn. One should approach a Bellini opera as one does a Chopin Ballade or Wagner's Tristan, not Verdi. That is not to say that Verdi is inferior, but just different.

And regarding Bellini's orchestration, Wagner and Bizet were on separate occasions, were tasked to 'improve' the orchestration of Norma. Both eventually gave up the job as impossible and concluded that the orchestration written by Bellini was the most suitable. Comparing the orchestration between the early Il Pirata (with its almost Wagnerian finale!) with Norma, it dawns upon one that the decision to thin out the orchestra by Bellini was deliberate, in line with his purpose of using the voice as the primary tool to express the drama.

"Behold the Tomb".......2006-09-30

I find it difficult to evaluate Bellini's work because it depends so heavily on performance. Never a connoiseur of performances, I leave it to others to tell one bel canto aria from another. It is discouraging to realize that Bellini, who died young, never took much interest in orchestral music, making him a lesser counterpart to Verdi, who combines the Italian devotion to the voice with powerful dramatic effects from the orchestra. Even the cover of the EMI CD is disappointing because it slaps a mod-erotic photograph on an opera where the lovers are too traumatised to make love. The libretto is so poor that the recording does not bother to supply it, confirming the view that Bellini's operas are for connoiseurs of vocal sound only.

I have downoaded the text from Karadar Classical Music as well as a synopsis from Opera japonica. We learn that the Capuleti and Montecchi are local versions of the Guelph and Ghilbelline parties respectively. The Ghibelline Dante would have been allied with the Montecchi, Romeo's party. Capellio, Juliet's father, seeks to avenge the death of a son at the hands of Romeo. Romeo's part is sung by a mezzo-soprano, adding further to the absurdity of the EMI cover photo. Although Romeo and Juliet are already lovers, she refuses to elope with him out of loyalty to her father. These lovers really seem more interested in dying than in making love. Juliet does manage to declare that she breathes easier when she learns that Romeo has survived a fight. We know that Romeo has reached his appointed place when he sings, "Ecco la tomba." Janet Baker, as Romeo, shines in the slow, heart-broken singing that follows, interspersed with sympathetic passages by the chorus of Montecchi. There is no doubt that Bellini's operas allow top performers to sing as beautifully as they can. The instrumental accompaniment in this concluding scene is reduced to a bare minimum.

Well-sung Shakespearean travesty.......2005-10-15

Source: Studio recording made at Abbey Road Studio, London, June 16-25, 1975.

Sound: Analog stereo. The engineering is competent, I suppose, but as a matter of personal taste I do not care for the distant and echo-y soundscape. It sounds as though the opera were taking place at the far end of a Gothic cathedral.

Documentation: No printed libretto, although there is a reference to an on-line libretto available at the EMI Classics website, (which failed to download in five tries over two days) just in case I want to listen to this opera while I am working at my computer. The accompanying essay by James Harding is the most useless I have ever found in a CD case--and that is by no means an easily earned distinction. Harding is vitally interested in Bellini's lame love life but indifferent to such trifles as the plot of the opera he is supposed to be writing about.

Format: Disk 1, Act I, Scenes 1 and 2; 60:42. Disk 2, Act I, Scene 3; Act II, Scenes 1-3; 74:23.

Bellini premiered "I Capuleti e i Montecchi" at Teatro La Fenice in Venice exactly one month before his twenty-ninth birthday. It was a success but it was not without critics. In his essay, Harding writes, "It was unfair of Berlioz to denounce I Capuleti e i Montecchi as a travesty of Shakespeare." Berlioz clearly had a point, for where the Bard had twenty characters, the librettist "Romani made do with only five. You will look in vain," Harding gushes on, "for the Nurse and Friar Laurence" and, I must add, for Mercutio, Benvolio and Paris, too. In the opera, Paris and Tybalt become a single character, Tebaldo, to the great detriment of the plot.

"I Capuleti e i Montecchi" came about midway in Bellini's too short career. The really big hits on which his fame rests were yet to come. The music is competent but somehow lacking that indefinable ping that makes "La Sonnambula," "Norma" and "I Puritani" extraordinary.

