De Vous À Moi [Import]

1. Femme Avec Toi (Femme...)

2. Blues du Businessman

3. Ne Pense Qu'à Toi (Parlez-Moi de Lui)

4. Quand Nous N'Aurons Que la Tendresse

5. I'll Never Leave You

6. Quand on Vient Dêtre Heureux

7. Été

8. Uns et Les Autres

9. Léo

10. Garonne

11. J'Ai Besoin de Toi, J'Ai Besoin de Lui

12. Téléphone-Moi

13. Homme et une Femme

14. Ma Rue aux Illusions

15. C'est Comme un Arc-En-Cie

16. Emma (Je M'Appelle Emma)

17. Encore

18. Des Ronds Dans I'eau

19. Je Ne Suis Que de I'amou

20. Éternelle [*]

See all 21 tracks on this disc

Tracks:

Voi Che Sepate - Teresa Berganza
Porgi Amor - Heather Harper
Deh, Vieni Alla Finestra - Thomas Allen
Batti, Batti, O Bel Masetto - Elizabeth Gale
Der Holle Rache - Edda Moser
O Isis Und Osiris - Cornelius Hauptmann
Temerari...Come Scoglio - Elisabeth Schwarzkopf
La Calunnia E Un Venticello - Ruggero Raimondi
Nei Giardin Del Bello - Ambrosian Opera Chorus
Casta Diva - Maria Callas
Se Quel Guerrier...Celeste Aida - Franco Corelli
Tenesta La Promessa...Addio Del Passato - Beverly Sills
Niun Mi Tema - Jon Vickers
Un Bel Di Vedremo - Renata Scotto
E Lucevan Le Stelle - Placido Domingo
Si, Mi Chiamano Mimi - Mirella Freni
In Quelle Trine Morbide - Montserrat Caballe
Signore, Ascolta - Kiri Te Kanawa
Recitar...Vesti La Giubba - Jose Carreras
Amor Ti Vieta Di Non Amor - Roberto Alagna

Tracks:

Le Veau D'Or Est Toujours Debout - Boris Christoff
Ou Va La Jeune Hindoue? - Mady Mesple
L'Amour, L'Amour...Ah! Leve-Toi, Soleil - Alfredo Kraus
Allons! Le Faut...Adieu Notre Petite Table - Ileana Cotrubas
Toute Mon Ame Est La Pourquoi Me Reveiller - Nicolai Gedda
Quand La Flamme De L'Amour - Jose Van Dam
L'Amour Est Un Oiseau Rebelle - Victoria De Los Angeles
A Cette Voix...Je Crois Entendre Encore - Alain Vanzo
Une Puce Gentille - Gabriel Bacquier
Je Vais Mourir...Adieu, Fiere Cite - Regine Crespin
Mon Coeur S'Ouvre A Ta Voix - Rita Gorr
Wie Todesahnung...O Du Mein Holder Abenstern - Dietrich Fischer-Dieskau
Johohoe! Traft Ihr Das Schiff Im Meere An? - Anja Silja
In Fernem Land - Chor Der Wiener Staatsoper
Heil Dir, Sonne! - Siegfried Jerusalem
Mild Und Leise - Helga Dernesch

Tracks:

Che Faro Senza Euridice? - Agnes Baltsa
Der Vogelfanger Bin Ich Ja - Walter Berry
Finch'Han Dal Vino - Nicolai Ghiaurov
E Susanna Non Vien!...Dove Sono - Barbara Hendricks
Abscheulicher! - Christa Ludwig
Ne M'Abandonne Pas, Espoir De La Vengeance...Asile Hereditaire - Nicolai Gedda
Largo Al Factotum - Tito Gobbi
Ella Giammai M'Amo! - Ruggero Raimondi
La Donna E Mobile - Alfredo Kraus
Di Quella Pira - Franco Corelli
Esultate! - James McCracken
Dio! Mi Potevi Scagliar - Placido Domingo
Vissi D'Arte, Vissi D'Amore - Maria Callas
In Questa Reggia - Ghena Dimitrova
Tanto Amore - Janine Micheau
O Mio Babbino Caro - Montserrat Caballe
Ed Anche Beppe Amo - Luciano Pavarotti
Poveri Fiori - Maria Callas
Come Un Bel Di Di Maggio - Roberto Alagna

