O Porto [Import]

Amazon.com
Madredeus have an intuitive style that is both very folky and yet highly adventurous. The simplicity of the Portuguese ensemble's studio recordings belies the complexity of the arrangements, which are full of subtle twists and turns on classic folk styles and surprising harmonic beauty. This two-CD set was recorded live in April 1998 and gives the band the best possible platform for what it does. Much of the program is centered around the superb voice of Teresa Salgueiro and songs written by the ensemble's other members. With two acoustic guitars, an upright bass, and a synthesizer, they performed a set of songs that received no remixing or rerecording, a rarity these days for so-called live albums. The interplay between the musicians and singer is never better felt than in this live setting. The CD is lush in tone yet sublimely bare in presentation. --Louis Gibson

Product Description
Asian reissue of the popular Portuguese act's electronica flavored 1999 album. EMI.

Tracks:

Celebre Tarantelle, Op. 67, No.5
Souvenir de Porto Rico, Marche des Gibaros
The Dying Poet, Meditation
Tournament Galop
O! ma charmante
Le Bananier, Chanson Negre
Manchega, Etude de Concert
Celebre Tarantelle, Op. 67, No.4
Berceuse (Cradle Song)
Symphonie romantique, 'A Night In The Tropics': I Noche en los Tropicos
Symphonie romantique, 'A Night In The Tropics': II Festa Criolla

Customer Reviews:

A worthwhile contribution to musical history.......2006-06-29

The reviewers who complain of "naive" and "weak" orchestration should read the liner notes. The orchestrations are not Gottschalk's, mostly, but those of Richard Rosenberg, artistic director of the Hot Springs Music Festival. And while it may seem easy to blast Rosenberg, Gottschalk was no master of orchestration himself. I played in the Hot Springs Music Festival Orchestra this summer, including recording more Gottschalk (as well as Nazareth and Bares) for Naxos, and I promise that Gottschalk's treatment of Mehul's "Grande Chasse de Jeune Henri," which will soon be released on Naxos, will leave no doubt in your mind that Gottschalk was right to restrict most of his activity to the piano. (More proof that Gottschalk was indeed the the "Chopin of the Creoles")
At any rate, this series of recordings seems to me a worthwhile historical project. There is some really beautiful music on these discs, in addition to some music that really need never have been revived. In any case, the listener to this disc will find some enjoyment, little offense, and much food for thought about the development of American musical culture.

Just plain fun.......2004-12-13

I'm not sure how other reviewers could have found this music weak and naive--too much Schönberg, maybe? Or maybe they were trying to delve its musical profundity, when in fact this music isn't profound and doesn't claim to be. It's just energetic, fun music from a composer who wasn't content to color within the Classical-era lines. If you can imagine "Creole Classical," in fact, that's a good description of this CD. Although the bulk of the album consists of rollicking showtunes (most of which feature the piano as the dominant instrument, since most of the songs are orchestral arrangements of piano pieces), there are some surprisingly tender, lyrical moments as well. The whole album is imbued with an intriguingly pre-Jazz flavor that combines with the classical structure to create some of the best moments in American music: catchy, energetic and always entertaining. For those moments when Beethoven (or Schönberg) is too much depth for one day, this CD is the perfect alternative... particularly at this price.

Enjoyable and Fun Taste of America!.......2002-04-30

Every once in a while, I like to buy a CD of a composer I'm not familiar with (and with NAXOS's low prices, why not?). When I got home and listened to this one, once wasn't enough. I listened twice through. This CD is real fun!!

In his day, Gottschalk was called "the Chopin of Creoles." Most of his writing was for the piano and this CD is generally short piano pieces arranged for orchestra. The music mixes strong folk melodies and New Orleans Creole inspired syncopation with the European Classical tradition- the result being a distinctly american divertimenti.

The music as a whole is very motif oriented with a touch of variation and some interesting arrangement twists. While and orchestral CD, the piano gets a lot of attention, giving us some nice interplay between the two.

The only complaint I have is that the CD was recorded at a music festival where professional musicians are playing side by side with selected 'pre-professionals.' I'm not a snob and normally it wouldn't bother me, but Gottschalk's unusual syncopation tends to be unprofessionally slopppy at times. Fortunately, any mistakes are in the supporting insturments. No star shall be subtracted because NAXOS has done such a great job giving us a quality CD at a good price.

