C'est Ma Vie/Les Plus [Import]

Track Listings

Disc: 1
1. Tombe la Neige
2. Sans Toi, Ma Mie
3. En Blue Jeans et Blouson d'Cuir
4. N'Est-Ce Pas Merveilleux?
5. Crier Ton Nom
6. Amour Perdu
7. Vous Permettez, Monsieur?
8. Filles du Bord de Mer
9. Nuit
10. Dolce Paola
See all 20 tracks on this disc

Disc: 2
1. Mes Mains Sur Tes Hanches
2. Inch' Allah
3. Mèche de Cheveux
4. Ton Nom
5. Elle Étatit Belle Pourtant
6. Larme aux Nuages
7. Néon
8. Amour Te Ressemble
9. Notre Roman
10. J'A Tant de Rêves Dans Mes Bagages
See all 20 tracks on this disc

Editorial Reviews

Product Description
Digitally Remastered Collection of 40 Great Hits from Throughout Adamo's Long Singing Career. This Set Comes on the Occasion of his 60th Birthday. Adamo Has Sold Over 80 Million Albums During his Great Career.

C'est Ma Vie/Les Plus,Salvatore Adamo,EMI Int'l,French,Int'l & World Music,Italy,Pop,World Music
Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano
Average customer rating: 4.5 out of 5 stars
  • Not a flawless version, but one to be REALLY loved
  • The best of a mediocre-to-bad lot
  • Hoffman contines to elude the recording world
  • Excellent but not definitive
  • O Dieu, de quelle ivresse embrasse-tu mon âme?
 Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano
Jacques Offenbach , Roberto Alagna , Natalie Dessay , Kent Nagano , Choeur et Orchestre de l'Opéra National de Lyon , Leontina Vaduva , Sumi Jo , José van Dam , Catherine Dubosc , Gilles Ragon , Gabriel Bacquier , Doris Lamprecht , and Juanita Lascarro
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

All Works by OffenbachAll Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music
Alagna, RobertoAlagna, Roberto | ( A ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
RomancesRomances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
FrenchFrench | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
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ASIN: B000005E4D
Release Date: 1996-10-29

Tracks:

  1. Les Contes D' Hoffmann: Prelude - Kent Nagano
  2. Les Contes D' Hoffmann: Act 1, Scene 1: Glou! Glou! - Kent Nagano
  3. Les Contes D' Hoffmann: Couplets de la muse: La verite, dit-on, sortait d'un puits - Kent Nagano
  4. Les Contes D' Hoffmann: Elle est sur la scene, un peuple l'acclame - La Muse - Kent Nagano
  5. Les Contes D' Hoffmann: Scene 2: Le conseiller Lindorf, morbleu! - Lindorf, Andres - Kent Nagano
  6. Les Contes D' Hoffmann: Scene 3: Vayons? Pour Hoffmann! - Kent Nagano
  7. Les Contes D' Hoffmann: Couplets: Dans les roles d'amoureux - Kent Nagano
  8. Les Contes D' Hoffmann: Deux heures devant moi - Scene 4: Vite, vite, qu'on se remue! - Lindorf, Luther - Kent Nagano
  9. Les Contes D' Hoffmann: Scene 5: Choeur des Etudiants - Drig, drig - Kent Nagano
  10. Les Contes D' Hoffmann: Vrai Dieu! Mes amis - Kent Nagano
  11. Les Contes D' Hoffmann: Eh! Luther! Ma grosse tonne - Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
  12. Les Contes D' Hoffmann: Scene 6: Bonjour, amis! - Kent Nagano
  13. Les Contes D' Hoffmann: Couplets and Andante: Va pour Kleinzach! - Kent Nagano
  14. Les Contes D' Hoffmann: Peuh! Cette biere est detestable! - Kent Nagano
  15. Les Contes D' Hoffmann: Duo: Et par ou votre Diablerie - Kent Nagano
  16. Les Contes D' Hoffmann: Simple echange de politesse - Kent Nagano
  17. Les Contes D' Hoffmann: Je vous dis, moi - Kent Nagano
  18. Les Contes D' Hoffmann: Ma maitresse? - Kent Nagano
  19. Les Contes D' Hoffmann: Final: Messieurs, on va lever le rideau! - Hoffmann, Nicklausse, Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
  20. Les Contes D' Hoffmann: Act 2: Entracte - Kent Nagano
  21. Les Contes D' Hoffmann: Scene 1: La! Dors en paix - Spalanzani - Scene 2: Ah! Bonjour! Enchacte! - Spalanzani, Hoffmann - Scene 3: Fais allumer partout! - Spalanzani, Cochenille - Kent Nagano
  22. Les Contes D' Hoffmann: Scene 4: Allons! Courage et confiance! - Kent Nagano
  23. Les Contes D' Hoffmann: Pardieu! J'etais bien sur - Kent Nagano
  24. Les Contes D' Hoffmann: Couplets: Une poupee aux yeux d'email - Nicklausse, Hoffmann - Kent Nagano
  25. Les Contes D' Hoffmann: Scene 5: C'est moi, Coppelius! - Kent Nagano
  26. Les Contes D' Hoffmann: Je me nomme Coppelius - Kent Nagano
  27. Les Contes D' Hoffmann: J'ai deux jeux, de beaux yeux - Kent Nagano
  28. Les Contes D' Hoffmann: Serviteur - Kent Nagano
  29. Les Contes D' Hoffmann: Ah! Ange du ciel, est-ce bien toi? - Nicklausse, Hoffmann, Coppelius - Kent Nagano
  30. Les Contes D' Hoffmann: Scene 6: Hein! Vous! - Hoffmann, Coppelius, Spalanzani - Kent Nagano
  31. Les Contes D' Hoffmann: Scene 7: Choeur des Invites: Non aucun hote vraiment - Kent Nagano
  32. Les Contes D' Hoffmann: Vous serez satisfaits, messieurs - Hoffmann, Spalanzani, Nicklausse - Kent Nagano
  33. Les Contes D' Hoffmann: Scene 8: Mesdames et Messieurs - Kent Nagano
  34. Les Contes D' Hoffmann: Mesdames et Meisseurs, fiere de vos bravos - Kent Nagano
  35. Les Contes D' Hoffmann: Air: Les oiseaux dans la charmille - Kent Nagano
  36. Les Contes D' Hoffmann: Ah! Mon ami! Quel accent! - Hoffmann, Spalanzani, Nicklausse, Olympia, Cochenille - Kent Nagano
  37. Les Contes D' Hoffmann: Scene 9: Ils se sont eloignes! Enfin! - Kent Nagano
  38. Les Contes D' Hoffmann: Ah! Vivre deux! - Kent Nagano
  39. Les Contes D' Hoffmann: Tu me fuis? - Hoffmann, Olympia - Scene 10: Eh! morbleu! modere ton zele! - Hoffmann, Nicklausse - Kent Nagano
  40. Les Contes D' Hoffmann: Scene 11: Voleur! Brigand! Quelle deroute! - Coppelius - Kent Nagano
  41. Les Contes D' Hoffmann: Scene 12: En place les danseurs - Kent Nagano
  42. Les Contes D' Hoffmann: Voila! Assez, assez, ma fille - Kent Nagano
  43. Les Contes D' Hoffmann: Ah! Quoi? L'homme aux lunettes, la! - Spalanzani, Cochenille, Hoffmann, Olympia, Nicklausse, Coppelius - Kent Nagano

