Morro

Disc: 1

1. Mi Baika (Pacas de a Kilo)

2. Interesada

3. Ese Morro Soy Yo (Ese Loco Soy Yo)

4. Cunanito (Mis Aventuras)

5. Que la Paso Al Morro

6. Morro Mix: Mi Jefa [La Cuca]/El Este de los

7. Su Mama Tuvo la Culpa (La Mas Lista Sel Salón)

Disc: 2

1. Show del Morro

2. Caballo Blanco (El Corrido de Mi Maika Roja)

3. Corrido del Juido (La Clave Privada)

4. No Me Se Rajar (Le Van a Bailar)

5. Pantalon Duro (Corazón Duro)

6. Gallinazo

7. Sola (Chola)

8. Es Mi Jefa (La Cuca)

Morro,El Morro,Fonovisa Inc.,Latin,Latin Music,Latin Pop,Mexican

Average customer rating:

OKAY, TAKE ME AWAY.
Great music...stunning recording quality
Incredible
Just Stunning!

Essential Verdi

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The Ultimate Puccini Collection
Essential Puccini
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The #1 Opera Album
The Most Famous Opera Arias

ASIN: B000056JSW
Release Date: 2001-02-13

Tracks:

Rigoletto: La donna e mobile - Luciano Pavarotti
Nabucco: Va pesiero - Chicago Symphony Orchestra
La forza del destino: Overture - Kirov Orchestra
La Traviata: Un di felice - Joan Sutherland
I Vespri Siciliani: Merce dilette amiche - Maria Chiara
La Traviata: Libiamo ne' lieti calici - Joan Sutherland
Il Trovatore: Di quella pira - Jose Carreras
Il Trovatore: Vedi! le fosche notturne spoglie - Chicago Symphony Orchestra And Chorus
Il Trovatore: Stride la vampa! - Stefania Toczyska
Aida: Ritorna vincitor! - Leontyne Price
Don Carlo: Dio che nell'alma infondere - Carlo Bergonzi
La Traviata: Prelude - Orchestra E Coro Del Maggio Musicale Fiorentino
Rigoletto: Caro nome - Joan Sutherland
Don Carlo: O don fatale - Olga Borodina
Aida: Se quel guerrier io fossi! Celeste Aida - Carlo Bergonzi
Emani: Ernani! Ernani involami - Joan Sutherland
Un Ballo in Maschera: Di tu se fedele - Jussi Bjorling
Un Ballo in Maschera: Morro ma prima in grazia - Margaret Price
Luisa Miller: Quando le sere al placido - Luciano Pavarotti
Aida: Gloria all'Egitto - Chicago Symphony Orchestra

Tracks:

Requiem: Dies irae - Wiener Philharmoniker
La forza del destino: Pace pace mio Dio - Angela Gheorghiu
Rigoletto: Questa o quella - Carlo Bergonzi
Rigoletto: Bella figlia dell'amore - Luciano Pavarotti
Otello: Ave Maria - Renee Fleming
La Traviata: Parigi o cara - Frank Lopardo
Macbeth: Ah la paterna mano - Luciano Pavarotti
Il Trovatore: Squilli echeggi la tromba guerriera - Chicago Symphony Orchestra And Chorus
Don Carlo: O Carlo ascolta - Dmitri Hvorostovsky
Requiem: Ingemisco - Luciano Pavarotti
Simon Baccanegra: Come in quest'ora bruna - Kiri Te Kanawa
Macbeth: Salve o Re! Si colmi il calice - Lucia Aliberti
Aida: O patria mia - Leontyne Price
I lombardi: La mia letizia infondere - Placido Domingo
Aida: Lo sguardo avea degli angeli - Montserrat Caballe
La forza del destino: Solenne in quest'ora - Nikolai Putilin
Macbeth: Patria opressa - Chicago Symphony Orchestra And Chorus
Il Trovatore: Tacea la notte - Katia Ricciarelli
I due Foscari: Dal piu remoto esilio - Odio solo ed odio atroce - Jose Carreras
Don Carlo: Spuntato ecco il di esultanza - Orchestra E Coro Del Teatro Alla Scala Di Milano

Customer Reviews:

OKAY, TAKE ME AWAY........2006-01-20

I don't know opera.

Last summer we had an incredible 20th anniversary trip to Italy. As a side trip from Venice, we planned a night in Verona. Neither my wife or I had been to an opera.

Is this how its supposed to be...

...an incredible star filled night with a three quarter moon, the largest stage and outdoor theatrical production on the planet, all taking place in a roman colleseum (arena) built in 180 a.d., an incredible colorful set and production with a full symphony orchestra and voices that don't come easy. Aida.

Now I know what all the hpye is as you opera fans sure are lucky to have such a beautiful setting for all your productions.

Okay, we got spoiled. But I also found myself getting spoiled on the Italian composer Verdi.

For me, this set is not only a "take me back to Verona" trip, but a great introduction to Verdi's other works. With some of the biggest names in the opera world in starring roles, I listened to both discs twice the first night they arrived.

And, of course, we are planning a return trip to Verona in the very near future to see some more Verdi...perhaps Nabucco or Otello or Macbeth...I'll even settle for Aida again. It was such a magical experience and a superb introduction to opera and Verdi.

This set continues that magical moment for us and provides a great introduction to a master of the opera...Verdi.