Overall, the performance is good. Best by far in the cast is Janet Baker. She does not generate overt excitement but she offers an overwhelming sense of rightness when she essays any part in the narrow range that she made her own. This recording is a little late for the best of Sills but she is still very bright and amazingly agile. As always, I feel that her voice is just a little too cool and too thin, but that is purely a matter of personal taste. It is also late for Nicolai Gedda, who sounds unexpectedly baritonal as Tebaldo, a part that any other 19th Century composer would surely have written for a baritone. (I know, I know, Gounod's Tybalt is a tenor. I sang the role, myself, back in college days. But Gounod's Tybalt is markedly different in character from Bellini's Tebaldo-Paris.) Gedda is very good, but I am not at all sure that I would have recognized him if his name had not been on the cover.

"I Capuleti e i Montecchi" is not a great opera, but three famous and very fine singers offer intelligent and entertaining performances. That's worth five stars as far as I'm concerned.

FOR THE HISTORICALLY MINDED: William Shakespeare wrote his "Romeo and Juliet" in the 1590s, in the early days of his career. As was usual for him, he based his play on older materials. The first literary mention of the Montagus and the Capulets is in Dante's "Purgatorio," vi, lines 106-108. The Montagus lived in Verona and the Capulets in Cremona. They were used by Dante as examples of warring factions that had been exterminated. About 1530, Luigi da Porto mistakenly assumed that the Montagus and the Capulets had both resided in Verona and had feuded with one another. He worked up a tale that involved two young members of his warring clans, Giulietta and Romeo. In 1554, Matteo Bandello published a novella called "Romeo e Giulietta" which proved to be an international hit. A French version was adapted from Bandello by Pierre Boaistuau in 1559. This, in turn, was translated into English in 1562 by Arthur Brooke as a "tragical history" in verse form called "Romeus and Juliet," later to be pounced on by Will Shakespeare in search of a popular hit. The only major changes that Shakespeare made in Brooke's plot were to compress the time frame and to introduce Tybalt into the story at an earlier point in order to build him up as a worthy adversary for Romeo. And, oh, yes, he created an array of living characters such as had never been conceived before.

A number of commentators have taken note of the much simplified plot of "I Capuleti e i Montecchi." They have accounted for it by declaring that Shakespeare's version was not yet well-known in the world, so Romani must have based his work on an earlier version of the story, by which I presume they mean by Bandello or even by da Porto. I don't buy that explanation. By 1830, the cult of Bardolatry was firmly established. The standard German translations (that the Germans to this day hold to be superior to the English originals) were well along. Two generations earlier, the tourist industry of Stratford Upon Avon had been given a kick start by the great actor, Garrick (in a bicentennial celebration conceived by David Garrick, written by David Garrick, produced by David Garrick, directed by David Garrick and starring David Garrick--additional dialogue by W. Shakespeare.) Just seventeen years later, Verdi would write his "Macbeth" and make sketches for a "King Lear," that greatest of all operatic might-have-beens. One of the twenty or so books that Verdi kept close to himself until the day he died was an Italian translation of the works of Shakespeare.

No, I do not think that Romani dealt with any obscure 16th Century originals. I think that he exercised a hack's privilege to pillage a respectable source for his convenience. Berlioz was correct. In both the literal and the figurative senses of the word, this is a travesty.

beautiful and moving opera .......2005-08-12

One may regret that Beverly Sills and Nicolai Gedda did not
record this opera earlier in their careers (1975) yet still
be glad they did. Though there are some audible signs of vo-
cal wear their artistry and commitment are never in doubt and
they offer memorable performances. Janet Baker is on the other
hand in splendid voice and sings superbly - she portrays a
somber Romeo and is supremely moving in the tomb scene.
Robert Lloyd and Raimund Herincx offer excellent support.
Very well recorded and beautifully conducted by Maestro
Patane - a very welcome release !

Wonderful nostalgia .......2005-05-20

Back in the 1970's I was a very intense fan of both La Sills and La Baker. The very idea of both of them coming together for an opera recording sent this rapid fan into a severe swoon! Therefore, this recording sent me into a state of ecstasy! I along with other Sills and Baker fans would gather around my stereo listening to this recording with Baker and Sills weaving their vocal magic which always elicited from us many tears and bravos.
At the time Beverly was a known commodity in Bell Canto operas; however, Janet was mainly known as a song recitalist. Nevertheless, Janet Baker, in this opera, proves that she could sing opera with the best of them showing her great operatic credentials-she is up to every vocal challenge Bellini throws at her. She tackles the role with great artistry and beauty of tone. Her last scene STILL dissolves me to copious tears.
In this recording Beverly sings a little cautiously not throwing out high E's with abandon as before; however, her years of experience being a sublime singer of Bell Canto operas comes through. Her singing is gorgeous, sweet and touching to the highest degree, I truly believe that this recording was one of her best.
It truly is great to hear this recording again-ah the memories. Time has NOT diminished its appeal!