Weak Music.......2002-04-24

Upon listening to this CD I understand why Gottschalk is noted mainly for his piano compositions. I found the whole CD weak musically and the orchestration naïve. It seems as if these pieces are piano works that want to be orchestral compositions when they grow up.

I have several other CDs by this conductor, not sure of his credentials, who seems on a mission to champion the music of the unknown composers. While I applaud his work in bring the music of composers of color to the public's attention I must say that there are many more notable Black and Hispanic composers who deserve to have their music played before we go dipping into this well of musical obscurity.

I think that this conductor needs to ask himself something that many musicologist ask before wasting time on second rate composer: why is a composer's music not known in the first place?

light, fun music.......2000-07-29

this CD is one of the best in the "american classics" series i have heard. the playing is warm, playful and full of energy.

Tracks:

Semiramide
Anna Bolena
Norma
Les Contes d'Hoffmann
Aida
Madama Butterfly
La Gioconda

Customer Reviews:

Verrett Is a National Treasure.......2003-11-11

The two tracks of these women singing Rossini and Bellini are more than worth the price of this CD! I have an extensive collection of operatic LPs and CDs and have heard many others sing all the duets on this CD. These two women do it best! If you can recall seeing Olympic ice-skater Scott Hamilton in his prime, imagine TWO perfect voices PRECISELY hitting their "marks" (notes) in a beautifully prancing, rapid succession the way Hamilton's feet used to do! And Diva Verrett, now about 70, is currently passing her craft on to others at U Michigan as a voice professor! I only wish that more of her recordings were available now. If you are new to bel canto singing, this is an excellent CD to begin with. If you are a more experienced listener, this CD belongs in your collection!

Caballe & Verrett dazzle in bel canto, Verdi AND verismo!.......2003-03-26

One thing that is enjoyable with this CD is that it includes duets from operas of different styles. Here we have bel canto, late Verdi and verisimo.

It is amazing how exquisitely these two ladies sing all the different styles! Moreover, they feel every word they sing. Other reviewers compared this duo with the Sutherland-Horne one. I admire both Joan and Marilyn but they show little understanding of what they are singing; they are too busy impressing us with their high notes and fast coloratura.

The best moments are the bel canto duets (if only there was more). Caballe is unsurpassed in this area. Try to get her complete recordings (Norma, Il Pirata, Lucrezia Borgia). Verrett too had a big success in this repertoire. Pity they didn't record the Stuarda duet as well. The Barcarolle is ethereal, the best I've ever heard while the Aida duet passionate and moving, just as it should be. Caballe and Verrett don't really have verisimo voices but the two selections on this CD are enjoyable.

I join the praise of the previous reviewers and highly recommend this recording!

Top-quality duet singing.......2003-03-11

This recording is fantastic! Both Caballé and Verrett are great. Caballé has her lush, powerful voice. Verrett has her dark, rich, equally powerful voice. The two sing very well and are involved dramatically. The duet from "Semiramide" is great. However, Sutherland and Horne do it better. Their coloratura is cleaner and more spectacular than Caballé's and Verrett's. The duet from "Anna Bolena" is done well. However, I prefer Verrett's version with Sills. Sills is dynamite as Bolena and she has a top register equal to that of Verrett's. The duet from "Norma" is fantastic. In the case of this duet, I find Caballé and Verrett to be every bit as good as Sutherland and Horne. The duet from "Les Contes d'Hoffman" is great. Their voices blend beautifully. The duet from "Aïda" is done very well. Verrett is a subtly menacing Amneris, which is quite effective. The duet from "Madama Butterfly" is terrific. Caballé did not sing Butterfly very well, but here, she is magnificent. Verrett is a sympathetic Suzuki. I don't think she ever sang the role on stage. The last duet is from "La Gioconda". No complaints here. Both singers are in top form. I wish they had included the Confrontation Scene from "Maria Stuarda". All they needed to do was to cut out the lines of the other singers in the scene. Caballé and Verrett were great together on stage as Maria Stuarda and Regina Elisabetta, respectively.

This duet album is the perfect compliment to "Belleza Vocale" with Hei-Kyung Hong and Jennifer Larmore.