Tracks:

  1. Les Contes d'Hoffmann: Act 3: Entracte - Jacques Offenbach
  2. Les Contes d'Hoffmann: Scene 1: Elle a fui, la tourterelle - Antonia - Jacques Offenbach
  3. Les Contes d'Hoffmann: Scene 2: Malheureuse enfant! - Crespel, Antonia - Scene 3: Desespoir! Tout a l'heure, encore! - Crespel - Scene 4: Frantz! n'ouvre a personne! - Crespel, Frantz - Jacques Offenbach
  4. Les Contes d'Hoffmann: Scene 5: Jour et nuit je me mets en quatre - Frantz - Jacques Offenbach
  5. Les Contes d'Hoffmann: Scene 6: Frantz, c'est ici! - Hoffmann, Frantz - Jacques Offenbach
  6. Les Contes d'Hoffmann: Scene 7: Enfin je vais savoir pourquoi - Jacques Offenbach
  7. Les Contes d'Hoffmann: Romance: Vois sous l'archet fremissant - Jacques Offenbach
  8. Les Contes d'Hoffmann: C'est une chanson d'amour - Hoffmann, Antonia, Nicklausse - Jacques Offenbach
  9. Les Contes d'Hoffmann: Scene 8: Ah! Je le savais bien - Jacques Offenbach
  10. Les Contes d'Hoffmann: Ah! J'ai le bonheur dans l'ame - Jacques Offenbach
  11. Les Contes d'Hoffmann: Pourtant, o ma fiancee - Jacques Offenbach
  12. Les Contes d'Hoffmann: Viens la comme autrefois - Jacques Offenbach
  13. Les Contes d'Hoffmann: Qu'as-tu donc? - Antonia, Hoffmann - Scene 9: Rien! J'ai cru qu'Hoffmann etait ici! - Hoffmann, Crespel, Frantz, Miracle - Jacques Offenbach
  14. Les Contes d'Hoffmann: Scene 10: Pour conjurer la danger - Jacques Offenbach
  15. Les Contes d'Hoffmann: Allons, parle! et sois bref! - Jacques Offenbach
  16. Les Contes d'Hoffmann: J'ai la certains flacons - Miracle, Crespel, Hoffmann, Antonia - Jacques Offenbach
  17. Les Contes d'Hoffmann: Scene 11: Ne plus chanter - Hoffmann, Antonia - Jacques Offenbach
  18. Les Contes d'Hoffmann: Scene 12: Tu ne chanteras plus? - Jacques Offenbach
  19. Les Contes d'Hoffmann: Ah! Quelle est cette voix? - Jacques Offenbach
  20. Les Contes d'Hoffmann: Ta mere, oses-tu l'interroger? - Jacques Offenbach
  21. Les Contes d'Hoffmann: Non! Assez! - Jacques Offenbach
  22. Les Contes d'Hoffmann: Ja cede au transport qui m'enivre! - Miracle, Antonia, La Voix - Jacques Offenbach
  23. Les Contes d'Hoffmann: Scene 13: Mon enfant, ma fille! - Crespel, Antonia, Hoffmann, Nicklausse, Miracle - Jacques Offenbach