Tracks:

Les Grands Seigneurs...Ah! Je Ris De Me Voir Si Belle - Victoria De Los Angeles
Marie, Avec L'Enfant Jesus - Jules Bastin
Heureux Petit Berger - Janine Micheau
Connais-Tu Le Pays - Jane Rhodes
Elle Ne Croyait Pas Dans Sa Candeur - Nicolai Gedda
Votre Toast, Je Peux Vous Le Rendre...Toreador - Victoria De Los Angeles
Les Oiseaux Dans La Charmille - Mady Mesple
Maintenant, Chantons...Devant La Maison De Celui Qui D'Adore - Gerard Souzay
Depuis Le Jour - Beverly Sills
Da Geht Er Hin - Elisabeth Schwarzkopf
Einsam In Truben Tagen - Regine Crespin
Dich, Teure Halle - Hildegard Behrens
Leb Wohl, Du Kuhnes, Herrliches Kind - Dietrich Fischer-Dieskau
Hojotoho! Hojotoho! - Ute Walther

Tracks:

Non Piu Andrai - Thomas Allen
La Ci Darem La Mano - Graziella Sciutti
Duo: Pa-Pa-Pa - Andreas Schmidt
Soave Sia Il Vento - Delores Ziegler
Mira, O Norma - Maria Callas
Il Dolce Suono - Edita Gruberova
Com'e Gentil - Alfredo Kraus
Una Voce Poco Fa - Maria Callas
Libiamo Ne' Lieti Calici - Alfredo Kraus
Gualtier Malde!...Caro Nome - Michele Pertusi
Ritorna Vincitor - Birgit Nilsson
Ave Maria - Katia Ricciarelli
Nessun Dorma - Franco Corelli
Che Gelida Manina - Nicolai Gedda
Ebben? Ne Andro Lontana - Barbara Hendricks

Tracks:

Mes Amis, Ecoutez L'Histoire - Nicolai Gedda
Mieux Vaut Mourir...Amour Sacre De La Patrie - Alfredo Kraus
Ah! Je Veux Vivre Dans Ce Reve - Mady Mesple
Puisqu'on Ne Peut Flechir...Vainement, Ma Bien-Aimee - Henry Legay
Suis-Je Gentille Ainsi?...Je Marche Sur Tous Les Chemins - June Anderson
Belle Nuit, O Nuit D'Amour - Jessye Norman
La Fleur Que Tu M'Avais Jetee - Jose Carreras
C'est Toi!...Au Fond Du Temple Saint - John Aler
Werther, Werther, Qui M'Aurait Dit...Ces Lettres! - Tatiana Troyanos
Viens, Mallika - Mady Mesple
Ah! Je Suis Seule Enfin...Dis-Moi Que Je Suis Belle - Beverly Sills
Alerte, Alerte!...Anges Purs, Anges Radieux - Nicolai Ghiaurov
Boris's Farewell - Boris Christoff
Schreckensschwur! - Gary Lakes
Die 'Selige Morgentraum-Deutweise'...Selig, Wie Die Sonne - Peter Schreier
Was Am Besten er Kann...Nothung! Nothung! - Siegfried Jerusalem

Customer Reviews:

Superlative collection.......2006-10-11

A collection of 100 individual arias and ensembles from the EMI catalogue of complete works recorded between 1955 and 2003. It includes selections from operas by Italian, Austrian, German, Russian and French composers. The French composers are especially well represented unlike most such anthologies. And there are several more obscure contributions, such as an aria from Catalani's La Wally. A well-judged balance of musical periods and styles, and the very best singers of the last half of the last century. And remarkably, the whole collection of 6 CDS, over 7 hours of music, is being sold for the cost of only 1 CD !