Absolutely Magnificent.......2002-10-08

Of all the great opera solo and duet recital discs (Jussi Bjoerling singing almost any Verdi or Puccini; Sutherland/Horne in Rossini, Bellini, Donizetti; Fritz Wunderlich, Edda Moser or Margaret Price in Mozart; [name your favorites]), this is probably the most thrillingly beautiful I've ever heard. The gorgeous sound of these 2 great voices and the almost palpable excitement they generate are as glorious now as when I first heard this on LP about 25 years ago. Whenever I'm trying to convince a non-lover of opera what he or she is missing, this is my ultimate weapon when all else has failed -- it always works!

WOW!!! These women are butter!.......2002-02-03

I bought this CD based on the reviews and am thrilled with it. I agree that the price is worth it just for the The Tales of Hoffman: Barocelle. This song is exquisite and the voices blend so perfectly that it is the most moving piece of music that I've experienced. Check this out!!!

Average customer rating:

Great Classical Piano

Panorama: Passion for Piano

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

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Deutsche Grammophon: Music | Specialty Stores | Music
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Panorama: Passion for Piano, Vol. 2

ASIN: B00004YMTL
Release Date: 2001-01-23

Tracks:

Tango, Op.165 No.2 - Shura Cherkassky
Iberia (Exc): El Corpus Christi En Sevilla - Alicia De Larrocha
Goldberg Vars: Aria - Rosalyn Tureck
Das Wohltemperierte Klavier I: Prld & Fugue in C, BWV 846: Prld in C - Wilhelm Kempff
Das Wohltemperierte Klavier I: Prld & Fugue in C, BWV 846: Fugue - Wilhelm Kempff
Islamey - Julius Katchen
Romanian Folk Dances, Sz 56: 1. Stick Dance - Zoltan Kocsis
Romanian Folk Dances, Sz 56: 2. Sash Dance - Zoltan Kocsis
Romanian Folk Dances, Sz 56: 3. Stamping Dance - Zoltan Kocsis
Romanian Folk Dances, Sz 56: 4. Hn Dance - Zoltan Kocsis
Romanian Folk Dances, Sz 56: 5. Romanian Polka - Zoltan Kocsis
Romanian Folk Dances, Sz 56: 6. Fast Dance - Zoltan Kocsis
Rondo in G, Op.51 No.2 - Wilhelm Kempff
Fur Elise, WoO 59 - Wilhelm Kempff
Capriccio in b, Op.76 No.2 - John Lill
Intermezzo in E flat, Op.117 No.1 - Wilhelm Kempff
Intermezzo in C, Op.119 No.3 - Wilhelm Kempff
Waltz in A, Op.39 No.15 - Andor Foldes
Etude in G flat, Op.10 No.5 - Vladimir Ashkenazy
Etude in G flat, Op.25 No.9 - Vladimir Ashkenazy
Etude in c, Op.10 No.12 - Vladimir Ashkenazy
Etude in A flat, Op.25 No.1 - Vladimir Ashkenazy
Etude in E, Op.10 No.3 - Vladimir Ashkenazy
Fant-Impromptu in c#, Op. Posth.66 - Roberto Szidon
Waltz in D flat, Op.64 No.1 - Jean-Marc Luisada
Nocturne in E flat, Op.9 No.2 - Daniel Barenboim

Tracks:

Polonaise in A flat, Op.53 - Martha Argerich
Prld in A, Op.28 No.7 - Martha Argerich
Prld in D flat, Op.28 No.15 - Martha Argerich
Waltz in A flat, Op. 42 - Jean-Marc Luisada
Waltz in c#, Op.64 No.2 - Jean-Marc Luisada
Grande Valse Brilliante in E flat, Op.18 - Jean-Marc Luisada
Ste Bergamasque: Clair De Lune - Alexis Weissenberg
Children's Corner: Golliwogg's Cakewalk - Arturo Benedetti Michelangeli
Estampes: Jardins Sous La Pluie - Alexis Weissenberg
Prlds I: La Cathedrale Engloutie - Arturo Benedetti Michelangeli
Prlds I: La Fille Aux Cheveux De Lin - Arturo Benedetti Michelangeli
3 Prlds: 1. Allegro Ben Ritmato E Deciso - Werner Haas
3 Prlds: 2. Andante Con Moto E Poco Rubato - Werner Haas
3 Prlds: 3. Allegro Ben Ritmato E Deciso - Werner Haas
Souvenir De Porto Rico - Ivan Davis
Goyescas: Quejas A La Maja Y El Ruisenor - Alicia De Larrocha
Butterfly, Op.43 No.1 - Emil Gilels
Wedding Day At Troldhaugen, Op.65 No.6 - Andrei Gavrilov
Ste No.5 in E: Air Con Vars 'The Harmonious Blacksmith' - Alicia De Larrocha