Tracks:

  1. Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
  2. Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
  3. Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
  4. Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
  5. Les Contes d'Hoffmann: Scene 2: Je vois qu'on est en fete! - Schlemil, Giulietta, Pitchinaccio, Hoffmann - Scene 3: Au premier reve je t'enleve - Nicklausse, Hoffmann - Jacques Offenbach
  6. Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
  7. Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
  8. Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
  9. Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
  10. Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
  11. Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
  12. Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
  13. Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
  14. Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
  15. Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
  16. Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
  17. Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
  18. Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
  19. Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
  20. Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
  21. Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
  22. Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
  23. Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
  24. Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
  25. Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
  26. Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
  27. Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
  28. Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
  29. Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
  30. Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
  31. Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
  32. Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
  33. Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
  34. Les Contes d'Hoffmann: Adieu! Je t'abandonne - Andres, Hoffmann, Nicklausse, Stella, La Muse, Lindorf - Jacques Offenbach

Amazon.com

Of all the revisionist Hoffmanns, this one is the best, using the latest (and one trusts) last version of Michael Kaye's edition, based on sketches recently discovered for the unfinished opera. Most of the changes are in the Giulietta act; it now tracks better dramatically, and unlike some restoration attempts, its length is sensible. In the title role, Roberto Alagna is full of imaginative touches of characterization, singing the famous Kleinzach song with an intentional vocal roughness in a worthy effort to convey the Hoffmann's debauched state. As the mechanical doll Olympia, Natalie Dessay proves she's not only a phenomenal singer but a great comedienne. Kent Nagano deploys his Lyon Opera forces with great stylistic authority. --David Patrick Stearns

Customer Reviews:

5 out of 5 stars Not a flawless version, but one to be REALLY loved.......2006-05-09

This is a recording with significant highs and lows. But in overall it is an excellent account of this wonderfully tuneful and beloved opera.
First, about the edition. The Kaye edition restores a lot of music including recitatives written by Offenbach and a number of musical numbers. It also goes for the Guiraud recitatives which some versions totally omit and replace by the dialogues which Offenbach likely might have intended. Compared to, say, the historical Sutherland/Domingo/Bonynge version, this version is significantly longer and more substantial, musically speaking. With more than 30 minutes of music compared to the Bonynge edition, it is understandable why the Kaye version needs up to 3 CDs to bear the substantial amount of music.
While fans of Contes d'Hoffmann would likely be grateful at the ressurrection of so much musical material, I personally find this version sometimes just too painfully long. The Guiraud recitatives sometimes simply are bland and cause the opera to just drag along. Yes, Guiraud obviously has a lot of skills and bright ideas in these recitatives, mostly shown by the quoting of music by Offenbach in these recitatives to give the opera a better sense of unison. But compared to the simpler recitatives that Offenbach himself wrote, the Guiraud sometimes just seems aloof. Unless you really have a lot of time, you might want to stick to the more important musical numbers. Also, the new ending, with Hoffmann facing the Muse in the apotheose is a wonderful ensemble, with sounds from the church organ that gives the scene its necessary "holy" feel.
Now to the singers. Alagna has a masculine voice and is dramatically very effective. He also has a perfect French diction-crisp, idiomatic and a real joy to listen to. His instrument naturally is not very beautiful; and I personally find his Hoffmann a bit beefy and hysterical; but his good understanding of the role still helps him come across as a better Hoffmann. The best Hoffmann is in my opinion either Domingo or Schicoff.
The ladies are provided with quite a luxury cast. Natalie Dessay's Olympia is perhaps second only to Sutherland and Sills. To everyone who honors La Stupenda's E flats, listen: Dessay presents the role of the mechanical doll with FOUR Gs, yes 4 full-voiced, stunning, jaw-dropping Gs!!! Musically speaking, Dessay is not as comedic as Sutherland; her tone is a little thin and nasal but her coloratura and lovely portrayal of the role is simply untterly convincing.
Vaduva's Antonia is excellent: excellent diction, girly tone and very successfully portrays the youngsinger's vulnerability and sensibility. She however lacks power in the trio and that C sharp falls flat. Her "Elle a fui la tourterelle" is however wonderfully touching and moving. The best Antonia, in my opinion, is Victoria de Los Angeles. To one of the reviewers here, Vaduva is not a Slavic singer. She is a French singer of Romanian origin. A totally Latin singer!
Sumi Jo portrays a very convincing Giulietta with very believable spinto qualities, which she provides effectively with chaning in tone. The rediscovered coloratura, with a couple of E flats and spellbinding runs, well, brings the wonderful Korean coloratura soprano to her prime best. Her French is surprisingly idiomatic.
Lascarro's got a small role as Stella. I personally don't like her tone; but she is good enough in the beautiful apotheose ensemble.
Jose Van Dam's quartet villain almost matches Bacquier's famous portrayal. His voice is not as dark or evil-sounding as Bacquier's but still gives a top-notch interpretation. His doctor Miracle might have been the best on record if he took some of those melodramatic laughs in the Trio. His reluctance, combined with Vaduva's small voice, creates a flat Trio. This being said, the French bass's quartet of villains stills ranks among the undisputed best. My favorite villain quartet, Gabriel Bacquier has a cameo role here as Crespel, which he does a great job.
Gilles Ragon's a good tenor and his stuttering in the portrayal of Cochenille is very convincing. I however find him a bit too serious and heavy for these tenore buffo roles. The same can be said for Senechal's Spalanzani. Compared to Charon's Spalanzani on the Bonynge recording, he is very unfunny. The "brigand! Bandit!" quarrel after the destruction of the doll is bland and lifeless.
Catherine's Dubosc has a lovely voice and does great job as Nicklausse. There is nothing to criticize about her singing qualities. My only objection is that the casting of this trouser role for a soprano harms the overall balance of the opera: 5 soprano roles and 1 mezzo role (the voice of the mother): this is not a good balance. The Barcarolle duet, in particular, suffers from both a misbalance and a ridiculous fast tempo.
Kent Nagano's conducting does not have the solid tempos of Bonynge and sometimes overwhelms the singers: most notably in that C sharp of the Trio. But he has really interesting ideas and provides invaluable support.
With the exception of a bland Spalanzani, some strange tempos and the unusual length of the edition, this is a very good Hoffmann. Together with the Bonynge version, this is another very good all-around recording. The set is a tad expensive, but given the substantial amount of music and a very informative booklet, this is a recording to really consider. It will provide a lot of listening pleasures. You will not be disappointed.