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What a Voice!!!
TO THE MAN AND HIS MUSIC
I foud this remarkable
Why Compare?
Where was Michael Buble?

Steve Lawrence Sings Sinatra
Steve Lawrence
Manufacturer: Gl Music Co.
ProductGroup: Music
Binding: Audio CD

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We Got Us/Eydie & Steve Sing the Golden Hits
The Best of Eydie Gorme
Greatest Hits, Vol. 2
Greatest Hits, Vol. 1
Steve & Eydie Sing More Golden Hits

ASIN: B00007MB5P
Release Date: 2003-01-28

Customer Reviews:

What a Voice!!!.......2007-06-05

Frank is still the alpha and omega of twentieth-century pop music. So many big-name artists have recorded tributes to the Kid from Hoboken that they can hardly be counted. The best of these are Perfectly Frank, Tony Bennett's 1992 release; former flame Keely Smith's 2001 recording, Keely Sings Sinatra; and Rawls Sings Sinatra (2003), by Lou Rawls. But for me, the one that leaves the deepest impression comes from the Cantor's son from Brooklyn.

Watching the Carol Burnett Show as a kid during the bell-bottom era of the early 1970s, I thought Lawrence and his lovely wife, Eydie Gorme, must have arrived from another planet--some elegant world where men still wore tuxedos, women hadn't forgotten how to be glamorous, and class still ruled. The couple used to open for Sinatra during the great crooner's last decade. But before he died, Sinatra shipped Lawrence a crateful of his most treasured scores, arranged by greats like Quincy Jones, Nelson Riddle, Don Costa, and Billy Byers.
Conducted by Lawrence's son David, their arrangements now bring emotional goosebumps of recognition. Yet Lawrence makes these songs his own with a commanding tenor, impressive improvisational skills, and a wide vocal range--a voice that hasn't flagged a bit over the decades. He takes on fourteen memorable tunes from Sinatra's Capitol and Reprise years, like "The Summer Wind," "The Best Is Yet to Come" (I prefer Lawrence's version to Sinatra's and Tony Bennett's), and "The Lady Is a Tramp." His performance of "For Once in My Life" is nothing short of inspired: he's really channeling Frank on this one.

For decades, Steve Lawrence has been upholding the standards, and s'wonderful, s'marvelous that he hasn't lost his touch.

TO THE MAN AND HIS MUSIC.......2007-02-14

Steve Lawrence croons delightfully on this CD tribute to an incredibly talented artist who influenced him profoundly--Frank Sinatra. In the liner notes Steve relates how wherever he and Eydie went when they toured with Frank, Frank was THE attraction. Steve writes that he and his wife Eydie could never come close to the immense talents and popularity that Sinatra so richly enjoyed. Despite Steve's modesty, however, Steve performs these numbers with panache, sensitivity and sophistication. Steve never sings a superfluous note. Sinatra would be proud.

The CD starts with the classic "I've Got You Under My Skin" by Cole Porter. Steve never misses a beat and we can tell by the energy in Steve's voice that he truly enjoys every minute of this tribute! The musical arrangement by Nelson Riddle shines brightly and beautifully complements the lyrics. I especially like the string section on this number! "You Make Me Feel So Young" displays masculine strength and romantic playfulness at the same time--excellent! The horns and percussion prove that Quincy Jones carefully sculpted the musical arrangement for this track. Steve does this number with great sensitivity; therefore his voice and the orchestration make you feel the same joy Sinatra sang of when he performed this number.

"Come Rain Or Come Shine" features a slow, pensive and romantic arrangement. The orchestra, which is conducted by Steve's own son David throughout this CD, performs masterfully on this track.

Other classic songs on this album include "The Lady Is A Tramp;" "Fly Me To The Moon" written by Bart Howard and arranged by Quincy Jones; the very romantic, slow paced ballad entitled "Where Or When;" the joyful and triumphant "For Once In My Life" arranged by Don Costa; and the masculine and joyful "My Kind Of Town."