Amazon.com

Anything that starts off with Shura Cherkassky's delicious account of a Tango by Albéniz has got to have something going for it, and this set seems to score over and over again. It's an interesting piece of programming, since having got off to a Spanish start, we are led through Bach (traditionally the starter), Balakirev (his famously unplayable Islamey thrown off coolly by Julius Katchen), Bartók, Beethoven, Brahms, Chopin, Debussy, Gershwin, Gottschalk, Granados, Grieg, and Handel. One thing they certainly all have in common is the passion of the title, and they are well served by our guides, who include Tureck, Kempff, Kocsis, Lill, Barenboim, Argerich, Michelangeli, De Larrocha, Gilels, and Gavrilov. It is worth mentioning so many, since these are top names in their respective fields and it gives an indication of what you can expect from this set. And while you would rightly expect veteran Spanish pianist Alicia de Larrocha to give us the full treatment in Albéniz and Granados, listen to her delightful piece of Handel, which concludes the set. Recordings range in time from 1955 to 1998, and the freshness of the playing transcends changes in recording technology during those years. --Keith Clarke

Customer Reviews:

Great Classical Piano.......2005-08-04

I picked up this CD because it had some of my favorite piano pieces of Bach, Brahms and Bartok on it.

The renditions on these discs are terrific. And every single selection is really worth listening to- this is some of the best classical piano out there. If you're like me and aren't really concerned about owning the complete Bach, Brahms, Chopin, etc, this is the disc to pick up for a good sampling of it all.

And it's a good value too. Two discs for the price of one!

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What is Life?

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

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General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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ASIN: B0001Z2RKA
Release Date: 2004-06-29

Average customer rating:

"It reeks of music"
Salieri was no joke
Near worthless!
FALSTAFF: a good recording of Salieri's last operas!...
FALSTAFF: a good recording of Salieri's last operas!...

Salieri: Falstaff

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Cimarosa: L'Italiana in Londra
Farinelli

ASIN: B000005Z6S
Release Date: 1998-03-17

Tracks:

Falstaff: Overture - Allegro di controdanza
Falstaff: Act l - Scene 1 - Introduction (Falstaff, Mrs Ford, Mrs Slender, Slender, Guests) - 'Viva il comune amico' (Falstaff And Guests)
Falstaff: Act l - Scene 1 - 'Sia pur l'ultimo bicchiere' (Falstaff)
Falstaff: Act l - Scene 1 - 'Ma gia l'alba s'avvicina' (Mistress Ford)
Falstaff: Act l - Scene 2 - 'Vedete che capriccio...' (Bardolf)
Falstaff: Act l - Scene 2 - 'Non reggo piu dal sonno...' (Bardolf)
Falstaff: Act l - Scene 3 - 'Mangiar da principe...' (Bardolf) - Duet (Falstaff, Bardolf) - 'Con molta degnazione' (Falstaff)
Falstaff: Act l - Scene 3 - 'Da scrivere...' (Falstaff)
Falstaff: Act l - Scene 4 - 'Li porto o non li porto?...' (Bardolf)
Falstaff: Act l - Scene 5 - 'Vicino a rivedere' (Ford) - 'Di dubitar di lei non ho motive...' (Ford)
Falstaff: Act l - Scene 6 - 'Oh, tinozzo ambulante!...' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Vendetta, si vendetta' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Comare, in questo punto...' (Mistress Slender)
Falstaff: Act l - Scene 6 - Duet (Mistress Ford, Mistress Slender) - 'La stessa, la stessissima' (Mistress Slender)
Falstaff: Act l - Scene 6 - 'Ma parlando sul serio...' (Mistress Slender)
Falstaff: Act l - Scene 7 - 'Ho capito, ma spero che non sara poi vero...' (Slender)
Falstaff: Act l - Scene 8 - Quartet (Mistress Ford, Mistress Slender, Ford, Slender) - 'Oh, quanto vogliam ridere' (Mistress Ford)
Falstaff: Act l - Scene 9 - 'Eh! Mia moglie, compare...' (Ford)
Falstaff: Act l - Scene 9 - 'Venga, venga pure il cavaliere' (Slender)
Falstaff: Act l - Scene 10 - 'A un uom della mia sorte...' (Falstaff)
Falstaff: Act l - Scene 11 - 'Guten morgen, mein Herr...'(Mistress Ford)
Falstaff: Act l - Scene 11 - 'Oh, die Manner kenn ich schon' (Mistress Ford)
Falstaff: Act l - Scene 12 - 'E che ti par, Falstaff?...' (Falstaff)
Falstaff: Act l - Scene 12 - 'Nell'impero di Cupido' (Falstaff)
Falstaff: Act l - Scene 12 - 'Ah, vile! Ah seduttore!...' (Ford) - 'Or degli affanni i palpiti' (Ford)
Falstaff: Act l - Scene 13 - 'Restate la vicini...' (Mistress Ford)
Falstaff: Act l - Scene 14 - 'Bricconcella, alfin t'ho colta' (Falstaff)