Great music...stunning recording quality.......2002-11-01

This is a marvelous compendium of Verdi's opera works that even the serious opera fan wouldn't turn his nose up at. These are the top contemporary soloists singing with first tier orchestras. When I saw the Decca label, I expected reasonable quality, but this disk is stunningly well engineered. Most of the vocals match the best jazz cds for immediacy and intimacy, and the orchestras are equally well done.

Incredible.......2002-06-05

I don't say incredible about too many things, but Verdi was the zenith of Italian Opera and Solti and the Chicago Symphony and the Vienna Philharmonic are the quintessential ensembles for modern classical performance. Not to mention that most of the voices showcased have their own lines of CDs (Pavarotti, etc.) This CD is the best Verdi album available, and it has EVERYTHING. BUY THIS CD!

Just Stunning!.......2002-01-26

In my opinion this recording is stunning. I am not usually a fan of compilations in classical music, as they're usually watered down representations made under the presumption that the listener would find the full-blown version intimidating or boring. This one, however, is not only an exception in my view, but a recording that deserves a high place of honor in every serious listener's collection. The representation of artists, both vocal and orchestral, is breathtaking and impressive for the span of years. A great big thank you to the people at Decca responsible for putting this collection together, as it is obvious to this listener that a great deal of thought and care went into looking for the most beautiful version of every piece on here. I have purchased two copies, one for home and one for the office, and have gotten two friends similarly hooked. I am also feverishly searching for more pairings of Joan Sutherland and Carlo Bergonzi. In the meantime, I'm on to Essential Puccini!!

Jewel Song ~ 20 Great Soprano Arias / Crespin, Freni, Te Kanawa, Sutherland, Jo, Tebaldi, Cotrubas, Caballé, Cerquetti...

Average customer rating:

Jewel Song 20 Great Soprano Arias
Sutherland, Battle, Te Kanawa.....Need I say More?
A good selection
A few real jewels with a couple of paste ones mixed in...
Very Nice

Jewel Song ~ 20 Great Soprano Arias / Crespin, Freni, Te Kanawa, Sutherland, Jo, Tebaldi, Cotrubas, Caballé, Cerquetti...

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The #1 Soprano Album
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The Most Famous Opera Duets
Ten Top Sopranos
Mad About Sopranos

ASIN: B000024581
Release Date: 2000-09-12

Tracks:

Dove Sono: Le Nozze di Figaro
Un Bel Di: Madama Butterfly
Merce, Dilette Amiche (Bolero): I Vespri Siciliani
Deh Vieni, Non Tardar: Le Nozze di Figaro
Ebben? ... Ne Andro Lontana: La Wally
Suicidio! La Gioconda
Signore, Ascolta! Turandot
Convien Partir! La Figlia del Reggimento
Chi il Sogno di Doretta (Doretta's Dream): La Rondine
Morro, Ma Prima In Grazia: Un Ballo in Maschera
O Dieu! Que de Bijoux! (Jewel Song) Faust
Vissi d'Arte: Tosca
O Mio Babbino Caro: Gianni Schicchi
Si. Mi Chiamano Mimi: La Boheme
Mesicku na Nebi Hlubokem (O Silver Moon): Rusalka
Quando m'en Vo (Musetta's Waltz Song): La Boheme
Tu Che di Gel Sei Cinta: Turandot
Welch Wonne, Welche Lust: Die Entfuhrung Aus Dem Serail
Du Bist der Lenz: Die Walkure
Der Holle Rache: Die Zauberflote

Customer Reviews:

Jewel Song 20 Great Soprano Arias.......2006-06-26

Recording quality excellent
A must for the soprano voice lover

Sutherland, Battle, Te Kanawa.....Need I say More?.......2005-12-30

This truly is a marvellous recording of the top Soprano's of our time in their prime. The Album starts with Kiri Te Kanawa singing Mozart's "Dove Sono", in which she captures the true essence of a wife questioning her marriage that has disintegrated over the years. And her phrasing in this song is heavenly. Battle's version of "Welche Wonne" is the best I've heard to date. I've listened to numerous other recordings of this aria and still havent found one that measures up to this one. Sutherland pulls off gounod's "O dieu, que di bijoux" excellently, with the greatest of ease. I could go on and on, but I'll end my review with this: These are excellent recordings of excellent singers at their very best, singing music by the masters. It would be worth your money.

A good selection.......2004-11-04

I rate this as a very valuable sampler. It gives the listener not only a reasonable introduction to various operatic works and styles (though there is a prominent Puccini verissimo presence) but a good introduction to the different artists. I like the fact that some operas feature more than one work on the CD because there's less of a chance you'll fall in love with one aria and go buy the entire opera, only to discover that the aria is nearly all that you enjoy.

As for the sopranos... I adored nearly all of them. I have listened to many of their recordings and I can vouch for these arias as good indicators of their outstanding talent....the few exceptions will follow, however.

I make special mention of some sopranos. Leontyne Price's Tosca, is the first. Her Aida has been her crown jewel but I would place her Tosca as a very strong rival. Also, the Turandot recording with Monsterrat Caballe is perhaps the finest on CD, and her Liu here shows why: she is blessed with a heart-melting upper register. Pilar Lorengar's Russalka was a very pleasant surprise...I wish I could find a complete recording of her singing the title role. I believe we will just have to contend with this however. I'd never heard of Virginia Zeani prior to this CD but I loved the secure purchase and `sanguine tinge' of her voice...I'll be on the look out for her in the future. Of course, we get a reliable performance from Mirella Freni: touching and delicate as usual, but never weak. Kathleen Battle proves why she can get away with her notoriously despicable attitude: she really was the golden voice of the Met! Sumi Jo's technically perfect and stunning aria (again a good indicator of what you can generally expect from her) is the perfect, exciting end to this compilation.

