Cantando Al Amor

1. Ya No Quiero Mentiras

2. Se Fue la Paloma

3. Encontre Casada

4. Pum Pum Pao

5. Es Que Ya Te Olvide

6. Por Costumbre

7. Esta Triste Guitarra

8. Prime Cele

9. Me Voy a Cortar Las Venas

10. Lo Nuestro Se Acabo

Cantando Al Amor,Duroz,Fonovisa Inc.,Latin,Mexican

Average customer rating:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1
LA SUPERBA!
Madame Caballé is great!!!
Amazing collection!
Cannot be called an "ultimate" collection

Montserrat Caballé: Ultimate Collection

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Very Best of
Diva:Montserrat Caballe
Montserrat Caballe - Beyond Music
Very Best of
Grandi Voci: Renata Tebaldi

ASIN: B00000J914
Release Date: 1999-05-25

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Monteverdi - Madrigali guerrieri et amorosi / Rooley, The Consort of Musicke

Average customer rating:

Mature Monteverdi at his best!

Monteverdi - Madrigali guerrieri et amorosi / Rooley, The Consort of Musicke
Claudio Monteverdi , Anthony Rooley , Emma Kirkby , Evelyn Tubb , The Consort of Musicke , Kristine Szulik, Paul Agnew, Andrew King Mary Nichols , and Alan Ewing, Allan Parkes Richard Edgar-Wilson
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Monteverdi: Madrigals / Rooley, The Consort of Musicke
Monteverdi: Vespro della Beata Vergine 1610/Venetian Vespers
Purcell: Odes for St. Cecilia's Day - Music for Queen Mary / Taverner Consort
The Emma Kirkby Collection
Rameau - Les Indes Galantes, Suites d'orchestre / La Chapelle Royale · Herreweghe

ASIN: B00000J2PZ
Release Date: 1999-06-08

Tracks:

Madrigali guerrieri: Altri canti d'Amor: Sinfonia - Altri canti d'Amor
Madrigali guerrieri: Altri canti d'Amor: Tu Cui tessuta han di Cesare alloro
Madrigali guerrieri: Hor che'l ciel: Hor che'l ciel, e la terra, e'l vento tace
Madrigali guerrieri: Hor che'l ciel: Cosi sol d'una chiara fonte viva
Madrigali guerrieri: Gira il nemico insidioso
Madrigali guerrieri: Se vittorie si belle
Madrigali guerrieri: Armato il cor
Madrigali guerrieri: Ogni amante e guerrier
Madrigali guerrieri: Ogni amante e guerrier: Io che nell'otio naqui e d'otio vissi
Madrigali guerrieri: Ogni amante e guerrier: Ma per quel ampio Egeo spieghi le vele
Madrigali guerrieri: Ardo, ardo, avvampo
Madrigali guerrieri: Volgendo il ciel
Madrigali guerrieri: Il Combattimento di Tancredi e Clorinda: Tancredi, che Clorinda un homo stima
Madrigali guerrieri: Il Combattimento di Tancredi e Clorinda: Non schivar, non parar, non pur ritrarsi
Madrigali guerrieri: Il Combattimento di Tancredi e Clorinda: Tre volte il cavalier la donna stringe
Madrigali guerrieri: Il Combattimento di Tancredi e Clorinda: Torna l'ira nei cori, e li trasporta
Madrigali guerrieri: Il Combattimento di Tancredi e Clorinda: Amico, hai vinto: io ti perdon...perdona

Tracks:

Madrigali amorosi: Altri canti di Marte
Madrigali amorosi: Altri canti di Marte: Due begli occhi fur l'armi
Madrigali amorosi: Mentre vaga Angioletta
Madrigali amorosi: Ardo e scoprir
Madrigali amorosi: O sia tranquillo il mare
Madrigali amorosi: Ninfa, che scalza il piede
Madrigali amorosi: Dolcissimo uscignolo
Madrigali amorosi: Chi vol haver felice
Madrigali amorosi: Lamento della ninfa: Non havea Febo ancora
Madrigali amorosi: Lamento della ninfa: Amor, dicea, il ciel
Madrigali amorosi: Perche t'en fuggi, o Fillide
Madrigali amorosi: Non partir ritrosetta
Madrigali amorosi: Su, su, su, pastorelli vezzosi
Madrigali amorosi: Vago augelletto

Amazon.com

"Madrigali guerrieri et amorosi" ("Madrigals Warlike and Amorous") is how Claudio Monteverdi titled his eighth and largest book of madrigals--which was actually two volumes in one. The "warlike madrigals" (concerned largely with the "war of love") feature the "agitated style" Monteverdi pioneered: quick, almost nervous writing, lots of rapidly repeated notes, and more syllables than a Gilbert & Sullivan patter song. These works culminate in the famous short quasi-opera Il Combattimento de Tancredi e Clorinda. The "amorous madrigals" are no less ardent, but they are less, well, warlike--that is, more leisurely paced, with plenty of chromaticism, dissonant suspensions, and giddily virtuosic runs to depict the pain and excitement of love.

Anthony Rooley, Emma Kirkby, and the Consort of Musicke made these recordings in the early 1990s. While the performances were widely admired in their day, they're now universally considered (at least by those of us who actually spend time thinking about such things) to have been superseded by the remarkable work of Rinaldo Alessandrini and Concerto Italiano. It's true that some of the singing on the Consort's first disc is lackluster, but things perk right up with the young Paul Agnew's solo in Volgendo il ciel followed by an energetic Combattimento. Everyone's back in fine form for the "amorous" madrigals on the second disc; particularly notable are the virtuoso turns for Agnew, Andrew King, and Alan Ewing, as well as the Divine Miss Emma. Yes, Concerto Italiano is preferable if you can afford both of the full-price discs, but at the bargain price Virgin is charging for these reissues, you'll get more than your money's worth. --Matthew Westphal

Customer Reviews:

Mature Monteverdi at his best!.......2000-05-11

This interpetation of the 8th (and last) book of madrigals by Claudio Monteverdi is the best I've heard. Nine perfectly balanced voices with clear but restrained period instrumentation show off the music in its polyphonic and chromatic brilliance. Solo passages are sung with great attention to the phrasing and dynamic possibilities inherent in the score. The overall effect is one of intimate brilliance.