4 out of 5 stars The best of a mediocre-to-bad lot.......2003-10-30

I have heard six recordings of "Hoffmann," an opera that is particularly dear to me for sentimental reasons. None of them are perfect, all have flaws, but on balance this is the best of the lot.

Now that musicologists have finished playing with the Mahler 10th Symphony (which ended rather well) and the Beethoven 10th (which ended rather badly), they have been taking a whack at "Hoffmann," rushing to revise music the composer never sanctioned and adding music found in buckets and boxes long after his death. My personal feeling was, if it ain't broke, don't fix it: you're not Offenbach, and to speak for him requires a tremendous amount of chutzpah. And a lot of the revisions, to my ear, simply do not work well, such as turning Giulietta into a coloratura soprano, spinning out an aria that ends much like Olympia's doll song as on this recording.

I'm also not fond of switching the Antonia and Giulietta acts from their traditional positions for both dramatic and musical reasons. To begin with, having the "tales" end with Antonia gives Hoffmann's character a certain sense of redemption that simply isn't there the other way. Also, the Giulietta act is musically the weakest: as primiarily an operetta composer, Offenbach simply had a hard time creating music for this act which is darker and more tensely dramatic than anything else in the work. The superp trio that climaxes the Antonia act, on the other hand, is one of the most brilliant and transcendent things he wrote.

That being said, there is much to admire in this set. Kent Nagano conducts briskly, which is his wont, thereby tying together the music in a cohesive and satisfying way where others (particularly Cluytens and Cambreling) sound slow and rambling. On the other hand, his chorus of the spirits, though light and brisk, just misses the rapt, enchanting sound achieved by Bonynge; and though it was probably Offenbach's intent to have only a few strings play the violin motif in the Antonia trio, they sound too thin, not sweeping or driven enough, for the dramatic situation. Nagano also conducts the famed "Barcarolle" at a shade-too-fast tempo, thus robbing the music of its mysterious charm (even Arthur Fiedler made a better recording of the instrumental version). These moments point to a lack of "theatricality" in Nagano's conducting style that Bonynge, Rudel and even Beecham managed to capture.

Alagna is not as suavely beautiful or haunting in the role as Robert Rounseville or Stuart Burrows were. This is something of an abrupt, nervous reading, though if one knows something about E.T.A. Hoffmann and his tales it is perfectly in keeping with his character. (I have yet, however, to see ANY tenor perform the role made up to LOOK like Hoffmann, a scrawny little man with a square jaw, popping eyes and a shock of unruly, frizzy hair. I guess no tenor really wants to look like that!)

This is unquestionably the finest performance Dessay has ever recorded: her voice is brilliant, in focus, on pitch and wonderfully secure. Only Bond in the Beecham performance and Sutherland come close, though I personally feel that Sutherland was funnier in the role. She had a real flair for comedy, whereas she did not possess enough personal warmth for Antonia or Giulietta.

The Sutherland recording also had the best "villains" in Gabriel Bacquier in his prime, but to my ears Van Dam is an excellent second. (Treigle, in the Sills set, was good but not great, his somewhat gruff voice rather overwhelimg the roles with too much histrionics.)

Vaduva has a pretty tone but your typical "Slavic wobble," more noticeable in the early and late parts of her act. For some reason, the voice is better focused in the middle sections, but she does not efface memories of de los Angeles who was the best Antonia ever.