The exceptions? I found Graziella Sciutti's tone to be too `heady'... if you'll forgive the crude term. I imagined the sound to come from an old woman. This will be a matter of preference. Renata Tebaldi is a touchy subject for some people because of some petty bashing that sometimes takes place. While I'm no `basher,' I never found her voice aesthetically appealing. I find her tone metallic and hard. Here, however, is the best I've heard her (I've heard her Cavaleria Rusticana, her La Wally and her Turandot). While her La Rondine here is not bad, Angela Georghiu's interpretation is one example of a soprano who is vastly superior in my opinion. Finally, the `immortal' Kirsten Flagstad performs "Du bist der Lenz" from Die Walkure in Wagner's Ring cycle. The old sound quality aside, I would not have enjoyed her Sieglinde, `full-throated' as it was. I wrote this off immediately as an idiosyncrasy for Flagstad fans. Apologies if anyone is offended (and this is sincere) but the whole musical effect is that of some lumbering leviathan...this is the stereotypical tedium that people ascribe to Wagner. All-in-all, however, I found the experience invaluable. I certainly am more aware of recordings that I'm not likely to enjoy and so have avoided making mistakes. When saying so, however, these sopranos are truly legendary. But as in all things, preferences will vary and so I have stated mine.

A few real jewels with a couple of paste ones mixed in..........2004-11-04

Most aria/song compilations suck. That's just the nature of compilations in general - It's hard to get a good mix of singers, arias and performances that will appeal to a broad audience.

This one mostly succeeds with a few exceptions. The singers are, over-all, excellently selected. Most of the performers are excellent singers, and their respective selections show them at the highest level of their careers. This was a treat to realize, because quite often, compilations fall back on using poorer quality artists.

There are a few, however, that don't match up to the performances of some of the other soprani on the album. That's not to say that they don't have their own talent and value, but it's hard to appreciate their lesser stars when faced with the brilliance of Caballe, L. Price & other similar talents.

The selection of arias was also not to my taste. I personally could live in peace the rest of my days without hearing another "O Mio Babbino Caro," but personal taste aside, it would have been nice to hear some of the greater, but less frequently performed arias, as well as some of the commonly done but more appealing arias, too.

Out of all the music written by Mozart and Wagner, the best they could do was Welche Wonne, welche Lust & Du bist der Lenz?

This probably isn't a great album to introduce newbies to opera in general, but there is some good listening on it - particularly Caballe's Signore, Ascolte & Tebaldi's Che il bel sogno di Doretta.

Very Nice.......2002-09-01

As a big fan of the many "Top such and such sopranos" type CDs, I found this to be one of the best yet. It exemplifies the highlights of each sopranos career...and leaves you with a great impression of them all.

Tracks:

Aida: Ritorna vincitor
Turandot: Signore, ascolta
Le nozze di Figaro: Porgi amor
Madama Butterfly: Un Bel Di
Manon: Adieu, notre petite table
Manon Lescaut: In quelle trine morbide
Dido & Aeneas: Thy hand...when I am laid
Il Trovatore: Che piu... Tacea la notte ...Di tale amor
Les Nuits D'ete: Sur les lagunes
Porgy & Bess: Summertime
La rondine: Chi il bel sogno
Carmen: Habanera
La forza del destino: Son giunta...Madre.
Vier letzte Lieder: Im Abendrot
Ariadne auf Naxos: Es gibt ein Reich

Tracks:

Aida: O Patria Mia
TOSCA: Vissi d'arte
Turandot: Tu che di gel cinta
Le nozze di Figaro: Susanna
Il Trovatore: Siam giunti
Un Ballo in Maschera: Morro ma prima in grazia
Carmen: Sequidille
Il re pastore: L'amero
Don Carlo: Tu che la vanita
Suor Angelica: Senza Mama
Anthony and Cleopatra: Give me my robe
Madame Butterfly: Tu? tu?
La forza del destino: Pace, pace mio Dio

Customer Reviews:

The Incomparable LEONTYNE PRICE: "The Stradivarius of Singers"!!.......2006-08-14

This collection is a wonderful, affordable, and welcome overview of one of Opera's greatest and beloved aritsts:the phenomenal American Superstar soprano LEONTYNE PRICE.

For those Opera-lovers who first encountered Ms. Price's magical vocalism from the recording studio, this collection includes the the entire legendary "Blue Album" which many operaphile consider to be one of the finest recordings ever. The selections gathered here vividly demonstrate the reason why Leontyne Price is regarded as the supreme VERDI soprano of her generation (30 years to date) a renowned PUCCINI specialist, and one of the greatest artists of all time. Recorded in the early 60's, Ms. Price's instrument was, in her own words "a juicy lyric". The intrinsic lyricism of her voice was aligned to warm, lustrous tone that pulsated in the middle voice, yielded a dark, uniquely sensuous sound in the lower regions, and gleamed with a distinctive, fast, liquid vibrato in the upper voice. That unique vibrato was elemental to this diva's ability to infuse Verdi and Puccini's most dramatic phrases with surging power (without pushing), and still produce lovely pianos in alt - soaring there with an ease that was singular to her, and that continued to her retirement in the 2002. Elsewhere the listener is treated to the rewards of Ms. Price's natural vocal evolution, wherein her voice developed into a full spinto with the middle throbbing, creamy, and lush, the low voice alternately chesty or breathy, slightly weaker -but retaining its smoky quality. It is in her upper voice, already superb, however, that Ms. Price revealed the rewards of maturation. The upper voice became rounder, less vibrant perhaps but refulgent with greater strength at the top, meeting the out-sized demands of STRAUSS and WAGNER (missing in this compilation) amongst others, while spinning out soft, exquisite pianos, and luxuriating in the long phrases of any number of composers, not the least of which were MOZART, VERDI and PUCCINI.