One romantic song of particular note resonates particularly well with gentlemen: "The Summer Wind." Men wanted and still want to dance with their sweethearts when Sinatra performed this number. Steve does great justice to this Sinatra ballad; and Steve very ably uses his voice to express every nuance in this track--as he does throughout the CD.

The CD ends as Steve sings Sinatra's famous ballad entitled "Angel Eyes." The singer laments a love gone awry and there seems to be no quick solution for his angst and loneliness. The strength of Steve's voice very ably communicates the pain the man feels as he tries to deal with a lost love.

The liner notes include great pictures of Steve, Eydie and the people who worked the most to make this album a reality. Steve points out proudly that his son was the conductor for the orchestra on all of these numbers--and who could blame Steve for being proud? SMILES You get the song credits; and Steve himself contributes a brief essay reminiscing about touring with Sinatra in earlier years.

Frank Sinatra richly deserves the gratitude and credit he posthumously receives to this day. Steve Lawrence's CD tribute to Frank Sinatra helps us to remember a great man with extraordinary talents. Moreover, it takes an artist as polished and sophisticated as Steve Lawrence to do proper justice to Frank on a CD.

I highly recommend this CD for Sinatra fans and for Steve Lawrence fans alike. Fans of classic pop vocals will thrill to the sounds on this album. Great job, Steve!!!!

I foud this remarkable.......2006-04-03

the orchestration is so similar to that of the early-mid 60s that if you didnt know about this album you would think it actually was from that time period

his voice has hardly changed, and while i'm not a big fan of tribute albums, this is certainly one of the best - ive got you under my skin - is a wow!

Why Compare?.......2004-04-30

Steve Lawrence isn't out to fill Sinatra's shoes, no one can. But he certainly provides us with a beautiful gift in recorded music. I simply don't understand calling him a hack(if you can perform with an orchestra and do better, make your recording and sell it and go get your grammy, it's that simple!) or comparing him to Buble. Mr. Lawrence is a stand out among vocalists with an ORIGINAL style and stronger performance. I've seen him live many times, his control, strength, range and showmanship are first rate, and it shows in this CD. A lot of people tried to bring down Sinatra, so I expect you'll do the same to Mr. Lawrence. However if you want phenomenal singing, a crisp recording, an impeccable production, and a recorded treasure buy this CD. I did, and I bought other copies for friends. Jaime Smith the steve and eydie groupie.

Where was Michael Buble?.......2004-03-09

This CD was released in 2003, the same year that another similarly-titled CD was released featuring the artist Lou Rawls ("Lou Rawls Sings Sinatra"). Overall, this Sinatra tribute was mediocre. Steve Lawrence's vocals often fell flat, and his timing almost painfully off. Frankly, this would have been a project best undertaken by Michael Buble. Apart from Buble's natural and stronger vocal ability, he would have been a better purveyor of Sinatra's music to the younger generation. Nevertheless, Sinatra fans may still want this CD in their collection. If any consolation (and owing to better recording technology), the CD provides crisp and clear versions of the original Sinatra orchestrations.

La Stupenda ~ The Supreme Voice of Joan Sutherland

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La Stupenda at her best
this is the one to buy
La Stupenda lives up to her name
La Stupenda, Amore, amore, amore
La Stupenda - well deserved title for Joan

La Stupenda ~ The Supreme Voice of Joan Sutherland
Gaetano Donizetti , Jules Massenet , Giuseppe Verdi , Richard Bonynge , and Joan Sutherland
Manufacturer: Decca
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Joan Sutherland - The Greatest Hits
The Art of the Prima Donna
The Great Recordings
Great Duets & Trios / Sutherland, Horne, Pavarotti
Joan Sutherland: BBC-Recitals 1958, 1960, 1961

ASIN: B00005OC0E
Release Date: 2001-10-09

Tracks:

Attila: Santo Di Patria... Allor Che I Forti Corrono - Joan Sutherland
Lakme: Viens, Mallika... Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
Les Contes D'Hoffmann: Les Oiseaux Dans La Charmille - Joan Sutherland
Die Zauberflote: O Zittre Nicht, Mein Lieber Sohn... Zum Leiden Bin Ich Auserkoren - Joan Sutherland
Linda Di Chamounix: Ah! Tardai Troppo... O Luce Di Quest'anima - Joan Sutherland
Semiramide: Serbami Ognor Si Fido - Joan Sutherland/Marilyn Horne
Beatrice Di Tenda Bellini: Eccomi Pronta... Deh, Se Un'urna - Joan Sutherland/Ambrosian Singers
La Fille Du Regiment Donizetti: Pour Ce Contrat Fatal... Ah! Salut A La France - Joan Sutherland/Chor Of The ROHCG
La Traviata: Un Di Felice - Joan Sutherland/Carlo Bergonzi
The Bohemian Girl: I Dreamt I Dwelt In Marble Halls - Joan Sutherland
Home Sweet Home - Joan Sutherland
Casanova: Nuns' Chorus - Joan Sutherland/Ambrosian Light Opr Chor
Lucia Di Lammermoor: (O Giusto Cielo!)... Il Dolce Suono Mi Colpi Di Sua Voce!... Ardon Gl'incensi.. - Joan Sutherland/Chor De L'Opera De Paris/Rene Duclos

Tracks:

Norma: Sediziose Voci... Casta Diva - Joan Sutherland/Chor Of The ROHCG/Douglas Robinson
Alcina: Tornami A Vagheggiar - Joan Sutherland
Con For Coloratura Soprano, Op.82: Andante - Joan Sutherland
Con For Coloratura Soprano, Op.82: Allegro - Joan Sutherland
Lucia Di Lammermoor: Sulla Tomba... Ah! Verranno A Te Sull'aure - Joan Sutherland/Luciano Pavarotti
Rigoletto: Gualtier Malde... Caro Nome - Joan Sutherland/Riccardo Cassinelli/Christian Du Plessis/John Gibbs/Ambrosian Opr Chor
Esclarmonde Massenet: Esprits De L'air! Esprits De L'onde! ... Roland! Roland! Roland! - Joan Sutherland/Huguette Tourangeau/John Alldis Chor
Operette: Where Are The Songs We Sung? - Joan Sutherland
The Boys From Syracuse: Falling In Love With Love - Joan Sutherland/Ambrosian Light Opr Chor
I Puritani: Son Vergin Vezzosa - Joan Sutherland/Margreta Elkins/Pierre Duval/Ezio Flagello
Turandot: In Questa Reggia - Joan Sutherland/Luciano Pavarotti/John Alldis Choir/Wandsworth School Boys' Choir/Russell Burgess
Tristan Und Isolde: Mild Und Leise Wie Er Lachelt - Joan Sutherland
Adriana Lecouvreur: Poveri Fiori - Joan Sutherland
La Sonnambula: Ah! Non Giunge Uman Pensiero - Joan Sutherland/London Opr Chor/Terry Edwards

Customer Reviews:

La Stupenda at her best.......2007-05-06

This 2 CD set is entitled "La Stupenda," which creates extremely high expectations. Joan Sutherland meets those expectations on this CD; she is, indeed, "La Stupenda." One of the interesting aspects of this set is Dame Joan's singing some non operatic works (such as "Home Sweet Home" or "Where Are the Songs We Sung?" or "Falling in Love with Love"). In the end, this is a wonderful compilation of the art of Joan Sutherland.

First, let's consider a sampling of the cuts on these CDs.

"O Zittre Nicht" is from Mozart's "Magic Flute" and it is a challenge to sopranos, with its series of staccato high notes. Sutherland essays this well. There are some nice trills; she hits the high notes well. The series of (treacherous) high notes toward the end is handled very nicely by Sutherland. In short, she scintillates, with a closing high note well hit.

From Donizetti's "Linda di Chamounix," she sings "O luce di questi'anima." Her voice and technique are well suited for Donizetti (and Bellini). The cantabile is smoothly sung. The cabaletta is rollicking. Her coloratura technique is on target; the ornamentation is compelling. There are trills, runs, high notes and other ornamentation well done. The close is nice (although there may be a bit of a scoop on the final high note).

From "Beatrice di Tenda" (by Bellini), we hear ""Eccomi pronta. . .Deh, se un'urna." The cantabile is sung well. She hits notes clearly. The spirited cabaletta follows. Sutherland exhibits somewhat less ornamentation than usual, but trills are well done and, overall, the piece is nicely sung. The close features clean high notes.

"Home Sweet Home." This kind of illustrates Joan Sutherland's work nicely. I can hardly make out the words (and it is sung in English). But it is an interesting version. She sings the song straight, without overpowering the song with operatic technique (an occasional trill actually works out well).

Elsewhere, I have commented on her 1959 version of the "Mad Scene" from "Lucia di Lammermoor" (from her album "The Greatest Hits").