Jo is surprisingly good as Giulietta: though her voice is even smaller than Dessay's, it had a fuller lyric sound in the mid-range which captured well on records. (I have beel told that her "live" career is just about over on stage as the voice is too small to carry in most modern theaters.) I liked Margherita Grandi in the old Beecham film, but a chesty, spinto Giulietta is apparently persona non grata in the new Michael Kaye edition of the work.

Dubosc is a good Nicklausse, though I preferred Tourangeau and the singer (I forget her name) from the Beecham film. Bacquier, with far less voice, is still predictably good as Crespel; the timeless Senechal is a classic Spalanzani; Ragon is an excellent Cochenille, not so memorable as Franz. (I miss Andrea Velis, the old Met comp, who was brilliant in these roles but was never recorded in them.) The other small roles range from excellent (Tezier as Schlemil) to poor (Juanita Lascarre as Stella).

An ideal modern "Hoffmann" would have Elisabeth Vidal as Olympia, Hong as Antonia, Fleming as Giulietta, Alvarez as Hoffmann, Rene Pape as the three villains, and someone like Pappano or Plasson conducting.....but we can dream all we want. The era of complete opera recordings, according to many inside sources, is over as we know it--even the Bobby & Angela act is being shelved--so we must pick from what we have, and this is simply the finest over all "Hoffmann" on record, with Bonynge's being a good second choice, though I do not like Domingo's hard-voiced, beefy Hoffmann.

4 out of 5 stars Hoffman contines to elude the recording world.......2001-10-03

This is a very good Hoffman, with the new edition of the score and a lot more music than in earlier editions. There is MUCH here to be admired and enjoyed as there is in the classic Domingo/Sutherland recording.

I prefer Domingo's more passionate Hoffman to Alagna's workmanlike effort, which is still quite fine.

On the other hand, having different female vocalists, as this recording does is preferable to my ear than having the same throughout as the Domingo/Sutherland recording does. The three female leads here range from good (Dessay) to excellent (Jo). Having heard Sumi Jo sing Olympia on record and in person, I find it hard to enjoy Dessay's quite as much. Jo is here as Antonia however.

No single recording of Hoffman is clearly preferable and listening to each is recommended. In the meanwhile, there is still an opening here for a more fully satisying Hoffman.

4 out of 5 stars Excellent but not definitive.......2001-04-20

This recording has given me many hours of listening pleasure. Pretty much every artist featured in it gives an excellent performance, and the greatness of Offenbach's opera is conveyed more fully than can be done by other performances that contain less of what he composed for "Hoffmann" before his untimely death. However, the recording has several specific faults that result in my giving it only 4 stars, even though it is among my favorite operatic recordings.

First, the good points. Listening to this recording one definitely thinks of the opera's characters rather than the artists portraying them.... I find Alagna's voice quite beautiful on this recording and feel that he portrays the character of Hoffmann with spectacular success....

Van Dam is one of the recording's great assets as the villains. The three main heroines are each memorable(.).......(Jo's) interpretation of Giulietta's long-lost coloratura aria is spectacular and features a spine-chilling moment in her climactic cadenza ...she sings a rising series of notes almost identical to one sung by Dessay as Olympia in Act II, emphasizing the connection of the heroines. ...Lascarro does a very good job in the small role of Stella (....Dubosc is excellent as the Muse and Nicklausse, giving a truly memorable performance of nearly the entire role. Unfortunately, Nicklausse's Antonia-act aria, arguably the artistic and emotional heart of the entire opera ...,seems somehow disappointing on this recording. Dubosc's voice does not cut through the orchestra as it should when she sings in her lower register, and as a result the aria fails to have the cathartic impact on me that it has when I have heard it in Metropolitan Opera broadcasts. .... Ragon gives an excellent, highly memorable performance in the four "grotesque" roles.

Now I may turn to the disappointing features of this recording. ....(T)his recording contains no extra-musical sound effects whatsoever. To a certain extent this is a valid approach to recording an opera. The problem is that "Hoffmann" contains an unusually high number of passages which were composed with the extra-musical sounds that would be heard from the stage in mind and which lack some of their intended impact without sound effects. The effectiveness of the students' drinking song is reduced when we don't hear them banging their glasses together and on the tables, and without the winding-up sound the pauses in Olympia's song when she runs down make less sense. We also should hear Coppelius smashing Olympia, Hoffmann and Schlemil moving around heavily as they duel, the death-gasp of another character who dies in the new ending of the Giulietta act (I won't spoil the unfamiliar twists of plot here), and various other sound effects which would add to the drama of the story. Moreover, Van Dam's villains never laugh except when their laughter is notated in the score, even though the libretto specifies some additional evil laughs, notably the one as Dr. Miracle disappears and Antonia falls dying at the end of the trio for Miracle, Antonia and the voice of Antonia's mother.