Leontyne Price recorded arias and scenas from every standard repertory VERDI opera with few exceptions (Nabucco/Luisa Miller/Vespri/Falstaff) in superlative fashion. Her onstage roles included the "Il Trovatore" Leonora, the role of her sensational MET debut (that resulted in a record 42 minute ovation), thrice recorded by her, and a signature role throughout her career. The selections on this recording were culled from her first complete recording of the opera. Here Ms. Price soars effortlessly to the heights repeatedly in "Tacea la notte", and sings the cabaletta fluently. "D'amor sull ali rosee" (once the sole property of Ms. Price's Verdian predecessor Zinka Milanov) is enhanced by the soprano's expert trills, musical nuances, and the glorious vibrato that carries her gossamer tones to the floated high C in alt. She was also the leading interpreter of Verdi's other Leonora -di Vargas- in "La Forza del Destino" which the diva recorded twice. There is also a Live MET performance available on DVD, recorded when the diva was nearing her retirement from Opera. (The two selections here also hail from her first complete recording of this work) "Son giunta!...Madre pietosa Vergine" is one of Verdi's most demanding scenas for soprano, but THIS soprano was a mistress of Verdian sweep, and supplies a wealth of dynamic shadings that illustrate the desperation of the hapless Leonora. Ms. Price produces silvery, vibrant, pulsing tone with amplitude that rises to the forte climaxes, riding them without overpowering the orchestra. This role was one of her most riveting potrayals from a dramatic viewpoint. The second "Forza" aria is the great lament "Pace, pace mio Dio" and is synonymous with Leontyne Price to this day. The diva sang this aria onstage more often than any other Verdi aria throughout her long career. Here she infuses the music with sorrow and despair, her voice in service to the text, and caps the aria with her stirring cries of "Maledizione!!" on a sustained forte high Bflat. Ms. Price's successful outings as Amelia are represented by the Act II aria "Morro, ma prima in grazia" from her stellar complete recording of "Un Ballo in Maschera". She sings the aria in a hushed, somber manner, climaxing on a brilliant high C, and with a lovely diminuendo at its end. One of the several operatic roles Ms. Price sadly did not assume onstage was Queen Elisabetta from "Don Carlo". We must be grateful for her warm, glowing, majesterial account of "Tu che le vanita", replete with burnished, opulent tone throughout. The leading newspaper of Italy said of Ms. Price that "..our great Verdi would have her the ideal Aida" and that sentiment has been adopted the world over. The "Aida" selections here are the first ones recorded by the American diva, and remains a revelation. In "Ritorna vincitor" the soprano's lyric instrument is indeed "juicy", declaiming her fierce opposition to the Egyptian invaders of her Ethiopian homeland with energetic and powerful vocalism. She then masterfully delineates the young princess' dilemma with fervent and youthful passion, ending with a prayerful "Numi pieta" suffused by warm, sable-colored tone. "O Patria mia" is another of Ms. Price's most revered performances, indeed the aria that garnered her a (5) five minute ovation on live television at her "farewell to Opera" performance in the same opera. The soprano injects Aida's farewell to her homeland with rich, smoky, plangent tones that rise effortlessly to a shining high C that bedeviled some of her most illustrous rivals, and would be bettered in the future only by the wonderful Spanish soprano Montserrat Caballe - and Ms. Price herself!!

Leontyne Price performed the veristic music of PUCCINI onstage in a number of his operas that included "Manon Lescaut"/"Tosca"/Madama Butterfly"/"La Faniculla del West"/"Il Tabarro"/ and "Turandot", albeit with less frequency than with Verdi. She brought a luminous, womanly quality to all of the composer's music. Here, she sings with particular intensity and emotion as the geisha girl Cio-Cio San (her favorite Puccini role)and offers limpid, melting tone as the fiery Roman prima donna Floria Tosca -the complete opera twice-recorded and highly-acclaimed. Puccini's music for the doomed Chinese slave-girl Liu are exquisitely sung, while "In quelle trine morbide" and "Senza mamma" benefit from the voluptuous, sensuous vocalism of the more mature Price. The most outstanding qualities of this diva in Puccini's music was a femininity and humanity, inherent in all of her singing, but most pronounced with this composer. She also fearlessly sang his highest phrases with a vocal splendor and freedom unrivalled by anyone, nowhere more than as the tragic Butterfly. However, until she retired from public singing, one aria remained a trademark for this diva: Chi bel sogno di Doretta" from Puccini's rarely performed operetta "La Rondine". The performance here was her first recording of it, and is a classic in its own right. Ms. Price's voice shimmers throughout, singing the high C with astonishing purity, and caressing, velvety tone elsewhere.