Great value for the money.......2006-04-23

This is simply the best collection of opera arias that I have seen. It's not 100% in that there are a few well-known arias that are not here, but what is here is simply a treasure. The organization is a bit strange, but there's some logic. For example, Disk 6 is mostly from French operas. A seemingly endless amount of glorious music. Just fabulous. You won't be disappointed.

Great for the money and a good starter on opera...........2006-01-07

This cd is a splendid collection of songs, and the price is unbeatable; I have but a few minor complaints about the overall product. The cd would have been much more enjoyable if they had put the music in some sort of order, rather than jumping around from artist to artist sporatically. My only other complaint would be that they could have chosen some better vocalists to play some of the songs. For example, in CD 6, track 3: Romeo et Juliette, the singer was not nearly as strong and definative as she should have been and I've definately heard in various other versions that were way better than this. This disappointed me greatly. But even with these few small complaints, this collection is still great and the price is amazing. It includes MOST of the famous opera pieces, as well some great songs that are often overlooked such as the beautiful song from Wagner's Die Meistersinger von Nurnberg (CD 6, track 16) along with others.

Amazing Value.......2005-08-23

I am so impressed by this collection that I must share my joy at getting so many beautiful arias, duets, et al in one collection. It captures many of the great operatic voices in stellar performances spanning the last 50 years. If you are enchanted by beautiful operatic highlights, removed from their operatic storylines, this set is for you. Hours of gorgeous music for practically pennies!

Average customer rating:

Valuable compendium
Rareties available on CD at last!
Heavenly
WHO ELSE CAN SING LIKE THIS TODAY?

The Art of Joan Sutherland

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

The Decca Records Store | Specialty Stores | Music
Similar Items:

Joan Sutherland: BBC-Recitals 1958, 1960, 1961
Serate Musicali
The Art of the Prima Donna
The Voice of the Century
La Stupenda ~ The Supreme Voice of Joan Sutherland

ASIN: B000654OUQ
Release Date: 2005-03-15

Customer Reviews:

Valuable compendium.......2007-01-24

This set is extremely valuable, not only as an overview of Dame Joans career but because it contains three complete LP sets that have been very hard to find. The sets are the 2 LP French opera (operetta) set, the Mozart album and the Wagner album. Although some of these do not show her to her best advantage (the Wagner set) they all have some very beautiful things and the French items are superb. The annotations and photos are interesting as well and there are some piano songs with Bonynge that are released here for the first time along with a scene from a live Covent Garden Norma.

Rareties available on CD at last!.......2006-03-29

While Joan Sutherland has recorded a number of impressive aria collections throughout the many years of her recording career, they tend to get lost in the shuffle of the countless reissues Decca/London has endlessly repackaged. While some of the original collections have appeared intact on CD--"The Art of the Prima Donna," "The Age of Bel Canto," "Love Live Forever" (her operetta collection that was originally titled "The Golden Age of Operetta"), to name a few--others are currently represented in the CD catalogue by only a few selections on discs that also include excerpts from complete opera recordings or duplicates of selections from other original collections. As a result, it has been impossible to assemble a CD collection of her recordings without a LOT of duplication, and some of the most interesting collections are still unavailable (e.g. "Command Performance" and "Serate Musicale").

While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.

I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.

Heavenly.......2006-01-31

I first heard of Dame Sutherland while on the internet while listening to a internet radio station. I was instantly a fan, her control, technique, and tone is perfectly executed and rivals the equally fantastic Maria Callas. She has a powerful voice and presence that will evoke every emotion from her listeners. Highly recommended to all Opera Diva fans.

WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10

This is Decca's second multi disc evaluation of this fantastic singer's long career and many recordings. True that a lot on the first set is duplicated here, but there are a few exceptions here and there that make it a worthy addition. Of particular interest are the very early items of Handel and Italian baroque arias, some forgotten song recordings and a live performance of the duet from Norma. It can't be said too many times - who can sing like this today? For sheer vocalism it's hard to find anyone on the same wavelength. This set will give very young opera goers an idea of what they missed.