"Falling in Love with Love" is an interesting cut. This is a classic Rodgers and Hart song. Sutherland sings it pretty well, and one can pick up the words cleanly. However, one might compare this with Anna Moffo's version, which is more musical. Sutherland's version is a bit too operatic for what the song is about.

Finally, "Ah non giunge" from Bellini's "La Sonnambula," a great coloratura tune! This is taken at a sprightly pace. Sutherland exhibits good coloratura technique. There is nice ornamentation. She precisely nails high notes. In the repeat, the florid singing ramps up. This is a compelling version, with series of staccato high notes to close the work out.

Thus, this 2 CD set is a welcome entrée to the body of work of Dame Joan Sutherland. Sometimes (as with "Home Sweet Home") one has a hard time picking out the words. But with Sutherland, the skills and techniques create a compelling oeuvre that is well worth attending to.

this is the one to buy.......2007-04-18

I'm not an opera expert I just enjoy it. La Stupenda has the best of Joan Sutherland in a two CD set and it's amazing. She looked like a nice, quiet housewife but an indescribalbe voice. Her aria from Norma gave me chills and her version of "I Dreamed I Dwelt in Marble Halls" is flat out one of the prettiest things I've ever heard.

La Stupenda lives up to her name.......2006-11-12

Joan Sutherland was undeniably one of the greatest operatic sopranos of the 20th century. This comprehensive two-CD retrospective of her long career will delight her many fans, and serve as a fitting introduction for those unfamiliar with her artistry. The two CDs span a period of nearly thirty years, from 1959 to 1988, with the majority of the 27 tracks recorded during the 1960s and 1970s, when her voice was at its' astounding best. Sutherland was renowned first and foremost as a dramatic coloratura, and her supple technique is brilliantly illustrated in selections such as the Mad Scene from Lucia di Lammermoor; Doll Song from The Tales of Hoffmann; Queen of the Night aria from The Magic Flute; and the seldom-performed Concerto for Coloratura Soprano by Gliere. As her career progressed, her voice became larger and more powerful, as demonstrated by the Liebestod from Wagner's Tristan and Isolde, and In Questa Reggia from Puccini's Turandot. Lastly, Sutherland was a diva who was not afraid to let her hair down once in a while, and we are treated to lighter selections such as Where are the songs we sung? by Noel Coward, and Falling in love with love, by Rogers and Hart. Highly recommended for all lovers of great singing.

La Stupenda, Amore, amore, amore.......2006-01-28

I adore this woman's voice. And I love this cd. I was really happy to find an aria of "Esclarmonde" which is virtually impossible to find as well as some of the more lesser known works of hers such as Mozart's Queen of Night, although I wish she had done a recording of the revenge aria (Der Holle Roche) The whole cd was wonderful to hear but if I had to make on complaint it's that I didn't buy her Isolde's Liebestod but the woman can sing Lucia better than just about anyone so I'll forgive her for not sticking with the Wagner. In fact I am thrilled that she chose Lucia over Isolde because frankly acting and interperation was never her strong suit, it was the pure beauty of her voice. It's always a grand pleasure to listen to Joan kick butt in any coloratura arias but of course she set the bar so high that there is yet a coloratura since her that can do those arias half as well. She has spoiled me for life and that's why she is La Stupenda.

La Stupenda - well deserved title for Joan.......2006-01-12

I am not an opera expert by any stretch of the imagination - but I love opera. I love the expertise and beautiful voices of these hardworking singers. When I first heard Joan sing, it was from a recording she made late in her career and I honestly thought, what's the big deal about her? So, I decided to get The Art of Prima Donna album, and all I have to say is WOW! In her prime, this woman was a fantastic singer! While she wasn't the dramatist like Callas was (I also love Callas), her range and the way she hit each note so precisely was amazing! So, I bought La Stupenda. I loved the piece she did from Handel's Alcia and the fantastic Rossini duet she did with Marilyn Horn. The entire album is wonderful. I particularly like how Joan's high notes are never screechy - she makes those high notes sound so effortless. I also appreciate how she had such control over her vibrato - not too trilly (I like trilly - especially by Beverly Sills - however, not every song should be all trill). Finally, I think that Joan was one of the few sopranos that didn't try to drown everyone out. When she sang a duet, she blended with the other singer - how rare! Not all singers seem to be able to accomplish that - duets shouldn't be a competition. This album is worth every penny. Joan was one of the great singers of the 20th century and she deserves her title of La Stupenda!