One of the main problems with the recording is that Van Dam, Ragon and Dubosc are the only performers to play multiple roles. Not only are the heroines played by four different sopranos, but none of the artists who play Luther and the students reappear in other roles in the acts devoted to Hoffmann's three stories. All of this goes against what are presumed to be Offenbach's wishes for his opera, despite the fact that this is a recording of Kaye's critical edition (in its "grand opera" version). Moreover, this recording was, unfortunately, made before Offenbach's own finished finale for the Giulietta act, written very shortly before his death, became available for inclusion in Kaye's edition. ....

Finally, it seems bizarre that the aria "Scintille, diamant," which has been one of the most popular numbers in the opera for a long time, is not included on this recording. ....

Despite these flaws, this recording is recommended. It is extremely enjoyable and represents the totality of Offenbach's intentions for "Hoffmann" more fully than any other recording currently available. One hopes that a new recording of Kaye's edition, with the definitive ending for the Giulietta act and with a single soprano playing all four heroines, will be made in the not-too-distant future.

5 out of 5 stars O Dieu, de quelle ivresse embrasse-tu mon âme?.......1999-11-21

Comme un concert divin ta voix m'a pénétré!....

This recording is undoubtedly one of the two benchmark recordings of this opera, the other one being the classic Sutherland/Domingo/Bonynge set. It is the most complete set with the "newly-discovered" Giuletta ending, and even includes the terrific but apocryphal sextet that is missing in the Bonynge recording. Alagna is the true star here, reflecting the spirit of Hoffmann throughout the opera, and singing in a very ideomatic French (unlike Domingo). The four heroines are marvellous, even though I prefer a single soprano singing all the four roles. Van Dam is great as the four villians, but he could have been more sinister in the trio in the Antonia act. Nagano is fine, but has some problems with the tempi at times.
C'est Ma Vie/Les Plus
Average customer rating: 3.5 out of 5 stars
  • Don't waste your money on this
  • Discover Adamo!
  • a great collection of Adamo's 40 best songs
 C'est Ma Vie/Les Plus
Salvatore Adamo
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

ItalyItaly | Continental Europe | Europe | International | Styles | Music
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ASIN: B0000B0A11
Release Date: 2003-12-23

Tracks:

  1. Tombe la Neige
  2. Sans Toi, Ma Mie
  3. En Blue Jeans et Blouson d'Cuir
  4. N'Est-Ce Pas Merveilleux
  5. Crier Ton Nom
  6. Amour Perdu
  7. Vous Permettez, Monsieur?
  8. Filles du Bord de Mer
  9. Nuit
  10. Dolce Paola
  11. Vot' Bon Coeur
  12. Quand Les Roses
  13. Barbu Sans Barbe
  14. Ma T
  15. Si Jamais
  16. Elle...
  17. Ballade la Pluie
  18. Viens Ma Brune
  19. J'Aime
  20. Comme Toujours

Tracks:

  1. Mes Mains Sur Tes Hanches
  2. Inch' Allah
  3. Me de Cheveux
  4. Ton Nom
  5. Elle atit Belle Pourtant
  6. Larme aux Nuages
  7. N
  8. Amour Te Ressemble
  9. Notre Roman
  10. J'A Tant de Rs Dans Mes Bagages
  11. Ruiseau de Mon Enfance
  12. F...Comme Femme
  13. Pauvre Verlaine
  14. y a Juste un An
  15. Valse d'
  16. Oui, La Mer a Bercant d'Amour Dans le Creux de Ses Vagues le ...
  17. Demain Sur la Lune
  18. Petit Bonheur
  19. J'Avais Oubliue Les Roses Sont Roses
  20. C'est Ma Vie

Album Details

Digitally Remastered Collection of 40 Great Hits from Throughout Adamo's Long Singing Career. This Set Comes on the Occasion of his 60th Birthday. Adamo Has Sold Over 80 Million Albums During his Great Career.

Customer Reviews:

1 out of 5 stars Don't waste your money on this.......2004-10-01

The music itself might be good, but the sound quality is horrible. I suppose it's because of limited technology available in these old days, but the smothered sound really irritates me and ruins any enjoyment the music might bring.

Oh, and one more thing. If I had known that this CD used copy controlling technology then I wouldn't have ordered it. It's not right that I am prevented from putting into my iPod the music I paid for fair and square!

5 out of 5 stars Discover Adamo!.......2004-03-06

It will be a most rewarded journey for You, and this collection of wonderful songs of Adamo will bring You pleasures for years to come. The "Cést ma vie" collection covers many of Adamo's best songs and I believe that after hearing this double CD You will spend a lot of time geting more and more CD's from Adamo. You can almost turn every song of Adamo into a hit, change the language and wops! You got a hit... and still there is so much of the best french touch that You can get!
By the way, did You know that Adamo have sold more than 80 million records around the world. I have his music in Italiano, Spanish and of course French, I discovered him in 1966 and still like his songs and voice as much as ever. Few composers and singers if any can much Adamo, a man with much also much integrety. C'est la vie!

