Live from Rome [Live]

Track Listings

1. Cheap Entertainment

2. Self Inflicted Wounds

3. Predictions

4. Sin Carne

5. Entalude

6. Locust Farm

7. Every Single One of Us

8. Typical

9. Crisis

10. Manifesto 232

11. Banks of Marble

12. Atheist Jihad - Bleubird, Sole

13. Dumb This Down

14. Imsotired

15. On Martyrdom

16. Theme

17. Drive by Detourment

Live from Rome,Sole,Anticon,Alternative Rap,Pop,Rap & Hip-Hop,Underground Rap

Tracks:

Cheap Entertainment
Self Inflicted Wounds
Predictions
Sin Carne
Entalude
Locust Farm
Every Single One Of Us
A Typical
Crisis
Manifesto 232
Banks Of Marble
Atheist Jihad
Dumb This Down
Imsotired
On Martyrdom
Theme
Drive By Detournment

Customer Reviews:

Strong Anticon release.......2006-04-15

An excellent follow-up to Selling Live Water. A great hybrid of Sole's politico-satirical ideologies along with his panache for crafting rhymes that are intentionally self-loathing. Sole succeeds in the latter regard much better than on Bottle of Humans.

Sole's best so far.......2006-01-17

While not as experimental as his work under the name Mansbestfriend, this is probably the best sole so far...
and coincidentally his most political album so far as well.

And also, despite being called "Live From Rome," this is not a live album. Don't let amazon fool you.

Pretty Good, but Dissapointing.......2005-08-02

This CD is a huge dissapointment to me. After his first two epics, sole has really let me down. The Songs here are pretty much a stereotype of hit and miss for me. There are some really really good tracks on here, but there are some pretty bad ones. The second half of the album is where consistency starts to boil in some more. All the songs except aetheist jihad are really good. Dumb this Down is very good. This is a must buy for any sole fan, as Its pretty cheap on amazon's used and new program. I defenitly enjoyed live from rome, and would reccommend it, but just dont expect another selling live water. If you are deciding between the two, go with slw first.

best Sole album.......2005-03-25

Im not one of those people who think every anticon release is awesome (the no music, why, pedestrian, passage i cant listen to) I love No more wig for ohio, dpd, them, greenball, 10 seconds, muted, I didnt even know if i liked live from rome after listening to it the first time, but something made me hit play again after it was done, it has a unique vibe(6 tracks produced by Odd Nosdam and 4 by alias). Great subway music.
I bought live from rome the same day i bought a healthy distrust, the revolution of young havoks, streets deciple, and sleepers, and Iv listened to it more than all the previous combined. now i can say i like it better than every other previous sole release, probally mostly due to the production, sensible cultural observations, and no cheesy rants like (the white man is the f_ing devil...).
Favorite track 16

Sole is so DOPE, don't sleep heads..........2005-03-02

Sole became a big player in underground hip hop when he dropped Bottle of Humans and continued his success through Selling Live Water. I would recommend both of these releases. His new release "Live From Rome" is even more socially conscious and interesting. Sole is an amazing MC, and he is surrounded by an amazing group of emcees (anticon). His music has always had the Hip hop feel to it. If you like strait unadulterated hip-hop then I would strongly recommend this album. The only reason this LP didn't receive a full 5 stars is because Selling Live Water is unbeatable and will never be matched. A MUST BUY FOR ANY ANTICON OR SOLE FAN.

if you like this release check out:

Dose One: Hemispheres
Pedestrian: UnIndian Songs Vol.1
Alias: The other side of the Looking Glass
Dosh: Pure Trash
Passage: The Force Field Kids
Sage Francis: A Healthy Distrust

Average customer rating:

Needs An Orchestra
The performance of a lifetime
An Unforgettable Voice
Brilliant but erratic
Clear and powerful! Mario sings with great reverance!

Live from London

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Live at Hollywood Bowl: Historical Recordings (1947 & 1951)
Mario Lanza ~ Opera Arias & Duets, from Andréa Chenier · La Bohème · I Pagliacci · Madama Butterfly · Otello
Mario Lanza: At His Best!
Mario Lanza Sings Songs From The Student Prince & The Desert Song / Romberg
Lanza: Greatest Hits

ASIN: B000003FLG
Release Date: 1994-01-18

Tracks:

Introduction I
L'arlesiana: Lamento di Federico
L'arlesiana: Lasciatemi morire
Gia il sole dal Gange
Pieta, Signore
Tell Me, O Blue, Blue Sky
Introduction II
Bonjour, ma Belle
The House On The Hill
TOSCA: E lucevan le stelle
Introduction III
Mamma mia che vo' sape?
Introduction IV
'A vucchella
Marechiare
The New Moon: Softly, As In A Morning Sunrise
Naughty Marietta: I'm Falling In Love With Someone
Because You're Mine
Introduction V
Seven Hills Of Rome
Introduction VI
Rigoletto: La donna e mobile

Customer Reviews:

Needs An Orchestra.......2005-03-02

The songs chosen here are fine but Mario sings with only a piano to back him up and this is the downfall of this CD.
If there was at least a small combo backing him up then this CD would be worth the money.
Instead it is too musically lacking and Mario's voice can't save it!