Tracks:

Falstaff: Act l - Scene 14 - 'Si. Son geloso a torto' (Ford)
Falstaff: Act ll - Scene 1 - 'Sentite pure...' (Betty)
Falstaff: Act ll - Scene 1 - Trio (Betty, Mistress Ford, Mistress Slender) - 'Nell'acqua il buzzone' (Betty) - 'Questa a buon conto...' (Mistress Ford)
Falstaff: Act ll - Scene 2 - 'Ehi! Bardolfo! A chi dico?...' (Falstaff) - Scene 3 - 'Corpo di Satanasso!...' (Falstaff)
Falstaff: Act ll - Scene 4 - 'E preparato?...' (Falstaff) - Duet (Betty, Falstaff) - 'Ah, Signore, se sapesse' (Betty)
Falstaff: Act ll - Scene 4 - 'Si degni almen di legger questo foglio...' (Betty)
Falstaff: Act ll - Scene 4 - Trio (Betty, falstaff, Bardolf) - 'Si mi vedeste il core' (Falstaff)
Falstaff: Act ll - Scene 5 - 'E il nostro Signor Broch...' (Falstaff) - Scene 6 - 'Il Signor Broch vi attende...' (Bardolf)
Falstaff: Act ll - Scene 7 - 'Se un pranzo non vi basta...' (Ford)
Falstaff: Act ll - Scene 7 - 'Che sento!... E quando ei venne...' (Ford) - 'Or dunque quella bestia...' (Falstaff)
Falstaff: Act ll - Scene 7 - Cavatina (Falstaff, Ford) - 'Nella stanza in un cantone' (Falstaff) - 'Or, quando fui nel cesto...' (Falstaff)
Falstaff: Act ll - Scene 7 - 'Io, sotto titolo di roba sudicia' (Falstaff)
Falstaff: Act ll - Scene 7 - 'Signor, son penetrato del piu vivo dolor...' (Ford)
Falstaff: Act ll - Scene 8 - 'Stelle sogno o son desto?...' (Falstaff) - 'Furie che mi agitate' (Falstaff)
Falstaff: Act ll - Scene 9 - 'Presto Betty, che torna gia l'amico...' (Mistress Ford) - Duet (Mistress Ford, Falstaff) - 'Su, mio core, a gioir ti prepara!' (Mistress Ford)
Falstaff: Act ll - Scene 10 - 'Ma siam sicuri?...' (Falstaff) - Scene 11 - 'Ehi, comare presto!...' (Mistress Slender) - Duettino (Mistress Ford, Falstaff) - 'Pre carita, celatevi' (Mistress Ford)
Falstaff: Act ll - Scene 11 - 'Siete sola?...' (Mistress Slender)
Falstaff: Act ll - Scene 11 - Trio (Mistress Ford, Mistress Slender, Falstaff) - 'Primo ancor che Mastro venga' (Falstaff)
Falstaff: Act ll - Scene 11 - 'Ma dunque, care amiche?...' (Falstaff) - Scene 12 - 'Ha, ha! Sarebbe bella se cosi travestito...' (Mistress Ford)
Falstaff: Act ll - Scene 13 - 'Ecco, amici! Ah! Ribaldo!...' (Ford)
Falstaff: Act ll - Scene 13 - Ensemble (Betty, Mistress Ford, Mistress Slender, Ford, Slender, Friends) - 'Che vedo! Oh, me infelice!' (Mrs Ford)
Falstaff: Act ll - Scene 13 - 'Orben, colui che cerco...' (Ford)
Falstaff: Act ll - Scene 13 - Duet (Mistress Ford, Mistress Slender) - 'Benedetto quel bastone' (Tutti)
Falstaff: Act ll - Scene 14 - 'Sorte pettegola, meco la vuoi' (Falstaff)
Falstaff: Act ll - Scene 15 - 'Se in Londra si sapessero le mie delusioni...' (Falstaff)
Falstaff: Act ll - Scene 15 - 'La sua fede si gradita' (Ford)
Falstaff: Act ll - Scene 15 - 'Sorte pettegola, meco la vuoi' (Falstaff) - 'Chi dite mai?...' (Ford) - 'Sorte pettegola, meco la vuoi' (Falstaff)
Falstaff: Act ll - Scene 16 - 'Che dici?...' (Falstaff)
Falstaff: Act ll - Scene 16 - 'Consolatevi amico...' (Falstaff)
Falstaff: Act ll - Scene 17 - Aria (Slender, Echo) - 'reca in amor la gelosia' (Slender) - 'Zitto: vien qualchedun...' (Slender)
Falstaff: Act ll - Scene 17 - Finale (Mistress Ford, Mistress Slender, Falstaff, Ford, Slender, Spirits) - 'Siete gia qui' (Slender)
Falstaff: Act ll - Scene 17 - 'Fate verdi, turchine e bianche e nere' (Mistress Ford)