The enginnering of the recording was excellent. The only disapointment was a dearth of information about the text of the score.

Tracks:

Sinfonia
Altri canti d'Amor
Lamento della Ninfa (1)
Lamento della Ninfa (2)
Vago augelletto
Perche t'en fuggi, o Fillide?
Altri canti di Marte (1)
Altri canti di Marte (2)
Ogni amante e guerrier (1)
Ogni amante e guerrier (2)
Ogni amante e guerrier (3)
Ogni amante e guerrier (4)
Hor che 'l ciel e la terra (1)
Hor che 'l ciel e la terra (2)
Gira il nemico, insidioso Amore
Dolcissimo uscignolo
Ardo, ardo, avvampo

Amazon.com essential recording

The madrigals in this book, aptly titled by Monteverdi "Madrigals of War and Love," range from solo voice or duo with continuo to works for eight singers and strings. Concerto Italiano gives a magnificent performance: the opening of "Hor che'l ciel" is daringly slow and still, only to give way suddenly to the narrator's cries of torment; "Ardo, avvampo" proceeds from the thrilling chaos of fire alarms to an extraordinary hush as two tenors end the piece in unison. In the famous "Lamento della ninfa," the musicians have found a way to follow Monteverdi's instructions that the three men should sing in strict tempo ("following the hand"), while the solo soprano nymph sings her lament in freer time, "following the heart." The result is astonishing. --Matthew Westphal

Customer Reviews:

Ectasy.......1999-07-13

These are some of the most beautiful pieces you'll ever hear

Average customer rating:

Rare but well-polished Verdi gems.

Les Introuvables Du Chant Verdien

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Les Introuvables du Chant Français
Les Introuvables Du Chant Wagnérien
The Verdi Recordings
Arturo Benedetti Michelangeli plays Mozart, Chopin, Brahms, etc. (Box) [Germany]

ASIN: B000051W4C
Release Date: 2001-02-13

Tracks:

Ernani: Act I: Surta E La Notte... Ernani! Ernani, Involami - Frieda Hempel
Ernani: Act I: Che Mai Vegg'io!... Infelice!... Infin Che Un Brando Vindice - Boris Christoff
Ernani: Act II: Vieni Meco... - Mattia Battistini/Emillia Cors/Chor Del Teatro Alla Scala
Ernani: Act III: O De' Verd'anni Miei - Giuseppe Kaschmann/Salvatore Cottone
Ernani: Act III: Gran Dio!... O De' Verd'anni Miei - Benvenuto Franci
Ernani: Act III: O Sommo Carlo - Mattia Battistini/Emillia Corsi/Luigi Colazza/Aristodemo Silich/Chor Del Teatro Alla Scala
Il Trovatore: Act I: Tacea La Notte Placida - Giannina Arangi-Lombardi
Il Trovatore: Act I: Deserto Sulla Terra - Francesco Tamagno
Il Trovatore: Act II: Stride La Vampa! - Fedora Barbiera
Il Trovatore: Act II: Condotta Ell'era In Ceppi - Margarete Klose
Il Trovatore: Act II: Perigliarti Ancor (Sung In German) - Margarete Matzenauer/Heinrich Knote
Il Trovatore: Act II: Il Balen Del Suo Sorriso - Giuseppe Pacini
Il Trovatore: Act III: Ah! Si Ben Mio, Coll'essere - Charles Dalmores
Il Trovatore: Act III: Di Quella Pira (Sung In French) - Cesar Vezzani
Il Trovatore: Act III: Di Quella Pira - Jussi Bjorling
Il Trovatore: Act IV: Timor Di Me?... D'amor Sull'ali Rosee - Emmy Destinn
Il Trovatore: Act IV: D'amor Sull'ali Rosee (Sung In German) - Frida Leider
Il Trovatore: Act IV: D'amor Sull'ali Rosee - EVA TURNER
Il Trovatore: Act IV: Udiste?... Mira, D'acerbe Lagrime... Vivra! - Carlo Galeffi/Giannina Arragi-Lombardi
Il Trovatore: Act IV: Si M'ami Ancor... Ai Nostri Monti - Beniamino Gigli/Cloe Elmo

Tracks:

Macbeth: Act II: La Luce Langue (Sung In German) - Martha Modl
Macbeth: Act IV: O Figli, O Figli Mie!... Ah La Paterna Mano - Enrico Caruso
Macbeth: Act IV: Una Macchia E Qui Tuttora - Margherita Grandi/Vera Terry/Ernest Frank
Rigoletto: Act I: Questa O Quella - Alfred Piccaver
Rigoletto: Act I: Questa O Quella - Dino Borgioli
Rigoletto: Act I: Pari Siamo! - Tito Gobbi
Rigoletto: Act I: Gia Tre Lune... Veglia, O Donna (Sung In German) - Claire Dux/Joseph Schwartz
Rigoletto: Act I: E Il Sol Dell'anima (Sung In French) - Miguel Villabella/Elde Norena
Rigoletto: Act I: Caro Nome (Sung In Russian) - Lydia Lipowska
Rigoletto: Act I: Caro Nome (Sung In German) - Maria Ivogun
Rigoletto: Act II: Cortigiani, Vil Razza Damnata (Sung In German) - Joseph Schwarz
Rigoletto: Act II: Cortigianni, Vil Razza Damnata - Pasquale Amato
Rigoletto: Act II: Ciel! Dammi Corraggio! Tutte Le Feste - Olimpia Boronat
Rigoletto: Act II: Tutte Le Feste... Piangi Fanciulla - Lotte Schone/Herbert Janssen
Rigoletto: Act II: No, Vecchio, T'inganni... Si Vendetta - Maria Galvany
Rigoletto: Act III: La Donna E Mobile - Enrico Caruso
Rigoletto: Act III: La Donna E Mobile - Tino Folgar
Rigoletto: Act III: Bella Figlia Dell'amore - Beniamino Gigli/Louise Homer/Amelita Galli-Curci/Giuseppe De Luca
Rigoletto: Act III: O Mia Gilda... Lassu In Ciel - Tito Ruffo/Graziella Pareto