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Steve and Eydie classic hits
More fun for Steve and Eydie fans!

Greatest Hits, Vol. 2
Steve Lawrence , and Eydie Gorme
Manufacturer: Gl Music Co.
ProductGroup: Music
Binding: Audio CD

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Greatest Hits, Vol. 1
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We Got Us/Eydie & Steve Sing the Golden Hits
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Steve Lawrence Sings Sinatra

ASIN: B00065GH92
Release Date: 2004-12-07

Tracks:

I Just Want to Stay Here and Love You
As Long as He Needs Me
Bluesette
I Can't Stop Talking About You
Too Close for Comfort
Impossible Dream
This Could Be the Start of Something
Sabor a Mi
Footsteps
Sing a Song
I Am Woman
Pretty Blue Eyes
You Light Up My Life
After You've Gone
Girl from Ipanema
Love Is Here to Stay

Customer Reviews:

Steve and Eydie classic hits.......2005-09-05

These oldies still sound good after all these years. Though not the type of music i generally go for, my boyfriend and I like to belt out daggy old tunes at the top of our lungs on a Sunday morning and "I just want to stay here and love you" has got to be the best for that.

More fun for Steve and Eydie fans!.......2005-07-02

This is another great Steve and Eydie compilation and the perfect companion to their "Greatest Hits, Volume 1." The biggest hit on this CD is obviously the duet, "This Could Be the Start of Something Big," but my personal favorite is "I Can't Stop Talking About You" -- a catchy, well-harmonized tune with a quick tempo. In "Bluesette," Steve Lawrence shows his range and demonstrates how great a singer he is. Eydie is wonderful on "As Long As He Needs Me." This one CD cannot provide the full range of Steve and Eydie's talents, but it is well worth adding to your collection!

Average customer rating:

Valuable compendium
Rareties available on CD at last!
Heavenly
WHO ELSE CAN SING LIKE THIS TODAY?

The Art of Joan Sutherland

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Joan Sutherland: BBC-Recitals 1958, 1960, 1961
The Art of the Prima Donna
Serate Musicali
The Voice of the Century
La Stupenda ~ The Supreme Voice of Joan Sutherland

ASIN: B000654OUQ
Release Date: 2005-03-15

Customer Reviews:

Valuable compendium.......2007-01-24

This set is extremely valuable, not only as an overview of Dame Joans career but because it contains three complete LP sets that have been very hard to find. The sets are the 2 LP French opera (operetta) set, the Mozart album and the Wagner album. Although some of these do not show her to her best advantage (the Wagner set) they all have some very beautiful things and the French items are superb. The annotations and photos are interesting as well and there are some piano songs with Bonynge that are released here for the first time along with a scene from a live Covent Garden Norma.

Rareties available on CD at last!.......2006-03-29

While Joan Sutherland has recorded a number of impressive aria collections throughout the many years of her recording career, they tend to get lost in the shuffle of the countless reissues Decca/London has endlessly repackaged. While some of the original collections have appeared intact on CD--"The Art of the Prima Donna," "The Age of Bel Canto," "Love Live Forever" (her operetta collection that was originally titled "The Golden Age of Operetta"), to name a few--others are currently represented in the CD catalogue by only a few selections on discs that also include excerpts from complete opera recordings or duplicates of selections from other original collections. As a result, it has been impossible to assemble a CD collection of her recordings without a LOT of duplication, and some of the most interesting collections are still unavailable (e.g. "Command Performance" and "Serate Musicale").

While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.

I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.

Heavenly.......2006-01-31

I first heard of Dame Sutherland while on the internet while listening to a internet radio station. I was instantly a fan, her control, technique, and tone is perfectly executed and rivals the equally fantastic Maria Callas. She has a powerful voice and presence that will evoke every emotion from her listeners. Highly recommended to all Opera Diva fans.

WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10

This is Decca's second multi disc evaluation of this fantastic singer's long career and many recordings. True that a lot on the first set is duplicated here, but there are a few exceptions here and there that make it a worthy addition. Of particular interest are the very early items of Handel and Italian baroque arias, some forgotten song recordings and a live performance of the duet from Norma. It can't be said too many times - who can sing like this today? For sheer vocalism it's hard to find anyone on the same wavelength. This set will give very young opera goers an idea of what they missed.