MOZART's operas also brought deserved glory to Ms. Price. Her plush-toned voice was considered to be almost too rich for some early in her career. This was amply belied by the rapturous reception her onstage performances brought her, most notably as Donna Anna, the leading lady of "Don Giovanni", ironically not included in this collection. Another aria Ms. Price enjoyed singing in concert, "Come scoglio" ("Cosi Fan Tutte") is missing here as well, though she performed the role of Fiordiligi at the MET. The soprano never performed in "Le Nozze di Figaro", but sang the scena "Dove sono" often in her live concerts, understandably, because of the smooth, elegant vocalism she lavished on this music. It is truly a pity that she didn't either record or perform the entire role. "Porgi amor" (also from Le Nozze) and "L'amero" (Il Re Pastore) were extracted from a Mozart aria recording, and are well-sung, if not as memorably as other Mozarteans.

It is good that RCA included several French selections, for Ms. Price's talents were marvellously well-suited to the Gallic idiom. Leontyne Price sang the leading role of Madame Lidoine in the American premiere of POULENC's "Dialogues des Carmelites", a few performances of MASSENET's "Thais" onstage (both sadly missing from this compilation) in addition to her celebrated recordings of BIZET's "Carmen" and BERLIOZ's song cycle "Nuits D'ete". She lent a deliciously silken tone to the more nuanced passions of the French repertoire. The "Carmen" excerpts are exceptionally vivid in Price's hands, successfully capturing the earthy, sultry qualities of one of Opera's more mercurial creatures. Ms. Price's lower register is richly displayed in the Berlioz song, while Manon's wistful, poignant "farewell" is sung with delicacy and shimmery tone.

The German wing is represented by music that Ms. Price sang onstage, and recorded as well. While the diva recorded Richard STRAUSS' entire "Four Last Songs" song cycle as well as the title heroine in a complete opera recording of "Ariadne auf Naxos" , the listener gets a good sampling of the potency, range, and the "dunkel" qualities she brought to this music. Fortunately, there is a CD of Richard Strauss arias sung by Ms. Price mid-career that is impressive in its breadth, and vocally sumptuous.

Versatility was a Price by-word. In the recording studio she stylishly performed the music of composers that ranged from the early music of PURCELL's "Dido & Aneas" to the 20th Century musings of Samuel BARBER, who wrote the opera "ANTONY & CLEOPATRA" for Ms. Price to open the New MET in 1966 - another historic milestone. Both selections included here are superbly rendered by the artist. The "Dido" aria is sung with a fuller, richer tone than is usually associated with this period (though it should be noted that two great Wagnerian sopranos Kirsten Flagstad and more recently Jessye Norman have been much admired in this music), but with no loss of style, her vibrato evoking pathos and beauty in this plaintive music. The "Antony" scena is sung with all of the majesty, seductive guile, and courage of Cleopatra, one of history's most storied women - and Ms. Price shines in this music written expressly for her voice. RCA also includes the diva's inimitable performance of "Summertime" the opening aria of GERSHWIN's American opera "Porgy and Bess".

This compilation is a superb introduction to the glories of this magnificent artist for a neophyte...and a treasure trove of musical excellence for the connoisseur of great voices, and they come no greater than America's diva assoluta soprano LEONTYNE PRICE.

Leontyne Price: The Ultimate Collection.......2005-07-20

This was the first time I ordered anything from you. I was very happy with my selection. Delivery was fast and accurate, I immediately played my CD and have enjoyed it since.

Rolande M. Collins

The true prima donna asoluta.......2002-05-23

Ms. Leontyne Price is the quentisential diva. I fell in love with her when I started studying music at the conservatory level. Her phrasing, tone, quality, and endless range are breathtaking. This CD features selections from when she was vocaly at her best. Even though I could go without the Ariadne and Cleopatra, the rest of the CD is simply marvelous. I cannot stop listening to D'amor sull'ali rosee, which I think is the best interpretation and performance of the piece that I have ever heard!!! I prefer Price over Sutherland, Caballe, Freni, and Fleming any day. Her high tones give you the feeling of floating on clouds. This is one of the best CD's in my entire classical/Opera collection. Whoever purchases this CD, it will be worth your while.

Fabulous singing, Overblown orchestras.......2002-04-10

When I was first getting interested in opera, during the late 1960s - early 1970s, Leontyne Price was still singing at the Met, but I could never get a ticket because she only sang five performances a year (later, three). She said this was to "preserve" the voice but, as I learned from those who actually did hear her in person, her mid-range was deteriorating at that time until it was practically inaudible (though her high notes and lower range still sounded great). Also, to be honest, as a youngster I was put off by the promotion of her albums...all those fancy pictures of her in diamonds and furs just seemed so ostentatious to me, and listening to her on records was not always a pleasurable experience. Her voice so often sounded swamped by those loud, blaring, overblown orchestras.

But then I heard a remastering of the famous 1961 "Aida" with Vickers, Gorr and Merrill, and I realized how great a singer she was. That's when I started listening more seriously, and discovered a soprano who had a thorough command of her voice from the late '50s to the late '60s, not only in terms of vocal color but also in terms of phrasing. Listening to Price in her prime is incredible...she almost sounds as if she never breathed, her phrasing is so beautifully bound and poised. At the same time, however, I was disappointed by RCA's choice of partners for her on recordings. ...