Average customer rating:

The Greatest By Far
Absolutely the Best Carmen
No, please
L'amour est un oiseau rebelle

Bizet: Carmen [Highlights]

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Mozart: Piano Concertos Nos. 24 & 25
Bach - Mass in B minor / Argenta, Nichols, Chance, Stafford, Milner, W. Evans, Gardiner
Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra
Haydn: The London Symphonies, Vol. 1
Tchaikovsky: Concerto No. 1/Rachmaninoff: Concerto No. 2

ASIN: B000001G52
Release Date: 1990-10-25

Tracks:

Carmen: Prelude
Carmen: Act 1: Sur la place (Micaela)
Carmen: Act 1: Avec la garde montante
Carmen: Act 1: L'amour est un oiseau rebelle (Carmen)
Carmen: Act 1: Parle-moi de ma mere (Don Jose, Micaela)
Carmen: Act 1: Pres des remparts de Seville (Carmen, Don Jose)
Carmen: Act 2: Les tringles des sistres tintaient (Carmen)
Carmen: Act 2: Dialogue
Carmen: Act 2: Vivat! vivat le Torero! (Carmen)
Carmen: Act 2: Votre toast, je peux vous le rendre (Escamillo, Carmen)
Carmen: Act 2: La fleur que tu m'avais jetee (Don Jose)
Carmen: Act 3: En vain, pour eviter les reponses ameres - Parlez encore, parlez, mes belles (Carmen)
Carmen: Act 3: A dos cuartos!
Carmen: Act 3: (musique de transition)
Carmen: Act 3: C'est toi! - C'est moi! (Carmen, Don Jose)

Customer Reviews:

The Greatest By Far.......2006-03-09

Agnes Baltsa [Carmen] ** José Carreras [Don José] ** José van Dam (baritone) [Escamillo] ** Katia Ricciarelli [Micaëla] ** Christine Barbaux (soprano) [Frasquita] ** Jane Berbié (soprano) [Mercédès] ** Alexander Malta (bass) [Zuniga] ** Mikael Melbye (baritone) [Moralès] ** Gino Quilico (baritone) [Le Dancaïr] ** Heinz Zednik (tenor) [Le Remendado] ** Michel Marinpouille (tenor) [Andrès] ** Berlin Philharmonic ** Herbert von Karajan (conductor]

There is no doubt in my mind that this studio recording is by far the most powerful Carmen I've ever heard. This 80's recording captures both the lush, beautiful musicality of this opera-comique and the intense visceral "verisimo" drama, thanks to the efforts of Karajan and his illustrious Berlin forces and the great singing from Agnes Baltsa, Jose Carreras, Katia Ricciarelli and Jose Van Dam.

Karajan had previously recorded Carmen in the 70's, in a more dramatic, overblown fashion when he conducted the Vienna Phil with the voices of Leontyne Price and Franco Corelli. Although that recording has its individual merit, it was not really his best effort. He had scored greater success with Grace Bumbry in the lead role and Jon Vickers as Don Jose, productions he conducted at the Salzburg Festival in the late 60's. In the 80's he was a white-haired old man, the image many younger music lovers remember him from after seeing videos and recording covers he was in fact experiencing the last phase of his career before his death in the late 80's. He is nevertheless a supremely gifted conductor, masterful and able to bring out the best from his orchestra. The Berlin is actually better than the Vienna Phil in his earlier recording with Leontyne Price. The Berlin forces weave great music, capturing the colorful slices of life in this steamy, sordid opera. Yes, it is of the "grand opera" and verisimo vein and not the more simplistic, opera-comique Carmen but it is absolutely powerful in its wake. Karajan has never done a better job. It is his second recorded Carmen and his best.

Each of the singers bring a vitality and nuance to their performance and sing with the freshness of their prime. It is not surprising to find Jose Carreras and Katia Ricciarelli in the same cast. Theses two worked well together and recorded and performed operas throughout the 80's, even carrying out an affair together. Ricciarelli and Carreras as Don Jose and Micaela sing with glorious harmony, making their romance all the more tragic because Don Jose rejects the purity of her love and destroys himself in his passionate relationship with the temptress Carmen. Their duet in the beginning feels prolonged but that's a great thing because their voices are so beautiful to hear together.