Amazon.com

Amadeus, a great movie, made Antonio Salieri a sort of celebrity, but in terms of his value as a composer, it was misleading. This first recording, long overdue and very welcome, should help readjust Salieri's reputation. By far the best opera based on Shakespeare's The Merry Wives of Windsor, is Verdi's Falstaff. But the lazy, cowardly, greedy, overweight, alcohol-soaked, sexually predatory, and somehow (despite everything) endearing antihero is big enough for more than one opera. Salieri's Falstaff is much simpler and smaller in scale than Verdi's, less inventive and energetic. But this is a sophisticated, funny, brightly performed treatment of Falstaff's attempt to woo two married women with identical love notes. --Joe McLellan

Customer Reviews:

"It reeks of music".......2002-05-03

Salieri's "Falstaff, ossia le tre burli" ("Falstaff, or the three hoaxes"), to a libretto by Carlo Prospero Gianfranceschi, was first performed in Vienna in 1799, making it one of his last operas. It is a "dramma giocoso"..., that is, an opera buffa with some serious elements. This is an interesting time in the history of Italian opera -- Mozart's great operas were almost a decade in the past, and Rossini's about a decade away. Stylistically, though, we are closer to the classical than the bel canto. The various ensembles (including extended finales to each of the two acts) are reminiscent of Mozart -- Salieri obviously learned much from his great contemporary. Some of the numbers, too, have an element of opera seria parody, just as we find, say, in Fiordiligi's aria "Come scoglio" in "Cosi fan tutte".

While it must be admitted that Salieri does not muster the depth of pscyhological insight into character that is a hallmark of Mozart's greatness, nor the effervescent sparkle which enlivens Rossini's comic operas, this is nonetheless a delightful work, which should give pleasure to anyone who enjoys the late classical Viennese style.

If you wish to sample this lovely fare, try the lively Overture, which is a rondo based on a contredanse theme, that makes prominent use of the woodwinds, and ends in a blaze of glory a la Beethoven (who was, of course, Salieri's pupil). Another highglight is Falstaff's Act I aria ("Nell'impero di Cupido"), which is somewhat reminiscent of Bartolo's Act I aria in "Figaro" and even seems to look ahead to some of Rossini's buffo patter songs (I am thinking in particular of Don Magnifico's Act III aria in "Cenerentola").