Tracks:

Simon Boccanegra: Prologuo: A Te L'estremo Addio... Il Lacerto Spirito - Francesco Navarini
Simon Boccanegra: Prologuo: A te L'estremo Addio... Il Lacertato Spirito - Alexander Kipnis
La Traviata: Act I: Un Di, Felice - Bjorn Talen/Lola Artot De Padila
La Traviata: Act I: Ah Fors' e Lui (Sung In Russian) - Antonina Neshdanova/Umberto Mazetti
La Traviata: Act I: Ah Fors'e Lui - Maria kousnezoff
La Traviata: Act I: Ah Fors'e Lui... Follie!... Sempre Libera - Luisa Tetrazzini
La Traviata: Act II: De' Miel Bollenti Spiriti - Fernando De Lucia
La Traviata: Act II: Lunge Da Lei... De' Miei Bollentti Spiriti - Giuseppe Di Stefano
La Traviata: Act II: Dite Alla Giovine - Nellie Melba/John Brownlee/Harold Craxton
La Traviata: Act II: Madamigella Valery?... Pura Siccome Un Angelo... Dite Alla Giovine - Rolando Panerai/Elisabeth Schwarzkopf
La Traviata: Act II: Che Fai? Nulla Scrivevi? (Sung In German) - Helge Roswaenge/Maria Cebotari
La Traviata: Act II: Mio Figlio... Di Provenza - Mattia Battistini
La Traviata: Act II: Alfredo, Alfredo... - Lilli Lehmann
La Traviata: Act III: Teneste La Promessa... Addio, Del Passato - Claudio Muzio
La Traviata: Act III: Teneste La Promessa... Addio De Passato - Margherita Carosio

Tracks:

Nabucco: Act I: Sperate, O Figli - Nazzareno De Angelis
Nabucco: Act II: Anch'io Dischiuso Un Giorno - Ines De Frate
Nabucco: Act III: Ah! Prigioniero Io Sono... Dio Di Giuda - Carlo Galeffi
La Forza Del Destino: Act I: Ma Pellegrina Ed Orfana - Gina Cigna
La Forza Del Destino: Act II: Madre, Pietosa Vergine - Celestina Boninsegna
La Forza Del Destino: Act II: Son Giunta!... Madre, Pietosa Vergine - Dusolina Giannini
La Forza Del Destino: Act II: Chi Puo Legger Nel Futoro (Sung In German) - Ivan Andresen/Meta Seinemeyer
La Forza Del Destino: Act II: Alzatevi... La Vergine Degli Angeli - Ezio Pinza/Rosa Ponselle/Chor Of The Metropolitan Opr
La Forza Del Destino: Act III: O Tu Che In Seno Agli Angeli - Francesco Merli
La Forza Del Destino: Act III: Solene In Quest'ora - Enrico Caruso/Antonio Scotti
La Forza Del Destino: Act III: Morir!... Urna Fatale... E Salvo (Sung In German) - Heinrich Schlusnus
La Forza Del Destino: Act IV: Invano, Alvaro - Gino Bechi/Giacomo Lauri-Volpi
La Forza Del Destino: Act IV: Pace, Pace, Mio Dio - Salomea Kruszelnicka
La Forza Del Destino: Act IV: Pace, Pace, Mio Dio - Zinka Milanov
La Forza Del Destino: Act IV: Non Imprecare - Ezio Pinza/Rosa Ponselle/Giovanni Martinelli

Tracks:

Don Carlo: Act I: E Lui... Dio, Che Nell'alma - Giuseppe De Luca/Giovanni Martinelli
Don Carlo: Act II: Nell Giardin Del Bello (Sung In German) - Margarete Arndt-Ober
Don Carlo: Act II: Restate - Boris Christoff/Tito Gobbi
Don Carlo: Act IV: Ou Suis-je!... Je Dormirai Dans Mon Manteau Royal (Sung In French) - Pol Plancon
Don Carlo: Act III: Ella Giammai M'amo!... Dormiro Sol - Boris Christoff
Don Carlo: Act III: O Don Fatale - Frida Leider
Don Carlo: Act III: O Don Fatale - Clara Butt
Don Carlo: Act III: I. Convien Qui Dirci Addio... Per Me Giunto/II. O Carlo Ascolta... Lo Morro - Tito Gobbi
Don Carlo: Act IV: Tu Che Le Vanita - Hertha Stolzenberg
I Vespri Siciliani: Act II: O Tu Palermo - Boris Christoff
I Vespri Siciliani: Act III: In Braccia Alle Dovizie - Riccardo Stracciari
I Vespri Siciliani: Act IV: Giorno Di Pianto (Sung In German) - Helge Roswaenge
I Vespri Siciliani: Act IV: Arrigo! Ah Parli A Un Core - Ester Mazzoleni
I Vespri Siciliani: Act IV: Merce, Dilette Amiche - Rosa Raisa