The performance of a lifetime.......2002-12-18

This was the golden age of music with the voice of the century in the performance of a lifetime. This disc will forever change your appreciation of the human voice. This is the singer who made opera lovers out of the bobby-soxers and movie goers out of the operaphiles. There never was an artist with such a combination of gifts in the history of recorded music-and it all came together that special night. There are operatic arias, Broadway show tunes, and even a piece that brings the audience to laughter. Mario's introductions display his warmth and humor. The piano accompanist and the hall's accoustics are excellent and the recording quality is as good as any from this era. I believe that live recordings can bring out the best in a singer and this disc proves me correct. Oh, to have been a member of that audience! While we may speculate on what would have been, let us be thankful for what we have. Number one on that list is this disc.

An Unforgettable Voice.......2002-04-11

I saw opera for the first time through Lanza's movie The Great Caruso. Since then I became a Lanza fan. As I myself a "dilettante" tenor when taking solfeo lessons in my youth I was told never to try singing like Mario Lanza because it would hurt my voice. The reason given was that Lanza voice was specially engineered in the recording studio. This record shows what I always believe. Lanza voice was not only exceptional but that recorded live does not allow for "special" effects. His voice and his films are unforgettable. Pity he died too young when he was getting ready to move into performing opera in the great theaters of the world. I advise the new generation to listen to this record and enjoy one of the most beautiful voices of the 20th Century.

Brilliant but erratic.......2000-10-14

From the opening bars of the beautiful Lamento di Federico, it's immediately apparent that Lanza was in great voice in this 1958 concert. True, Lanza's voice at this stage was too dark for the delicate lyricism of the Lamento, but it's a thrilling rendition nonetheless, complete with Lanza's interpolated high B.

This is the later Lanza voice, a much more baritonal sound than the Mario of the MGM period, but with that effortless top still firmly in place. The encore Because You're Mine displays a breathtaking B-flat finish that sends his audience into a frenzy. Other highlights include a poignant Tell Me, Oh Blue, Blue Sky and a surprisingly nimble Gia, il sole del gange, in which he lightens his tone effectively. The concert is a must-have, if only because it demonstrates Lanza's extraordinary versatility and his unique manner of "working" an audience.

Be warned, however, that this is not Lanza at his most subtle. If you're looking for the best of the later Mario, check out his masterful Mario! Lanza At His Best CD. Lanza did not want this concert released on disc, and from all accounts he gave far better performances at other concerts in this period in both Britain and Germany. Unfortunately, this is the only record we have of his final concert tour.

Having said that, the CD is still essential listening for anyone interested in a unique vocal talent. Even at his roughest,this is compelling singing of the highest order, and allowance should be made for the fact that it is a live performance. The sound quality is excellent. Warn your neighbours before putting this on - this is singing to rattle the teacups!

Clear and powerful! Mario sings with great reverance!.......1998-11-09

Maestro Lanza sang beautifully in this recital! Must have it in your Lanza disc collecton. He was still in top form even though the end was drawing to a close! Superb!

Maria Callas: Live in Rome 1952 and San Remo 1954

Average customer rating:

Great performance - terrible mastering
Amazing recital, but...
Callas does it again!!!
Striking passion and versatility but so are some problems
Two miraculous Recitals

Maria Callas: Live in Rome 1952 and San Remo 1954
Gustave Charpentier , Leo Delibes , Wolfgang Amadeus Mozart , Gioachino Rossini , Giuseppe Verdi , Alfredo Simonetto , Oliviero de Fabritiis , and Rome RAI Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Maria Callas: Live in Milan 1956 and Athens 1957

ASIN: B000069V7Q
Release Date: 2002-11-05

Tracks:

Vieni! T'affretta...Or Tutti Sorgete (Atto I)
Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Atto II)
Il Dolce Suono...Ardon Gli Incensi (Atto III)
Dov'e L'indiana Bruna? (Atto II) (Bell Song)
Tutte Le Torture (Atto II)
Ahime! Che Notte Oscura...Ombra Leggera (Atto II)
Depuis Le Jour (Acte III)
D'Amore Al Dolce Impero (Atto II)

Customer Reviews:

Great performance - terrible mastering.......2006-03-28

Avoid this mastering of the famous 1952 RAI recital like the plague - terrible sound. The strange thing is that EMI already issued the 1952 RAI recital in its 1997 2-CD "Live in Concert" from a far superior source. Buy that one instead.