The performance here, by authentic Italian forces, does justice to the idiomatic character of classical Italian opera buffa. So much of the action takes place in secco recitatives -- those bits of quasi-sung, quasi-spoken dialogue accompanied only by basso continuo -- and it is essential, as here, that the singers impart the nuance of the Italian language to it. The wonderful ensemble is ably supported by Alberto Veronesi and his Milanese forces. (An odd feature I noticed is that the continuo instrument in the recitatives is a fortepiano, whereas in the musical numbers it is a harpsichord. Is this supposed to be an authentic touch? There is no explanation in the notes.)

I wish to single out in particular the brilliant Florentine baritone, Romano Franceschetto, who carries on the great tradition of buffo baritones such as Giuseppe Taddei, Sesto Bruscantini, and more recently Claudio Desderi, who brings an acute, agile, intelligent mind and voice to his musical numbers and who does a beautiful job in the recitatives. In fact listening to the recitatives I almost thought I was listening to Bruscantini or Taddei.

Gluck is supposed to have said of a piece of Salieri's, "Puzza di musica" -- "It reeks of music" -- and if you listen to this recording you will understand why Gluck held his disciple in such esteem. It is worth noting that Salieri held the most important musical job in Europe -- court composer to the Habsburg Imperial court -- and numbered Gluck, Haydn, and Mozart as friends and colleagues, and Beethoven, Schubert, Hummel, and Liszt as pupils. If you want to get an insight into this interesting composer, who lived at such a pivotal time in the history of music and made his small but not trivial contribution to it, forget "Amadeus", try this recording. It will have you asking for more.

Salieri was no joke.......2001-08-13

Despite our compatriot's words to the contrary, Antonio Salieri was a magnificent composer who has composed some of the most moving scenes in all of operatic music. It is unfair to compare any musician to another since each musician has his/her own way of viewing a work and approaching that work. Mozart, obviously, would have taken a different approach to Falstaff just as Handel, Bach, Beethoven, Ligeti, or even Durufle would have taken. Each composer is unique and as true music lovers we must respect this and also respect Salieri's important, yet, unfortunately, mostly forgotten gargantuan comtribution to classical music.

Near worthless!.......2000-05-10

How can one listen to this work without comparing it to those of Mozart? I couldn't, and it's like comparing sewer water to a fine red wine- there is no comparision.

This opera is completely dull, uninspiring, unimaginitve, and just plain boring! I much prefer the classical period to that of the romantic, but i also much prefer Verdi's Falstaff to this one.

While it is true Amadeus exaggerated the rivilary between Mozart and Salieri, Salieri's jealousy was very much real. He did recognize Mozart's devine talent.

Furthermore, Salieri was not the incompetent composer Amadeus made him out to be. In fact, for that time period he was very compentent and as good as almost all the other composers of his day. The problem? Mozart far exceeded anything composers of that day, or since could put out! It always amazing me that Salieri and many composers were paid twice as much as Mozart for turning out work that was half as genious, half as brilliant, have as imaginative, and have as miraculous as Mozart's music was. Furthermore, Mozart was offered commissions (many) only after Salieri first turned them down.

The Marriage of Figaro and Don Giovanni - arguably the two greatest operas ever composeed, failed in Vienna- while the operas of Salieri were smash hits! The "musical capital" of the world was totally inept when it came to recognizing great music! Most people don't know it, but the premiere of Figaro in Prague was one of the greatest triumphs in operatic history. Mozart was thrilled and wrote in symphony in honor of the people of Prague. That led to the commission of Don Giovanni, which was a triumph as well in Prague, but failed in Vienna upon it's transfer there prompting Mozart to declare, "My Praguers, they understand me."

There is a reason why Mozart is regarded as the greatest. Mozart is simply stunning beauty and perfection with no equal.

This opera is near garbage. Salieri's Axur is quite nice- but still far from the level of Mozart.

Salieri was envious of Mozart- and with good reason. And for that reason- Salieri was a smart man. In a time when Vienna tossed their great musical gift (Mozart) by the wayside, Salieri recognized it.

If you don't have all Mozart operas- get them first!