This set goes a long way towards restoring the legend. Stripped of her sub-par partners (with the exception of Corelli's belting in the "Seguidilla" from "Carmen"), one can listen to Price's voice uncompromised, and it is a thrill. Even when the orchestra sounds detached and uninteresting, as it often does, Price seems to be on an entirely different wavelength, giving out with passion and great musicality. As for the selections chosen, they represent an excellent cross-section of Price's best work, even though the Purcell and Berlioz sound awfully heavy by today's standards and I can live without the "Anthony and Cleopatra" selection or the Strauss song.

One caveat I have is the lack of discographical information. No dates, orchestras or conductors are given. This is a grave injustice, even though the backup does not always meet expectations. On the plus side, all of the legendary "blue album" (her first recital discs for RCA in 1961) is presented complete, including the two selections from the July 1959 "Il Trovatore" that were on that LP...and in MUCH better, more focused sound. For this, and the heavy orchestral sound, I give the set only 4 stars...but for the singing alone I would give it eight!!

Fabulous!.......2002-01-19

The only alternative to Joan Sutherland. An equally gorgeous and fabulous voice. A true diva that puts me to tears. Sensational recital of so many gems.

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.

Tracks:

Madama Butterfly: Un bel dvedremo
La Boheme: Si, mi chiamano Mimi
TOSCA: Vissi d'arte
Mefistofele: L'altra notte
Aida: Ritorna vincitor
Otello: Mia madre aveva...Piangea cantando...Ave Maria - Verdi
Il Trovatore: Siam giunti...D'amor sull'ali rosee
Verdi: Pace, pace, mio Dio!
Guglielmo Tell: S'allontanano alfine!...Selva opaca
Adriana Lecouvreur: Ecco, respiro appena...Io son l'umile ancella
Cecilia: Grazie sorelle

Tracks:

Gianni Schicchi: O mio babbino caro
Suor Angelica: Senza mamma, o bimbo
Andrea Chenier: La mamma morta
La Wally: Ebben?... Ne andro lontana
Don Carlo: Tu che la vanit
Un Ballo in Maschera: Ecco l'orrido campo...Ma dall'arido stelo divulsa
Un Ballo in Maschera: Morro, ma prima in grazia
Giovanna d'Arco: Oh ben s'addice...Sempre all'alba
Turandot: In questa reggia
La Gioconda: Suicidio!
La rondine: Sogno di Doretta
Cavalleria Rusticana: Voi lo sapete
L'arlesiana: Esser madre e un inferno

Customer Reviews:

Tebaldi at her best!.......2007-04-07

I'd highly recommend these CDs!They have a little of everything. They'd make an excellent addition to anyone's opera collection. Her voice is etherial!

Tebaldi the Great.......2007-02-19

Renata Tebaldi is one of the glorious voices of the past half century. Recordings here come from the 1950s and 1960s. She had a sumptuous spinto voice, clearly manifest on this 2 CD set. Here are some of her "greatest hits." As would be expected, the repertoire of Puccini and Verdi is heavily represented here.

She "leads off" with "Un bel di" from Puccini's "Madame Butterfly." Her voice brings life to this aria; her characterization is right on. At the point, where the volume of her voice increases, the sound remains lush; there is no bleating or ugliness in her singing.

There follow two more classic Puccini arias that Tebaldi does justice to. "Si, mi chiamano Mimi" from "La Boheme" is a wonderful version of this work. She captures the poignancy in Mimi's character. Her work here can probably justly be termed "iconic." In short, this is a ravishing turn by "La Tebaldi." So, too, is her take of "Vissi d'arte" from "Tosca." One can understand the enthusiasm of her claque at La Scala as one listens to her singing. Her rich voice fits these roles nicely; her characterization is well rendered. Her version of "Ritorna vincitor" from Verdi's "Aida" is also well done. Her voice richly captures the character and fits the music well.

Verdi and Puccini are not the only composers represented on this 2 CD set. Also recorded are her singing Boito ("Mefistofele"), Rossini ("William Tell"), Cilea ("Adriana Lecouvreur"), Giordano ("Andrea Chenier"), Catalani ("La Wally"), and so on. Once more, the selection of music in this set well represents her body of work.

All in all, a satisfying selection of "the greatest hits" of Renata Tebaldi. The "liner notes" conclude by referring to her as possessing "a perfect voice of bewitching beauty." I'm not sure that anyone can achieve perfection (the statement has a bit of hyperbole); nonetheless, her voice is ravishing as already noted. Those interested in her recorded oeuvre would be well rewarded by acquiring this work. The CDs serve well to introduce "La Tebaldi" to those who may not have heard her before. Such listeners will be richly rewarded by that introduction.

A legacy for the ages!.......2001-02-23

Perhaps the greatest spinto and certainly among the greatest sopranos of all times, with an extremely powerful, amazingly beautiful instrument, Renata Tebaldi on this set heard in some of her best moments! I will not repeat comments on her beautiful voice since it often overshadows the pathos with which she performed each role. To me, she knew exactly where to draw the line between acting and singing. Not too much to become annoying, not too little to become boring. This compilation also shows how versatile this soprano was, with repertoire ranging from Puccini and Verdi to Rossini and even Wagner (though no Wagner aria is heard on this particular double cd). In her early years she also performed Mozart roles!