Amazing recital, but..........2006-01-20

I recommend you seek out a previous EMI album entitled "Maria Callas: Live in Concert", since it feautures this same recital, but in much superior sound (no doubt from a different source), thus making the experience all that more enjoyable. As to the performances themselves, they really need to be heard to be believed (and in that sense I give them 5 stars, I take 2 from this release because the source EMI chose isn't as good as the one of their previous release). This also goes for "Live in Milan/Athens". Though not all of the items featured in that disc are actually in "Live in Concert", I'd still recommend the latter for the same reasons stated above.

Callas does it again!!!.......2005-10-14

I heard this CD and i instantlly loved it. It showes Callas in her earlier days of her career. The voice is young, fresh, and full of expression. I just wish they had more film footage of her performances. This is something a Callas fan should own.

Striking passion and versatility but so are some problems.......2004-07-01

These two recitals are great examples of Callas' remarkable versatility. She was more at home with the repertoire she chose in Rome but the San Remo scenes are interesting as well.

I've little to say about her Lady Macbeth and Abigaille. No other soprano has ever equalled Callas' in these roles. She had everything these early Verdi roles needed. The penetrating high notes, the rough instrument and fierce temperament. My only complaint is that Abigaille's cabaletta was omitted. Such a loss!

She had yet to sing the part of Lucia on stage but her reading of the mad scene is already filled with her customary darkness. Technically she adds interesting variants like an acciaccatura, a turn, an extra trill and a fermate. The flute cadenza brings the first vocal mistakes to sight. According to her biographers, in the Lucia performances which exist, Callas rarely - if ever - enjoyed a total success in this cadenza. There were always badly pitched notes here and there. The most obvious example here are the awkward staccato B-flats. The Italian version of Lakme's Bell Song is quite good though Callas' singing is not as brilliant as Sutherland's for example. This is after all a very flashy scene. The final top E, however, is ringing.

The San Remo recital opens with Kostanze's big aria. Callas sounds downright furious and the result is most exciting. On the other hand I was amazed how exposed her instrument is to Mozart's demanding singing! Sudden high notes are shaky while the sustained top C sounds clumsy and uncomfortable. Listen to Gruberova or Auger for a rounder performance. The gorgeous aria from Luise is probably Callas' worst moment of the evening. This piece has so many sustained soft high notes and these were never Callas' territory. Even in 1954, almost every note sounds wobbly! Listen to Caballe's literally breathtaking reading of this aria. Her breath control is out of this world!

Dinorah's introspective music suits Callas well and the result is finer than her later studio recording. I'm not very familiar with this Meyerbeer work though. The sorceress's aria from Armida wonderfully closes the San Remo recital. Despite some ambiguous notes around the top C area, her Armida is outstanding.

Callas mixed many different styles in these two recitals which is astonishing but mixed are also the outcomes. (Despite my appreciation of this recital I don't expect much positive feedback by Callas-fanatics). Recommended as an important part of Maria's legacy!

Two miraculous Recitals.......2004-05-17

These two recitals show, without the possibilities of the studio such as re-takes etc. how miraculous Callas' voice sounded live. Just look at the choice of repertoire, WHO can sing these in ONE recital and who DID?

1. Vieni! T'affretta...Or Tutti Sorgete (Atto I)
2. Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Atto II)
3. Il Dolce Suono...Ardon Gli Incensi (Atto III)
4. Dov'e L'indiana Bruna? (Atto II) (Bell Song)
5. Tutte Le Torture (Atto II) Listen Listen Listen
6. Ahime! Che Notte Oscura...Ombra Leggera (Atto II)
7. Depuis Le Jour (Acte III)
8. D'Amore Al Dolce Impero (Atto II)

The first four tracks were sung in the Rome-Recital in 1952. Verdi's highly dramatic, lunatic and dark Lady Macbeth and Abigaille paired with innocent, sad Lucia and sparkling Lakme? Who did this in one recital and succeeded? Nobody except Maria Callas. Callas had sung Abigaille in 1949 (A recording exists) and this recording of Abigaille's ornamented aria is breathtaking. Abigaille is normally sung by huge agile voices (So rare) but many dramatic sopranos avoid it because of the trills, scales and coloratura. Callas, well schooled in bel canto by Elvira de Hidalgo, has no problems here. Here the famous "vibrato" of the late years isn't even hinted, Callas takes the leaps (An octave at a point) as if it were EASY! Absolutely stunning and making me sad that she never recorded Abigaille in the studio.
The next role where sadly only a live-recording exists is Verdi's she-devil, Lady Macbeth. Callas sings the "Vieni t'afretta" passionately and the following cabaletta with all the acuti, coloratura and leaps as if it were not hard at all. The best Lady Macbeth ever.
The miracle of this concert is the sudden switch to innocent belcanto-heroines, something that seems impossible. But Callas sings Lucia's madscene (The first recording to be made of her Lucia) luminously and beautifully with a HUGE E-flat closing it. Sadly she didn't sing the cabaletta then. The Bell Song from Lakme shows her at her brightest, sparkling like the best champagne. A joy to listen to.
The later recital presents us with her take on Konstanze, a role she had sung at La Scala. (No recording survived) Absolutely breathtaking agility and power, the same goes for her flawless Armida, Shadow-Song and Louise. (The only "Depuis le jour" of hers that I like) In short, a young soprano conquering the operatic world in 1952. Sensational!