5 out of 5 stars a great collection of Adamo's 40 best songs.......2003-12-03

Although relatively unknown in the United States, Salvatore Adamo, a Sicilian-born Belgian who sang mostly in his native language, French, was very popular in Europe, South America, and the Far East (Korea, Japan, etc.) in the 1960s and early 1970s. There are two groups of people who love Adamo's chansons. One group is avid fans who try to collect all of Adamo's albums that are available. Then there are people who just like to listen to some of Adamo's songs which they used to enjoy when they were younger. This 2-CD set (C'est Ma Vie: Les Plus Grands Succès) is a great choice for the latter group, which includes me.

I used to listen to Adamo's songs (such as "Tombe la neige", "Inch'Allah", "En blue jeans et blouson d'cuir", "Une meche de cheveux", "La nuit", "Sans toi, ma mie", etc.) when I was growing up in the 1960s and as a college student in the 1970s. Unlike some of Adamo's recently-released albums which contain recently re-recorded versions of old hits, the 40 hit songs in this collection sound to me like the original versions recorded when Adamo was young (but I could be wrong). Thirty-eight of the songs are from the 1960s ( beginning with "En blue jeans et blouson d'cuir", 1962), and only two are from the 1970s ("C'est ma vie" is the latest one, 1975). This CD set comes with liner notes by Thierry Coljon, author of the biography "Adamo-C'est sa vie", and includes seven b/w and color photos of Adamo.

For fans for whom these 40 hits are not enough, a new 12-CD set, "C'est ma vie (l'intégrale 1962/1975)", has just been released in France, but I'm not sure whether it will be available in the United States. However, the 40 songs in the 2-CD set (C'est Ma Vie: Les Plus Grands Succès) probably would be more than good enough for most people. For those of us who lived through the 1960s and 1970s listening to Adamo's beautiful songs, this collection should make us nostalgic for the days when we were much younger and more emotional.
Léopold Simoneau and Pierrette Alarie: Opera Recitals and Lieder
Average customer rating: Not rated
    		Léopold Simoneau and Pierrette Alarie: Opera Recitals and Lieder

    Manufacturer: Deutsche Grammophon
    ProductGroup: Music
    Binding: Audio CD

    Cimarosa, DomenicoCimarosa, Domenico | ( C ) | Featured Composers, A-Z | Classical | Styles | Music
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    RomancesRomances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
    Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
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    FrenchFrench | Languages | Opera & Vocal | Styles | Music
    GermanGerman | Languages | Opera & Vocal | Styles | Music
    ItalianItalian | Languages | Opera & Vocal | Styles | Music
    RequiemsRequiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
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    ASIN: B0002ANQWC
    Release Date: 2004-09-14
    Massenet: Esclarmonde
    Average customer rating: Not rated
      		Massenet: Esclarmonde
      Jules Massenet , Patrick Fournillier , Denia Mazzola Gavazzeni , José Sempere , Christian Tréguier , Hélène Perraguin , Jean-Philippe Courtis , Guy Gabelle , Franz Liszt Symphony Orchestra , and Massenet Festival Choir
      Manufacturer: Koch Schwann (Germ.)
      ProductGroup: Music
      Binding: Audio CD

      All Works by MassenetAll Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
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      FrenchFrench | Languages | Opera & Vocal | Styles | Music
      GeneralGeneral | Soundtracks | Styles | Music
      ASIN: B000001SS8
      Release Date: 1995-03-21

      Tracks:

      1. Esclarmonde: 'Dignitaires! . . . Guerriers!'
      2. Esclarmonde: 'O divine Esclarmonde!'
      3. Esclarmonde: 'Roland! Roland! Comme ce nom me trouble'
      4. Esclarmonde: 'O ma soeur, ma tendre souveraine'
      5. Esclarmonde: 'Ah! trop malheureuse Esclarmonde!'
      6. Esclarmonde: 'Salut, imperatrice auguste et veneree'
      7. Esclarmonde: 'C'est en fait! Je ne resiste plus!'
      8. Esclarmonde: 'Esprits de l'air! Esprits de l'onde!'
      9. Esclarmonde: 'Roland! Roland! Roland! - Dans la foret des Ardennes - Sonne, o cor - Adieu, Parseis!'
      10. Esclarmonde: Danse des Esprits
      11. Esclarmonde: 'Ou suis-je! Dans ce sejour inconnu'
      12. Esclarmonde: 'Sois benie, o magie! - Nuit veneree, o Nuit'
      13. Esclarmonde: 'Quelle forme vers moi se penchait tout a l'heure'
      14. Esclarmonde: 'Si tu m'acceptes pour epouse - Voici le divin moment - Hymen! Hymenee!'
      15. Esclarmonde: Entr'acte
      16. Esclarmonde: 'Helas! Ma bien-aimee! - Chere epouse, o chere maitresse'
      17. Esclarmonde: 'Ami, songe au serment - Le chef des Sarrasins - Chaque nuit, chre amant'
      18. Esclarmonde: 'Ecoute encore! - Vierges au coeur innocent'
      19. Esclarmonde: 'O glaive, a ton aspect je m'incline! - Garde-toi d'oublier ton serment!'