Tracks:

I Lombardi/Jerusalem: Act II: Je Veux Encore Entendre - Leonce Escalais
I Lombardi/Jerusalem: Act II: Grace, Mon Dieu!... O Jour Fatal - Paul Payan
I Lombardi/Jerusalem: Act III: Or Non Piu... Qual Volutta Trascorrere - Elisabeth Rethberg/Beniamino Gigli/Ezio Pinza
Aida: Act I: Celeste Aida (Sung In French) - Paul Franz
Aida: Act I: Se Quel Guerrier Io Fossi!... Celeste Aida (Sung In German) - Helge Roswaenge
Aida: Act I: I Sacri Nomi (Sung In French) - Felia Litvinne
Aida: Act I: Ritorna Vincitor - Giannina Russ
Aida: Act I: Ritorna Vincitor - Florence Austral
Aida: Act III: O Patria Mia (Sung In German) - Emmy Destinn
Aida: Act III: Qui Radames Verra... O Patria Mia (Sung In Russian) - Natalia Yushina
Aida: Act III: Pur Ti Riveggo - Giovanni Martinelli/Rosa Ponselle
Aida: Act III: Fuggiam Gli Ardori Inospiti (Sung In German) - Elsa Bland/Leo Slezak
Aida: Act III: Lo L'amo Sempre... Gia I Sacerdoti (Sung In German) - Sabine Kalter/Richard Tauber
Aida: Act III: Ohime!... Morir Mi Sento - Ebe Stignani/Chor Del Teatro Dell'Opr Di Roma
Aida: Act III: Morir Si Pura E Bella (Sung In German) - Leo Slezak/Sofie Sedlmair
Aida: Act III: O Terra, Addio - Johanna Gadski/Enrico Caruso

Tracks:

I Due Foscari: Act I: O Vecchio Cor - Riccardo Stracciari
I Due Foscari: Act I: Questa Dunque - Pasquale Amato
Otello: Act I: Esultate - Giacomo Lauri-Volpi
Otello: Act I: Esultate - John O'Sullivan
Otello: Act I: Qua, Ragazzi... Inaffia L'ugola! - Apollo Granforte/Nello Palai/Piero Girardi/Chor Del Teatro Alla Scala, Milano
Otello: Act I: Gia Nella Notte - Tino Pattiera/Meta Seinemeyer
Otello: Act II: Credo In Un Dio Crudel - Cesare Formichi
Otello: Act II: Tu! Indietro... Ora E Per Sempre Addio (Sung In French) - Jose Luccioni
Otello: Act II: Tu! Indietro... Ora E Per Sempre Addio - Mario Del Monaco
Otello: Act II: Era La Notte - Eugenio Giraldoni
Otello: Act II: E Qual Certezza... Era La Notte - Lawrence Tibbett
Otello: Act II: Si Pel Ciel - Giovanni Zenatello/Paquale Amato
Otello: Act III: Dio! Mi Potevi Scagliar (Sung In German) - Lauritz Melchior
Otello: Act III: Dio! Mi Potevi Scagliar - Renato Zanelli
Otello: Act IV: Piangea Cantando (Sung In German) - Lotte Lehmann
Otello: Act IV: Mia Madre Aveva Una Pavera Ancella - Yvonne Gall
Otello: Act IV: Ave Maria (Sung In German) - Tiana Lemnitz
Otello: Act IV: Niun Mi Tema - Francesco Tamagno/Salvatore Cottone
Otello: Act IV: Niun Mi Tema - Giuseppe Borgatti

Tracks:

Luisa Miller: Act I: Ah! Tutto M'arride... Il Mio Sangue - Tancredi Pasero
Luisa Miller: Act II: Oh! Fede Negar Potessi... Quando Le Sere Al Placido - Giuseppe Anselmi
Luisa Miller: Act II: Quando Le Sere Al Placido - Aureliano Pertile
Un Ballo In Maschera: Act I: Zitti... L'incanto... Re Dell'abisso - Irene Minghini-Cattaneo
Un Ballo In Maschera: Act I: E' Scherzo Od E Follia - Aureliano Pertile/Ines Maria Ferraris/Luis Bertana/Antonio Righetti/Cesare Baromeo
Un Ballo In Maschera: Act II: Ma Dall'arido Stelo - Eugenai Burzio
Un Ballo In Maschera: Act II: Ma Dall'arido Stelo - Hina Spani
Un Ballo In Maschera: Act III: Morro, Ma Prima In Grazia (Sung In German) - Melanie Kurt
Un Ballo In Maschera: Act III: Morro, Ma Prima In Grazia - Elisabeth Rethberg
Un Ballo In Maschera: Act III: Eri Tu - Giuseppe De Luca
Un Ballo In Maschera: Act III: Saper Vorreste - Selma Kurz
Un Ballo In Maschera: Act III: Forse La Soglia Attinse... Ma Se M'e Forza Perderti - Antonio Cortis
Falstaff: Act I: L'onore! - Mariano Stabile
Falstaff: Act II: Alfin, T'ho Colto... Quand'ero Paggio - Antonio Magini-Coletti/Elisa Petri
Falstaff: Act II: Quand'ero Paggio - Victor Maurel
Falstaff: Act III: Ehi! Taverniere - Mariano Stabile
Falstaff: Act III: Da Labbro Il Canto - Tito Schipa
Falstaff: Act III: Sul Fil D'un Soffio Etesio - Toti Dal Monte/Chor Del Teatro Alla Scal, Milano