From the beginning, Jose Carreras sings with a darker voice. He understands that Don Jose becomes obscessed with Carmen and develops a psychosis. It is a rich, powerful and masculine voice, albeit darker and edgier than even Jon Vickers and Placido Domingo. He sings everyting with great passion, despite the fact that his voice may not have done what he may have wanted it to. He is somehow, strangely, through sheer force of will, the best Don Jose, the most dramatically satisfying. His detractors and critics claim he was in bad vocal shape, at least in regards to his age (he was past his prime, he had been operated for leukemia, etc) and worse, his Don Jose has been called "melodramatic, hysterical". I whole-heartedly disagree. Carreras sings with so much integrity to the character's essence that he single-handedly blows all other contenders away. I've heard them all- Franco Corelli (in the Leontyne Price recording) Placido Domingo (in the Berganza recording and the Obraztsova, and Migenes movies) and Jon Vickers (in the recording and film with Grace Bumbry). His tenor voice is right on target for the darker side of Don Jose. He is passionate, yet lyrical in the first part and by the climatic finale he is understandably pushed to the edge. There is definate chemistry between Carreras and Baltsa and they would also make a film of the Metropolitan Opera stage production, which is wonderful. Please give Carreras a chance. He is the best Don Jose I've ever heard.

Ricciarelli is a very nuanced, soulful Micaela, bringing passion and grandeur to the role, instead of singing the role like a shrinking violet. This Micaela is willing to fight to get her man back from Carmen. In this way, she is a lot like Mirella Freni, who also sang a feistier Micaela. Ricciarelli is in great vocal form, and her rendition of "Je Dis" is beautiful and heart-felt. Those who have criticized her for what they feel is forced singing didn't really listen to the recording. She is mannered, she is mellow and in control. She has a genuinely dramatic way of singing, but then again, I've already made the comparison to Mirella Freni, whose Micaela is also dramatic. Quite frankly, this is the way Micaela should be sung. She is still a soprano, usually the lead in an opera and Ricciarelli understands that if she doesn't impress in the few moments she has in the opera, then she is letting the mezzo-soprano take all the glory. Ricciarelli is wonderful here and Micaela is one of her greatest roles, despite the fact she moved on to sing heavier roles like Tosca, Leonora, Aida and Turandot. She is probably better in the subdued lyrical roles then the heavier roles.

Jose Van Dam's Escamillo is dark, "butch" and strongly sung. He has a sharp musical intelligence and recognizes that Escamillo is also not the star but has his moments of radiance. He sings the famous Toreador Aria with great gusto and power. Karajan's slow conducting and colorful orchestration allows his few moments in the opera to really burst with maximum energy. Upon hearing Jose Van Dam's Escamillo, one can understand why Carmen jilts the now lackluster Don Jose. Van Dam is absolutely superb.

Last but certainly not least, there is Agnes Baltsa's Carmen. She was born to sing this role. It is a Carmen of several levels- she is playful (listen to how she slides her voice in the Habanera and Seguidilla) she is feminine but wordly. If she sounds mature and not youthful this is still to her credit. Carmen is a wordly, experienced libertine. Baltsa lives the character in ever scene. She sings with great power and beauty. The Death Card Aria has a tragic quality to it and she sings with a resigned spirit, acknowledging her fate. More than any other mezzo-soprano who has sung Carmen on record, to my knowledge, she really acts the hell out of that final scene. She is singing with grand flair, dramatic to the point she is boiling over with rage. Listen to how she emotes when she declares "Libre Elle Nee e Libre elle Morra" (I was born free and I shall die free!) and "E Bien! Frappe-Moi Donc, Or Lassez Ma Passe! (Very Well Then! Kill Me! Or Let Me Pass!). Finally, she nearly cracks her voice with the high, anguished cry of "C'este Autefrois Que Tu Me Vais Donne - TIENS!!!" (This ring you once gave me - TAKE IT!!!). Both Carreras and Baltsa take the trophy when it comes to dramatically belting out this famous scene in opera.