      Tracks:

      1. Esclarmonde: 'O blois, miserable cite! - O mon peuple'
      2. Esclarmonde: 'Kyrie eleison - Mettez en Dieu votre esperance'
      3. Esclarmonde: 'ENtendez-vous? Tout espoir est perdu! - Roi Cleomer, je viens connaitre la reponse'
      4. Esclarmonde: 'Oui, c'est moi! Reprends espoir, o noble roi - Jeunes guerriers, prenez vos armes!'
      5. Esclarmonde: 'Mais tandis que Roland va combattre - Dieu de misericorde!'
      6. Esclarmonde: 'Victoire! Victoire!'
      7. Esclarmonde: 'Noble heros! - Son epoux? Que repondre! - Que dit-il? Par quel mystere?'
      8. Esclarmonde: 'Pour tout autre que toi, Roland'
      9. Esclarmonde: 'Gloire! chantons notre victoire! - Ah! loin de cette foule et de son allegresse'
      10. Esclarmonde: Entr'acte
      11. Esclarmonde: 'Gloire, chantons notre victoire!'
      12. Esclarmonde: 'Le peuple delivre - La nuit bientot sera venue'
      13. Esclarmonde: 'Mon files! Je te benis! - Quoi! Vous ici, mon Pere'
      14. Esclarmonde: 'Je ne m'appartiens plus'
      15. Esclarmonde: 'A genoux! Je ne saurais t'absoudre!'
      16. Esclarmonde: 'Ah! Roland! - Ah! c'est elle!'
      17. Esclarmonde: 'Au nom du Pere, au nom du Fils - Roland! Tu m'as trahie!'
      18. Esclarmonde: 'Regarde-les ces yeux'
      19. Esclarmonde: 'Non! Tu ne seras pas a mes transports ravie1 - Arriere! Arriere! Saisissez-la!'

      Tracks:

      1. Esclarmonde: Danse des Nymphes et Sylvains
      2. Esclarmonde: 'Entendez tous ce que ma voix proclame'
      3. Esclarmonde: 'Oui, le delai marque s'avance'
      4. Esclarmonde: 'C'est en vous que j'espere'
      5. Esclarmonde: 'Le temps vont s'accomplir - Sort mysterieux auqel j'obeis - Que vois-je? Eneas! Parseis!
      6. Esclarmonde: 'Elle a voulu choisir elle-meme un epoux! - Grace pour elle! Pitie! - Esprits de l'air! Esprits de l'onde'
      7. Esclarmonde: 'D'une longue torpeur je sens que je meveille - En retrouvant la vie et la pensee'
      8. Esclarmonde: 'Ou suis-je maintenant? - Obeis! Esclarmonde! C'est l'inflexible loi!'
      9. Esclarmonde: 'Donc pour sauver la vie a celui que j'adore'
      10. Esclarmonde: 'J'accomplirai le sacrifice! - C'est elle! Ma bien-aimee!'
      11. Esclarmonde: 'Jadis, j'etais digne de toi - Ne plus te voir!'
      12. Esclarmonde: 'Ah! Malheureuse! Au trepas, Roland par moi livre - Reponds! Reponds! Reponds! - Disparue! Maudite!'
      13. Esclarmonde: 'Dignitaires! Guerriers! - O divine Esclarmonde! - Aupres d'elle amenez le vainqueur'
      14. Esclarmonde: 'Qu'importe que je me nomme! - O joie! Il refuse! - O folie! Il refuse!'
      15. Esclarmonde: 'Esclarmonde! O ciel! C'est toi que j'adorais! - O divine Esclarmonde! O valeureux heros!'
      Anthologie de l'Opérette, 1850-1950 (Box Set)
      Average customer rating: Not rated
        		Anthologie de l'Opérette, 1850-1950 (Box Set)

        Manufacturer: Forlane
        ProductGroup: Music
        Binding: Audio CD

        GeneralGeneral | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music
        All Works by OffenbachAll Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music
        Romberg, SigmundRomberg, Sigmund | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
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        GeneralGeneral | Soundtracks | Styles | Music
        ClassicalClassical | Box Sets | Stores | Music
        ASIN: B00005EBJP
        Release Date: 2001-04-17

        World Music:

        1. Carte Blanche [Import]
        2. Claudinho & Buchecha Ao Vivo [Import] [Live]
        3. Collezione Privata [Import]
        4. Crystal Portal, Singing Crystal Bowl Journeys
        5. Dairo [Import]
        6. Dalida: La Légende [Box set] [Import]
        7. Das Beste aus 25 Jahren [Import]
        8. December Season 2002 [Live]
        9. Dream Song
        10. Fatima [Import]

        World Music

        world music

        World Music

        Magic Fly [Import]

        Ruth Slenczynska - Legacy of a Genius

        Skylark [Import]

        D-D-Don't Don't Stop the Beat [Enhanced]

        The Contender (2000 Film) / Deterrence (1999 Film)

        Sharena

        Surrealistic Pillow [Import] [Original recording remastered]

        The Complete Sussman Lawrence (1979-1985)

        Seed of Life

        Russian Choral Music-Music Of Passion

        Quand Le Salsa Se Jazz [Import]

        Solo (Milano) 1979 [Live]

        The Hard & Soft

        We Are In Love

        This Is the Shack