Amazon.com

This collection, whose French title might be translated "Verdi Vocal Rarities," is a unique contribution to the Verdi centennial year. Its 136 selections on eight compact discs offer an in-depth survey of singers who recorded notable Verdi performances during the era of 78-rpm recording. Coincidentally, this period covers, within a few years, the half- century after the composer's death, in 1901. Some of the singers in the earliest cuts--tenor Francesco Tamagno and bass Victor Maurel, for example--had known Verdi and sung for him. Many of the singers will be familiar to connoisseurs of Verdi discography--Enrico Caruso, Boris Christoff, Fedora Barbieri, Ezio Pinza, Elisabeth Schwarzkopf, Tito Gobbi, Beniamino Gigli, and Jussi Bjoerling, to name a few. Others, such as Frieda Hempel, Emmy Destinn, Martha Modl, Joseph Schwarz, Gino Cigna, and Mattia Battistini, are names you come across in books about opera, but you have heard their voices only if you spend a lot of time with historic recordings. And a lot of performances, including some of the best, are likely to be the work of singers encountered for the first time.

Most of the big moments from Verdi's operas are included--grouped by opera, not by chronological order of recording. There are a few strange omissions; for example, the "Miserere" scene from Il trovatore. But other selections, such as "Ah fors' e lui" and "La donna e mobile," are given in two or three performances--sometimes in French, German, or Russian as well as Italian. Some of the performances are classics; many are mind-boggling.

Some favorite Verdi singers--Maria Callas, Joan Sutherland, Placido Domingo, and Luciano Pavarotti, among them--are absent because they began recording after the collection's cutoff date. Other problems are mostly related to the dates of the original recordings. The sound is all pre-high-fidelity and sometimes quite primitive, though some remarkable work has been done to optimize the earliest items. The annotations are minimal--mostly the date, venue, and performers in each cut, with pictures of the biggest stars. This decision was probably made to keep the price low, and those who already know most of the arias and ensembles will likely find the tradeoff acceptable. --Joe McLellan

Customer Reviews:

Rare but well-polished Verdi gems........2001-10-21

Classical music enthusiasts will have become aware that EMI have been marketing several boxed sets with a French title containing the word "introuvables". The word suggests that when you open the box you'll find items that are so rare as to be almost unobtainable. It suggests also that their rarity is not due only to age or production limitations, it is also due to the incomparability of their quality.

Few would quibble about the quality of what is to be found in this splendid collection of Verdi "introuvables". You will hear how Emmy Destinn portrayed Aida yearning for her homeland in 1908, and how Elisabeth Schwarzkopf portrayed Violetta intereacting with her lover's father in 1953. You will hear several items duplicated. Francesco Navarini, recorded in 1907 with a piano, makes a stunning Fiesco in the "Simon Boccanegra" prologue, as is not up-staged by the more familiar Alexander Kipnis version which follows.

You might regret that your favourite Verdi record is not here. You'll have opportunities to make comparisons, however. I could never believe that anyone could equal Giuseppe de Luca'a 1930 "O sommo Carlo" from "Ernani, but here I have a chance to hear for the first time how the famous baritone Mattia Battistini did it in 1906.

Keith Hardwick compiled and transferred this collection originally in the late 1980s. He has augmented and transferred that issue onto 8 CDs, and provided the annotations. Full recording details are provided, there are many singer photographs but no singer biographies.

Customer Reviews:

A fitting tribute to a too little-known artist.......1999-11-28

Today the name of Frances Alda is remembered mainly as having collaborated on several Caruso discs, but she was a fine singer in her own right, as this excellent Romophone set proves.

Alda was a student of the celebrated Mathilde Marchesi, who also taught Nellie Melba. Indeed, at Alda's audition, Marchesi told her husband, "Salvatore, I have found the new Melba!" Alda was in fact good enough to present a threat to the more established diva, who insisted that Oscar Hammerstein chose between the two of them: "Either Alda or Myself!" runs the famous telegram.

Mme. Alda was one of the most colorful operatic personalities of the early twentieth century. She was married to Giulio Gatti-Cassazza, head of the Met at the time, but she did not abuse her influence as a more capricious diva might have. She had a dry, caustic wit, as evidenced in her autobiography, "Men, Women, and Tenors" (a thoroughly enjoyable read, by the way).

These recordings present the voice behind the legend, and an excellent voice it is, too. A lyric soprano of substantial weight, she was careful to remain well inside the lyric fach, venturing only a single Aida as an experiment. Her favorite role was Mimi, and it shows: her two arias from "La Boheme" are magical. Her high notes glitter, and the low range is full and round. The voice is even throughout the registers, a hallmark of the Marchesi school.

Tracks:

Dixit Dominus A 8 - David Thomas
Confitebor Tibi A 3 - David Thomas
Beatus Vir A 6 - David Thomas
Laudate Pueri A 5 - David Thomas
Laudate Dominum A 5 - David Thomas
Deus Tuorum Militum A 5 - David Thomas
Magnificat A 8 (Completed Par Andrew Parrott) - David Thomas
Jubilet, Motet Solo (In Dialogo) - David Thomas
Salve Regina A 5 - David Thomas

Tracks:

Intonation Del Nono Tono (Intonationi D'Organo, 1593) - John Toll
In Ecclesiis A 14 (Symphoniae Sacrae 11, 1615) - John Toll
Adoramus Te, Christe A 6 (Motetti In Lode D'Iddio Nostro Signore, 1623) - John Toll
O Quam Pulchra Es (Ghirlanda Sacra, 1625) - John Toll
Sonata Seconda (Sonate Concertante, Libro Secondo, 1629) - John Toll
Exulta, Filia Sion (Arie De Diversi, 1624) - John Toll
Sonata Da Chiesa A 3, Op.8 No8 'La Bevilaqua' (Sonata, Libro III, Opera 8, 1663) - (Allegro - Adagio - Allegro - Adagio - Presto Allegro) - John Toll
Crucifixus A 10 - John Toll
Aria: 'Clarae Stellae, Scintillate' - John Toll
Recitativo: 'Coeli Repleti Iam Novo Splendore' - John Toll
Aria: 'Nunc Jubilare' - John Toll
Alleluia - John Toll
Crucifixus A 6 - John Toll
Currite Populi (Ghirlanda Sacra, 1625) - John Toll
Christe, Adoramus Te (Mottetti In Lode D'Iddio Nostro Signore, 1620) - John Toll
Canzon VIII A 8 (Canzoni E Sonate, 1615) - John Toll
Fuga Del Nono Tono - John Toll
Magnificat A 14 (Symphoniae Sacrae II, 1615) - John Toll

Tracks:

Altri Canti Di Marte E Di Sua Schiera - John Toll
Ninfa Che Scalza Il Piede E Sciolto Il Crine - John Toll
Chi Voi Haver Felice E Lieto Il Core - John Toll
Hor Ch'El Ciel E La Terra E'L Vento Tace - John Toll
Lamento Della Ninfa: Non Havea Febo Ancora - John Toll
Altri Canti D'Amor, Tenero Arcierio - John Toll
Su, Pastorelli Vezzosi - John Toll
Vago Augelletto Che Cantando Vai - John Toll
Ballo: Volgendo Il Ciel Per I'Immortal Sentiero - John Toll

Tracks:

I Allegro - Alison Bury
II Largo E Pianissimo Sempre - Alison Bury
III Danza Pastorale: Allegro - Alison Bury
I Allegro Non Molto - Alison Bury
II Adagio - Alison Bury
III Presto: Tempo Impetuoso D'Estate - Alison Bury
I Allegro - Alison Bury
II Adagio Molto: Ubriachi Dormienti - Alison Bury
III Allegro: La Caccia - Alison Bury
I Allegro Non Molto - Alison Bury
II Largo - Alison Bury
III Allegro - Alison Bury
I Allegro - Alison Bury
II Largo - Alison Bury
III Allegro - Alison Bury
I Allegro - Alison Bury
II Andante - Alison Bury
III Presto - Alison Bury
I Presto - Alison Bury
II Adagio - Alison Bury
III Allegro - Alison Bury

Tracks:

Kyrie (Canto Gregoriano: Missa Cum Jubilis) - Nancy Argenta
I Gloria In Excelsis - Nancy Argenta
II Et In Terra Pax - Nancy Argenta
III Laudamus Te - Nancy Argenta
IV Gratias Agimus Tibi - Nancy Argenta
V Propter Magnam Gloriam Tuam - Nancy Argenta
VI Domine Deus - Nancy Argenta
VII Domine Fili Unigenite - Nancy Argenta
VIII Domine Deus, Agnus Dei - Nancy Argenta
IX Qui Tollis Peccata Mundi - Nancy Argenta
X Qui Sedes Ad Dexteram Patris - Nancy Argenta
XI Quoniam Tu Solus Sanctus - Nancy Argenta
XII Cum Sancto Spiritu - Nancy Argenta
Sinfonia In B Minor 'Al Santo Sepoicro' RV 169 - Nancy Argenta
Laetatus Sum (Salmo 21) RV 607 - Nancy Argenta
Ave Maris Stella, Hymnus (Canto Gregoriano) - Nancy Argenta
I Magnificat Anima Mea - Nancy Argenta
II Et Exsultavit - Nancy Argenta
III Et Misericordia - Nancy Argenta
IV Fecit Potentiam - Nancy Argenta
V Esurientes Implevit - Nancy Argenta
VI Suscepit Israel - Nancy Argenta
VII Sicut Locutus Est - Nancy Argenta
VIII Gloria Patri - Nancy Argenta
IX Salve Regina (Antiphona, Canto Gregoriano) - Nancy Argenta
Laudate Dominum Omnes Gentes (Salmo 116) RV 606 - Nancy Argenta
Sonata In E Flat Major 'Al Santo Sepoicro' RV 130 - Nancy Argenta
In Exitu Israel (Salmo 113) RV 604 - Nancy Argenta

Customer Reviews:

GLORIOUS!.......2006-03-28

Wow- is the first word that comes to mind in regards to this boxed set. This set is what made me fall in love with the Taverner Consort under the direction of Andrew Parrott. His interpretations of such hits as Gabrielli's "In eclesiis" and Vivaldi's "Four Seasons" have breathed new life into this genre. I've not heard the solo of "The Four Seasons" played with as much zeal, as much independent, stylized freedom. Oh! I almost forgot- Andrew's rendition of Vivaldi's "Gloria" is not to be missed. While not as robust as a choral setting, this version lands ever so sweetly on the ear. This is a must-have boxed set and a great introduction to Andrew Parrot and the Taverner Consort.

Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs

Average customer rating:

At times, great and at other times...well... er.....
Monteverdi used 'cornets'?!

Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs
Salomé Haller , Maria Cristina Kiehr , Jeremy Ovenden , and Concerto Köln
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Josquin Desprez: Missa Fortuna Desperata
Monteverdi: Selva morale e spirituale
Messe de Notre Dame (Guillaume de Machaut)/ Ensemble Organum (Marcel Peres)
Hildegard von Bingen: O Jerusalem
Bach - Brandenburg Concertos / Il Giardino armonico

ASIN: B00006L7TB
Release Date: 2003-03-11

Tracks:

Altri Canti D'Amore, Tenero Arciero
Hor Che 'L Ciel E La Terra E 'L Vento Tace
Gira Il Nemico Insidioso Amore
Se Vittorie Si Belle
Armato Il Cor D'adamantina Fede
Ogni Amante E Guerrier: Nel Suo Gran Regno
Ardo, Avvampo
Il Combattimento Di Tancredi E Clorinda
Introdutione Al Ballo E Ballo
Altri Canti Di Marte E Di Sua Schiera

Tracks:

Vago Augelletto
Mentre Vaga Angioletta
Ardo E Scoprir, Ahi Lasso, Io Non Ardisco
O Sia Tranquillo Il Mare O Pien D'orgoglio
Ninfa Che, Scalza Il Piede
Dolcissimo Uscignolo
Chi Vol Haver Felice E Lieto Il Core
Lamento Della Ninfa. Non Havea Febo Ancora
Perche Ten Fuggi, O Fillide
Non Partir, Ritrosetta
Su, Su, Su, Pastorelli Vezzosi
De L'implacabil Dio
Udite, Donne, Udite!
Bella Madre D'Amor
Ecco Ver Noi L'addolorate Squadre
Ahi Troppo Ahi Troppo E Duro!

Amazon.com

You might think that two-and-a-half hours of Monteverdi madrigals would become tiresome or repetitive, but think again: here is a composer whose ability to combine voices and instruments (actually, it's conductor Rene Jacobs who, for the most part, has chosen the instruments, which include strings, trombones, cornets, organ, and percussion--brilliantly, colorfully, and dramatically) became greater as he aged, and these are among his latest works. Some pieces are long and dramatic, indeed, operatic: Il combattimento di Tancredi e Clorinda is sung to us by baritone Victor Torres with such urgency that it might be compared with an old Orson Welles radio drama. The subtitle of the collection—"Madrigals of War and Love"--really tells it all; fascinatingly, the warring within a lover's breast is just as passionate as true battle. The texts, some by such luminaries as Petrarch and Tasso are as worthy as the music, and Monteverdi's great gift--his ability to wed words to music--is in evidence in all of these works. Emotions run from self-pity to adoration to rage, and Jacobs and his band of singers--every one a virtuoso--make each come to life. Their technical skill, comprising seemingly endless breath, stunning legato, and every embellishment known to the Renaissance and Baroque, is matched by the loveliness and expressive quality of their tone. This is a perfect collection, ravishingly conceived, recorded, and performed. --Robert Levine

Customer Reviews:

At times, great and at other times...well... er............2003-08-27

First things first.
'Cornet', with a single T, is a perfectly acceptable spelling of the word for the Baroque cornetto - cornett, cornetta, cornèta, Kornett, cornet à bouquin, corno, cornio, Zink, Zinge, Zinggen and Recht Chor-Zink (et cetera) are all historical variations. The spelling with the single T was the original spelling - the double T spelling was adopted in the 20th century to save confusion with the cornett's modern brass band name sake.

Okay! So what's this CD like?
Well, its pretty good and much of it is very good. The music is 'orchestrated' with cornet(t)s, trombones, a dulcian and percussion - as well as the violins, viols and continuo mentioned by the composer. Maybe René Jacobs is suggesting that this music might have been performed like this for an aristocratic audience? Maybe, maybe not, however, Monteverdi and/or his publisher only suggest strings and continuo in the instrumental forces needed to perform this music. The cornetts and sackbuts sound splendid in madrigals like 'Altri canti d'Amor' even if their inclusion would have surprised Claudio Monteverdi! The string and continuo groups play very well and very idiomatically.

This brings us to the question of the voices used. Some of the singers are simply too operatic in their approach for this kind of music. One of the tenors sings in a highly charged way that would not be out of place in 19th century Italian opera. Bernarda Fink, as usual, uses too much vibrato - more than one would reasonably expect in a modern performance of Mozart or, indeed, Verdi - let alone Monteverdi! However, there is some great singing here, too - Maria Cristina Kiehr is an excellent Monteverdian. When the voices all sing together, as in 'Altri Canti d'Amore', the voices tend to jar and there is little sense of ensemble. We are presented with a group of not terribly compatible soloists singing together rather than a traditional madrigal vocal ensemble. Of course, this is my response to this recording and others may be delighted with this approach.

This is the first truly complete L'ottavo libro de madrigali available in one set on two CDs and for that reason it is a worthy introduction to this music.

Alessandrini's group and Anthony Rooley's The Consort of Musicke have also recorded these works and I have enjoyed all these different interpretations. Jacobs can be perverse and wayward in his interpretations but he can also make the music sing and dance like no one else. I will continue to enjoy most of his opera recordings and most of this madrigal set.

Monteverdi used 'cornets'?!.......2003-04-02

Though I have not listened to this particular CD of Monteverdi's Madrigali guerrieri et amoroso, I'm certain that cornets, the modern small brass instrument used in marching bands would not be appropriate. A cornett (or cornetti) the Renaissance wind instrument, made of wood and covered in leather, was used by Monteverdi, and would be quite appropriate, and I think that is what is being used in the CD.