Her Puccini arias will make the most demanding listener cry. Her verdian heroines, enriched with her personal touch, are of exceptional value. Her Desdemona (Otello), Donna Leonora (Forza del destino) and Aida stand perhaps out. Her many verisimo roles sooo moving, full of sorrow and pain, exactly how they are supposed to sound. Just listen to "La mamma morta"! An unsurpassed shocking experience! A previous reviewer (F.W.Barton) correctly mentioned that not all moments are from her complete studio recordings, so this is a unique chance to enjoy alternative Tebaldi performances. Strongly recommended!!!!

Best Collection.......2001-01-11

If you love the warmth and power of Renata Tebaldi then this collection is for you. This has Two CD's of her best works. My favorites are her "o mio babbino caro" her tosca which isnt as dramatic as callas but has a vocal warmth in that aria that makes her voice so perfect for the aria. Another soothing aria would be her Un del di from Butterfly what sweetness and amazing finish to that aria!!! Her amazing power was noticed in La mamma morta and In questa reggia ( which was sooo good that it made me wonder WHY DIDNT SHE SING THIS ROLE ON STAGE) oh and of course her Suicido was also very well done.....Renata Tebaldi was without a doubt one of the best of the century...and this collection proves it.

Modified rapture.......2000-04-24

I bought this collection of Tebaldi's Decca recordings with the hope to experience some great singing. However, I can't help feeling a bit disappointed in the end. There are some thrilling performances here, for example, the dark, passionate renditions of the arias from La Gioconda and L'arlesiana, but overall, the achievements are rather uneven. Tebaldi certainly possesses a most beautiful and powerful voice, something to take bath in. Yet, she evinces little of the psychological insights, intense pathos and interpretive individuality of Claudia Muzio, Meta Seinemeyer, Maria Callas and Leonie Rysanek. Compare her performance of 'Ma dall'arido Stelo divulsa' from Verdi's 'Un Ballo in Maschera' with that by Leonie Rysanek (On RCA Living Stereo): The aria is magnificently vocalised by Tebaldi, but it is Rysanek who effectively combine vocal opulence with dramatic insights, evincing Amelia's exteme desperations. Perhaps Tebaldi was constrained by the restrictions and protocols of recording studios and unable to realise her full dramatic potentials --- in this case she is best heard on live recordings where we could experience her in full flight. Furthermore, the 1964 Come back album items on the second disc demonstrate a voice that has lost much of its pristine freshness and youthfulness, even though there are exciting things to hear. Still, the beauty of the voice and the sincerity of utterances are there for us to experience. For ardent Tebaldi fans, this is definitely a must, but for those looking for truly great singing and acting, you might want to look elsewhere for Tebaldi's live recordings and Maria Callas, etc.

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

Average customer rating:

Gorgeous singing by a great singer

Italian Opera Arias

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Very Best of Régine Crespin
Legend: Régine Crespin [CD & DVD]
Berlioz: Les Nuits d'été; et al / Crespin, Ansermet
Leontyne Price: The Ultimate Collection
Bach: Cantatas BWV 82 and 199

ASIN: B000174LXE
Release Date: 2004-04-13

Tracks:

Tracea La Notte Placida
Morro, Ma Prima In Grazia
Mia Madre Aveva Una Povera Ancella...Ave Maria
Suicidio!
Voi Lo Sapete
Un Bel Di (Cio-cio-san)
L'altra Notte In Fondo Al Mare

Customer Reviews:

Gorgeous singing by a great singer.......2004-05-15

This recital is full of very good vocalism. Régine Crespin was the greatest opera singer France produced after World War 2. She had a huge, beautiful dramatic soprano voice. She sings all the arias here really well, though her agility is not the best and she cannot muster a real trill for "L'altra notte in fondo al mare". It must be noted that she has a short and rather shrill top register, but her middle register is very beautiful, with a slightly metallic sound, and her lower register is very strong and imposing. Her "Suicidio!" is sung with firm, strong low notes. She sings the Willow Song from Verdi's "Otello" beautifully, and her "Ave Maria" is gorgeous, with a ravishing piano high A-flat at the end. Everywhere on this CD, she displays her trademark crystal-clear diction. The sound on this CD barely hints at the huge size of her voice, though it is very good. Decca should have released this recording with better notes. We get some biographical and career information on Crespin, and the dramatic context of each of the arias included on the recording. All of this is printed on a cardboard case in very small text, with the CD facing the information. There is no booklet, and therefore, no texts and translations.

If you want to hear Crespin at her best, try to acquire her live recordings. They are very hard to find, but are well worth the effort. The live recordings really show how big her voice was, and give you some idea of the enormous lower register she had at her disposal. Unlike many soprano lower registers, hers was feminine sounding and quite beautiful.

Un Ballo in Marschera (Dig)
Average customer rating:

Not a bad BALLO

For Carreras fans only

Un Ballo in Marschera (Dig)
Verdi , Carreras , Caballe , Roh , and Davis
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Giordano - Andrea Chenier / Jose Carreras, Eva Marton, Piero Cappuccilli, Silvana Mazzieri, Riccardo Chailly, La Scala Opera

ASIN: B00006LENO
Release Date: 2003-02-11

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

Average customer rating:

this cd cool

Puras Para Niños, Vol. 2
El Morro
Manufacturer: Fonovisa
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

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Latin Pop | Latin Music | Styles | Music
ASIN: B00005UOGE
Release Date: 2002-01-04

Tracks:

Burrito de Bel
"El Castigado" Despreciado Me Voy - El Morro, Lupillo Rivera
Rana
Yo No Fui
Mi Abuela
Los Africanos
Baile del Gavil
Mi Papi
Qume Esa Morra [Versiorte*]
Qume Esa NiVersilub Mix][*]

Customer Reviews:

this cd cool.......2002-06-03

i like this cd its funny and fun to listen to it i like it because it has good songs and el morro funny and i like when he sings with lupillo hes great they both sing great i hope they do more cds together i would really like that cause its a great song i also like la rana, yo no fue, mi abuela and el baile del gavilan its cool to dance that song its a good cd.