Once upon a time I thought that Jon Vickers and Grace Bumbry were the greatest Carmen/Don Jose interpretors. I don't believe that anymore after hearing Jose Carreras and Agnes Baltsa.

Absolutely the Best Carmen.......2004-12-14

This CD is not only for opera lovers, but for anyone with an appreciation of classic voice music. I have seen productions of Carmen the world over, in Paris, in Vienna, multiple times at the Met in New York and many local companies. None has come close to the perfection of the voices on this recording. The emotion and quality of L'amour est un oiseau rebelle, one of the most recognized arias in all of opera, is unsurpassed. The gypsy dance which begins act 2 (Les tringles des sistres tintaient) is rich with fevor and lust. The music leaps off the CD and provides excellent insight into the intensity of this work.

This CD is for everyone, from the novice to the expert, and will be appreciated by all. It is the best opera recording I have heard and has stood the test of time. This should be a required addition to the collection of anyone with an appreciation of fine music.

No, please.......2000-06-10

This is an surprisingly boring recording, especially when looking at the star-cast, of one of the most enjoyable operas ever. I think the greatest problem with it lies in Karajans conducting.

The kindest thing I can come up with about this highlights recording is just the fact that it's a highlights edition - you don't have to listen to the whole debacle. Karajan has done a much, much better recording for RCA (Price, Corelli & Freni), where he doesn't suffocate his singers in an unengaging search for nothing but beauty. This search makes me lose my hair, and for example disturbes much of Carmen's music. Carreras here is not even close to the vocal prime he was in ten years earlier. His voice surely is soft and beautiful in the more quite parts, but he avoids using it to full power, even when called for, and his performance therefor gets rather boring. Baltsa probably would have done much better if she'd been supported instead of opposed by Karajan. Van Dam is definately the best of the cast in the role of Escamillo.

My very favorite of Carmen is the Beecham (de los Angeles, Gedda on EMI) set. You can also try a highlight of either Karajan (RCA - Price, Corelli) or Abbado (DG - Berganza, Domingo), which both give different but very good accounts of Carmen - use the Amazon.com possibility to listen to samples of these version to find out which one you prefer.

L'amour est un oiseau rebelle.......2000-06-09

This highlights CD happilly dismisses most of the dialogues and has an hour-plus of great music. The complete version is also available on amazon.com. Maestro Von Karajan achieves his trademark perfection with the Berliners and with the cast of ideal singers for Biset's masterpiece. Greek mezzo-soprano Agnes Baltsa is simultaneously playful, witty, self-indulgent, and, for all purposes, dangerous Carmen. She has a very long vocal phrase and plenty of power; listen to fiery rendition of "Les tringles des sistres tintailent"! Jose Carreras shows Don Jose's character development extremely well, from ardent and passionate, ready-to-leave-everything young soldier to a man obsessed; gradually you begin to believe Don Jose could kill. His Flower Song is very gentle and tender, as opposed to the war-cries often displayed by others. The final scene is so vividly enacted, I had "tingles down my spine". Katia Ricciarelli is fully "at home" with a role of angel-like Micaela, her 1st Act duet with Carreras is one of the most beautiful things one could ever hear. Van Dam brings out everything we like to see in Escamillo: single-mindedness, arrogance, and swagger. Karajan uses an interesting orchestral arrangement of the Toreador Song before "Tout d'un coup, on fait silence..." making you imagine the pause just before the bull charges. He also slows it down a bit, increasing the tension throughout and the last chords of it are like wineglasses clashing triumphantly together. Supporting roles are taken by some impressive vocal powers, including Jane Barbie and Gino Quilico. Btw, there is a Carmen video featuring Baltsa and Carreras, also from DG, fantastically sang and recorded.