Average customer rating:

Breathtaking
One of the most ravishingly beautiful lyric soprano voices
Voice from heaven
ethereal luminescence

Opera Arias

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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ASIN: B000008A51
Release Date: 2000-10-10

Tracks:

Ernani, Atto I: Surta E La Notte...Ernani! Ernani, Involami
Otello, Atto IV: Era Piu Calmo
Otello, Atto IV: Piangea Cantando - Victoria De Los Angeles/Giannella Borelli
Otello, Atto IV: Ave Maria Piena Di Grazia - Victoria De Los Angeles/Giannella Borelli
La Boheme, Atto I: Si. Mi Chiamano Mimi
La Boheme, Atto III: Donde Lieta Usci
Mefistofele, Atto III: L'atra Notte In Fondo Al Mare
La Cenerentola, Atto II: Nacqui All'affanno...Non Piu Mesta
Cavalleria Rusticana: Voi Lo Sapete, O Mamma
La Wally, Atto I: Ebben? Ne Andro Lontana
Le Nozze Di Figaro, Atto II: Porgi Amor
Tannhauser, II. Akt: Dich, Teure Halle
Lohengrin, I. Akt: Einsam In Truben Tagen
Manon, Acte II: Allons, Il Le Faut...Adieu, Notre Petite Table
Faust, Acte III: O Dieu! Que De Bijoux...Ah! Je Ris

Customer Reviews:

Breathtaking.......2006-07-29

Victoria de Los Angeles was always a wonderfully feminine, extremely musical and charming lyric soprano. This disc gives one complete recital of opera arias under Giuseppe Morelli plus a couple of opera arias recorded on different occasions. She owns the roles of Manon and Marguerite, is absolutely unique and unforgettable as Mimi and gives highly personal and fresh interpretations to every role she sang. The Otello selections here are worth the whole price of the recording. Her Ave Maria is so movingly sung, with such pure tone and legato, plus that melancholic smile in her voice, that I have always been reduced to tears each time I listen to it: 5 minutes of heaven you'll want to live again and again. If only we could hear her as Desdemona in a complete Otello recording! And if Jussi Bjorling was the Otello to De Los Angeles's Desdemona! Now what a recording that would have been!
A thing of beauty. Highly recommended.

One of the most ravishingly beautiful lyric soprano voices.......2004-05-16

Victoria de los Ángeles possessed an incredibly beautiful lyric soprano voice. It was pearly and lustrous, with an instantly recognizable, womanly timbre. Her singing was never vulgar and never ugly. It was full of warmth and dignity. She also sang in superb Italian and French, and her German was not bad either. Her high notes on this CD, for the most part, are secure, yet a few betray signs of effort.

This is an EMI compilation of de los Ángeles' studio recordings. It is a superb testament to her artistry and singing. She sings everything on this disc well; indeed, much of her singing is exquisite. Her "Ernani, Ernani, involami!" is well sung, with able agility and a nice trill. She invests the aria with meaning and the aria benefits from her superb sense of Spanish rhythm. The Willow Song from "Otello" shows de los Ángeles at her lyric best. She sings it exquisitely, floating truly ravishing pianissimos. Her "Ave Maria", needless to say, is very fine. She has the perfect voice for Mimì and she sings "Sì, mi chiamano Mimì" and "Donde lieta" very well. They are both sung with charm and a real sense of delicacy and warmth. The next item is "L'altra notte in fondo al mare". She imbues Margherita's plight with dignity and offers a very good trill. Her "Nacqui all'affanno...Non più mesta" is sung with good agility and the right sense of feeling. She gives "Voi lo sapete" a dignified, yet affecting, reading. "Ebben? Ne andrò lontana" is given a fine account. Her "Porgi amor" has a firm, seamless legato and is an example of the very finest Mozart singing. She has a rather small voice for singing "Dich, teure Halle", but does well by the aria, nonetheless. "Einsam in trüben Tagen" is given a superb account. Again, her voice is a bit small for the aria. She sings "Adieu, notre petite" very affectingly and her French is superb. She gives the Jewel Song a wonderful sense of delight and energy, but her trill is seriously lacking here. I guess the reason is because Gounod requires the soprano to sing and sustain two very exposed trills here. de los Ángeles can sing wonderful trills, but she is not good at sustaining them.

The sound of all the selections on this CD is very good. I highly recommend this CD.

Voice from heaven.......2002-12-13

Victoria de los Angeles was undoubtedly one of the finest artists of her time. On this CD her reportory ranges from Verdi and Puccini through Mozart and Manon and Gounod and even Wagner. She has brought her gently smiling and womanly portrayals of 15 different arias into our homes, to treasure and enjoy.

Her rendition of "Ernani, involami" has to be the finest I have heard on disc, her approach of feminine vulnerability easily beats Sutherland's powerful, but boring, performance. The same is true of her three Desmedona extracts, more stunning than any on complete sets. With her "Si. Mi chiamano Mimi" and "Donde lieta usci" she proves she IS Mimi, the sweet and vulnerable sickness-ridden sweetie.

Her "L'altra notte" from Mefistofele is fine, if not so dynamic as Freni's on her complete set. De los Angeles' "Non piu mesta" is inspired, hardly less so than that of Teresa Berganza, one of my personal favourite singers. "Voi lo sapete" is so emotion-packed, again with the womanly vulnerability she so superbly portrays. Her Wally aria is also good, if a shade below Tebaldi's, and though her "Porgi Amor" is lovely, it is no match for Schwarzkopf, Jurinac or Janowitz.

To my mind, the most interesting features on this CD are her Tannhauser and Lohengrin extracts. This is a fresh view of both these arias, when we are so used to Varnay and Flagstad-type impressions. Both are sweetly sung, again with that voice type only de los Angeles can assume. Not better than the German school, but different. The last two items, from Manon and Faust would be what I identify as the best things on this CD, along with the Otello extracts, especially Marguerite's Jewel Song. All in all, a fantastic line-up of arias for a fantastic singer and a very worthy addition to any CD collection.

ethereal luminescence.......2000-12-28

de los angeles has always been a unique artist. throughout her career she projected every role with subtle changes of tone and expressiveness. always true to the composer, it was no surprise that de falla dedicated an opera to her. puccini probably would have done the same had he been lucky to hear her.the cd samples her vast repertoire and one could only say she even sounded more beautiful in person.her voice always seemed to be coming from the sky,literally. this cd is a thankful document for those of us who love great musicmaking.