Average customer rating:

A Premiere Wagnerian Voice
The voice is great, the interpretations a bit uninspired
Superb Quality!
Birgit Nilsson's equal
One of the greatest treasures of the classical catalogue

Opera Scenes and Orchestral Songs

Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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

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Italian | Languages | Opera & Vocal | Styles | Music
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Fifty-Five Years in Five Acts: My Life in Opera
HOMAGE: The Age of the Diva
Wagner: Die Walküre
Angelika Kirchschlager Handel arias
R. Strauss - Elektra

ASIN: B00009LW32
Release Date: 2003-08-12

Customer Reviews:

A Premiere Wagnerian Voice .......2006-06-28

Astrid Varnay was the equal of Nilssen and Moedl... and in this record it is clear why Wieland and Wolfgang Wagner kept inviting her back to star at Bayreuth Festival for 17 consecutive years! Not only did she have glorious voice (big, full bodied with clear top and colorful bottom), she was a consumate actress, too. Her reading of the roles are always multi-layered and utterly convincing. A dramatic soprano version of what Vesselina Kasarova is today. If you combine Nilsson and Modl and divide in two you'd probably get something close to a Varnay.

For the record, Varnay and Nilssen were practically the same age (unlike what the other reviewer said). They were born not far from each other in Sweden and just a few weeks apart (Varnay was older)... and the two were great friends. The rather popular misperception that Varnay was much older than Nilsson is because Varnay started starring in the lead hochdramatisch roles like Brunnhilde, Isolde, and Elektra in her early 20's while her contemporaries were still doing understudy and supporting works. As a matter of fact, this extraordinary singer had her Met debut the day before Pearl Harbour bombing substituting for Lotte Lehmann as Sieglinde opposite The Lauritz Melchior in the broadcast Die Walkure without having ever sung on stage before and made a grand success of it and never looked back.

Theirs were the Golden Age of Wagnerian hochdramatiche. The likes of Traubel, Nilsson, Varnay, Modl, Borg, Rysanek... all greats in their own unique ways. I wouldn't say one is better than the other or any is 'unfulfilled' just because I prefer another. They were all special and individualistic.

Varnay was The Wulkure Brunhilde after Flagstad's reign, but her voice changed (some call it 'uglified'... it got edgy and wobbly on top) and in later years she took on Wagner/Strauss mezzo roles and then the character roles like Beckbig in 'Mahoggony' instead while Nilssen continued on as the premium dramatic soprano. I don't think anyone has bettered Varnay's portrayal of Ortrud or Klytamnestra (and Elektra... if you've heard the 1953 recording with Klaus) yet.

This box set is a good highlights of Varnay's many Wagnerian roles in her good soprano voice years and beautifully conducted by her husband Herr Hermann Weigert (including arias from La Forza del Destino, Un Ballo in Maschera (in Italian and German versions), an aria by Beethoven, and Wagner's songs and opera scenes from The Ring (no Hojotoho), Tristan und Isolde (with a searing 'Narrative and Curse' and 2 versions of Liebestod).

There are 3 CDs in tight fitting paper envelopes (no case). A neat little booklet with a note of her career (and photos with Windgassen) comes with it ... no libretto given.

PS: if you haven't read it yet, her autobiography (55 years in 5 acts) is a must read.

The voice is great, the interpretations a bit uninspired.......2005-10-08

All the other reviewers here seem to agree that Astrid Varnay was the equal of Birgit Nilsson. That may have been true for a period when she was in her prime--as on these excellent CDs from 1954 and 1955, in amazingly good early stereo--but I found her interpretations somewhat disappointing. Varnay's singing isn't all that characterful; she concentrates on producing a steady stream of sound. One doesn't hear many colorings, emotional or vocal, and she tends to adopt a steady volume as well.

The result, particularly in the Ring excrepts, is too uniform. One doesn't hear Burnnhilde's grief, confusion, or vulnerability, being aware at all moments of an excellent dramatic soprano producing notes. In the Tristan disc, which has better conducting, I sitll can't tell the difference between the bitter Isolde of Act I and the rapturous one in Act II.

The same holds true for Windgassen, who is fairly wooden in his characterization, both in the Ring and Tristan excerpts. The reviewer who points out that he gained in dramatic ability in later years, even as his voice became older and frayed, is right. One is aware here that Windgassen is mostly tyring to inflate his voice to heldentenor status, which he does convincingly, but when a voice is being pushed, there isn't much room for light and shade.

Superb Quality!.......2005-09-04

First of all, it must be recognized the absoultely stunning technology of Deutsche Grammophone. The recordings from 1954 sound thirty years ahead of its time. If you don't believe me, compare this to some RCA recordings from the early 1980's. Only Decca comes close with their recordings of Aida, Otello, and Trovatore around the same period.