The Tallis Scholars Live in Rome Peter Phillips directs the Palestrina 400 Concert
Average customer rating:

a voice teacher and early music fan

Superb Performance of Reformation Era Catholic Masses

The Tallis Scholars Live in Rome Peter Phillips directs the Palestrina 400 Concert

Manufacturer: Gimell UK
ProductGroup: Music
Binding: Audio CD

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The Tallis Scholars - Renaissance Giants

Tallis Scholars sing Palestrina

ASIN: B000025YLJ
Release Date: 2002-07-09

Tracks:

Applause
Surge, Illuminare/Missa Papae Marcelli
Kyrie
Gloria
Credo
Sanctus & Benedictus
Agnus Dei I & II
Miserere
Stabat Mater
Alma Redemptoris Mater
Magnificat Primi Toni
Nunc Dimittis

Album Description

The Tallis Scholars - Live in Rome

Customer Reviews:

a voice teacher and early music fan.......2007-01-15

On February 4,1994, the 400th anniversary of Palestrina's death, the Tallis Scholars presented a concert at the church of Santa Maria Maggiore in Rome. Since Palestrina worked there, first as a chorister and later as 'masetro di cappella', no more inspiring building could be found. Certainly the excellent acoustics therein would have given the young Palestrina an idea of what could be achieved with vocal polyphony.
"MISSA PAPAE MARCELLI" was written for Pope Marcellus II in 1567 in order to prove that polyphony could be concise and musically impressive. However, he only attempted it in two of its five movements, and prefaced its publication with the words 'novo modorum genere' broadly speaking 'a new form of expression'. Music was definately moving towards a harmonically-based,word-orientated idiom, thus paving the way for the Baroque. In the four double-choir motets sung on this disc,Palestrina showed that he could put this style to good use.
"SURGE, ILLUMINARE" shows the antiphonal writing of these double-choir settings. Palestrina's setting of the "STABAT MATER" is one of the supreme achievements of the Renaissance period in music. The setting of "ALMA REDEMPTORIS" is a straightforward composition with scarcely a polyphonic phrase in it. Originally written for two choirs which never overlap, it is often sung with a single choir as it is on this recording.
Allegri's "MISERERE" is a partially harmonised setting of a plainchant psalm (no.51). Allegri composed this for the Sistine Chapel Choir and it was jealously guarded as their exclusive possession until copies of it started appearing some time during the 18th century. The 14 year old Mozart supposedly copied it from memory after hearing it one time. We know that this is probably true!!!!
The Tallis Scholars have always been an outstanding group no matter what the personnel is at the time, and it does change from year to year. Their performances are almost always outstanding. Having said that, I have to add that the "MISERERE" rendition is not nearly up to the standard that was recorded in 1980 on Gimell's 25th anniversary disc. If you have not heard this, please purchase this as it was recently reissued at half price and it is absolutely the BEST recording of not only this selection , but several others. Michael Chance is the solo countertenor and his voice is stunningly beautiful. It was also taken at a much slower tempo that allowed for a more emotional delivery.

Superb Performance of Reformation Era Catholic Masses.......2006-10-06

'the Tallis Scholars Live in Rome' is a long drink of cool water to those of us who may listen to a lot of 'old music', especially liturgical music from the late Middle Ages through the Counter-Reformation and the arrival of Telleman, Vivaldi, and Bach.

Part of the charm of the recording is certainly due to the ambiance of audience and very large space in the Basilica of Santa Maria. Oddly enough, the appreciative applause of the audience almost distracts from the ambiance of performing a work of worship in a cathedral.

But oh what a performance. I would easily trade in two 'Anonymous 4' recordings and a Palestrina trading card for this recording if I had to. It should not be lost on the listener that this work was innovative, and done in a time of much turmoil, as Western Europe was about 40 years into the Reformation when the work was done, and this upheaval was not to be resolved for another 80 years, after the conclusion of the 30 Years War. One can be grateful that the Pope / patron of the day had time to sponsor such beautiful works in between doctrinal disputes.