FALSTAFF: a good recording of Salieri's last operas!..........2000-03-24

A worthwhile issue of an opera composer whose dozens of works (i.e. Axur, re d'Ormus, Les Danaides, La Locandiera, etc.) are still little-known. A good recording of the Salieri's comedy, I enjoyed it. The arias are few, the ensembles many with complicated finales. However, I loved this recording wich embraces a remarkable teamwork, and is full of life and fun. It is very much an 18th-century opera buffa which takes liberties with Shakespeare's original (no Anne and Fenton; Mrs. Ford visits Falstaff disguised as a German woman - an excuse for comic mixture of German and Italian dialogue; only the Fords run any risk of marital separation) but which offers several enjoyable parodies of opera seria conventions. Falstaff, is one of Salieri's last operas (Vienna, 1799), and one of the first to derive its plot from Shakespeare's The Merry Wives of Windsor (later composers like Adolphe-Charles Adam, and Guisseppe Verdi composed operas on the same subject during the 19th century). The music of Salieri has remained forgotten (besides the fictional treatment of Salieri's supposed rivalry with Mozart in Peter Shaffer's study of jealousy, Amadeus), his name a foot-note in the lives of his pupils Beethoven and Schubert.

FALSTAFF: a good recording of Salieri's last operas!..........2000-03-24

Vecchie Letrose: Italian Renaissance Music

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Vecchie Letrose: Italian Renaissance Music

Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Chansons | Vocal Non-Opera | Opera & Vocal | Styles | Music

Tracks:

L' Amor Donna, Ch' Io Te Porto
Non Dormite, O Cacciatori
Lowener Tanzbuch: Pavane Et Gaillarde Ferrarese
Su, Su, Leva, Alza Le Ciglia
Se Ben Hor Non Scopro El Foco
L'E Pur Morto Feragu
Basses Dances: La Magdalena
Le Vecchie Per Invidia Sono Pazze
Vecchie Letrose
Non Si Vedra Giammai, Stanca Ne Satia
Recercada Sobre 'O Felici Occhi Miei
O Felici Occhi Miei
Reihentanze
D' Un Bel Mattin D' Amore
Ricarcare
Matona Mia Cara
Basse Danse
Ci Riuniam Attorno Al Foco
Pan De Miglio
Lirum Bililirum Lirum
Sempre Mi Ride
L' Innamorato
Saccio 'Na Cosa

Verdi: Otello/Vinay, Nelli, Valdengo,Toscanini

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The best!

Verdi: Otello/Vinay, Nelli, Valdengo,Toscanini
Arthur Newman , Giuseppe Valdengo , Herva Nelli , Leslie Chabay , Nan Merriman , Nicola Moscona , Ramón Vinay , and Virginio Assandri
Manufacturer: Guild
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan

ASIN: B0001PIZHO
Release Date: 2005-01-17

Customer Reviews:

The best!.......2006-08-11

There are lots of recordings of Otello out there, and most of them have something to commend them. This one is not the best all round. Valdengo is perfectly ok, but not the best on record. Neither is Herva Nelli in the top five category. Toscanini is, of course toscanini, but even he is not the reason to have this set. Bye the way: I am not recommending this as the one to get if you are in the one opera- one recording category. No, the reason to have this is that once you have come to love the role of Otello, there is simply no better rendition on disc! Vinay was the greatest (arguably) Otello of his time, and he is simply smashing as the wounded lion of venice. A trumpet of a voice but rich and baritonal: All one might want for the greatest role in one of the finest operas of all time. His "Niun mi tema" is fantastic.! All I can say is: If you love this opera as I do (this is one of the eleven recordings I have of it) you will surely appreciate the best recorded Otello of all time. Frankly, in my opinion, only Giacomini comes close. But that is only my opinion. Buy it!!

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From a Spanish Palace Songbook
Margaret Philpot , and Shirley Rumsey
Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B0000666BE
Release Date: 2002-07-09

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O Come Let Us Sing
Paul Manz , Healey Willan , Giovanni Pierluigi da Palestrina , Hector Berlioz , Charles Callahan , Maurice Durufle , Pablo Casals , Thomas Tallis , Charles Gounod , William Byrd , Charles Villiers Stanford , Joseph Noyon , Donald Dumler , Choir of St. Patrick's Cathedral , and John-Michael Caprio
Manufacturer: Gothic Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

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