Average customer rating:

Natalie Dessay in the French Repertoire: Nicely Done!
Another French Album?!
Le vrai Amour & la Grande Musique
Salut à la France!
Wonderful, but a minor quality control problem

Natalie Dessay - French Opera Arias
Natalie Dessay , Michel Plasson , Jules Massenet , and Jacques Offenbach
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Mozart Heroines; Natalie Dessay
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Natalie Dessay - French Opera Arias

ASIN: B0000ZOJZW
Release Date: 2004-01-13

Tracks:

Acte III - Air Du Cours La Reine: Suis-Je Gentille Ainsi?
Gavotte: Obessions Quand Leur Voix Appelle
Fabliau: Rire Toujours? Vous Vous Trompez
Acte II - Polonaise: Oui, Pour Ce Soir...Je Suis Titania La Blonde Philine
Acte III - Aubade: vive Amour Qui Reve L'Ensoleillad
Acte I - Bolero: Profitez de La Vie Mme De Ligneul
Acte II - Grande Valse: Conduisez-Moi Vers Celui Que J'Adore Edwige
Acte I: En Proie A La Tristesse La Comtesse
Acte II: C'En Est Donc Fait...Salut A La France! Marie
Acte I - Valse De Juliette: Ah ! Je Veux Vivre Juliette
Acte IV - Air De La Foile: A Vos Jeux Mes Amis Ophelie
Mort D'Ophelie: Le Voila, Je Crois L'Entendre Ophelie

Amazon.com

Yet again, the fascinating French soprano Natalie Dessay has come up with a winning recital. Canary fanciers can love her without guilt: her high notes are all in place (up to a solid E natural), her skill with fast coloratura is astonishing, her pitch is ideal, and her breath control is massive. But she's as interested in creating character as she is in pure singing. For once Ophelia's long Mad Scene from Thomas' Hamlet is a truly dramatic, heartbreaking event, for instance; similarly, Manon sounds young and sassy, as she should. Rarities by Boieldieu and Offenbach are a joy to hear; "Je suis Titania" and Juliette's Waltz Song are suitably virtuosic and show-offy--she's as good as any of the so-called "Golden Age" sopranos in this repertoire. Her tone remains full and pretty; only the very top notes have a bit of an edge, but this hardly detracts. In short, this is a remarkable recital--interesting pieces, gloriously sung. --Robert Levine

Customer Reviews:

Natalie Dessay in the French Repertoire: Nicely Done!.......2007-03-08

Here, Natalie Dessay sings French arias. All in all, a satisfying album, with a few exceptions as noted below. A few samples of the cuts on this CD.

From Massenet's "Manon," she sings nicely. "Suis-je gentile ainsi" shows off her clear, light, agile voice. She demonstrates a decent trill and nice high note. "Obeissons quand leur voix appelle" is sung at a slower pace. Well sung, with some subtle vocal effects. This closes with a nice run, but a rather harshly sung high note. Then, "Rive toujours." This begins at a slower pace, but picks up. There is some nice ornamentation. For the most part, this is sweetly sung.

Thomas' "Mignon" features a wonderful piece, "Je suis Titania la blonde." Dessay, again, displays an agile and attractive voice. She demonstrates capable coloratura technique, featuring some nicely done appoggiaturas. In the last segment, she manifests a nice trill. Her penultimate high note is a bit harsh. However, she concludes with a very well done set of trills and a good high note.

From Gounod's "Romeo et Juliette," we have "Ah! Je veux vivre." The first part is smoothly sung. Nice characterization by Dessay. There is some attractive and pleasant florid singing at the end. Finally, from Thomas' "Hamlet," she essays "A vos jeux mes amis." Nice effects and good vocal technique are displayed. Her voice is attractive in this cut. Nice ornamentation toward the end. Some good trills and some nicely hit high notes.

This is a fine CD. Natalie Dessay shows her vocal virtues to good effect. She is obviously quite at home on the French repertoire, and this CD demonstrates that statement very clearly.

Another French Album?!.......2005-12-26

Does Natalie Dessay even know how to sing Italian? Whatever. I find her boring and flat. Her middle range drives me batty 'cas it's non exsistent and too sharp for my taste. I have no clue how anyone can compare her to Lily Pons becuase Pons notes were flawless and effortless. I always hold my breath to see if Dessay hits her notes well or if it just comes out piercing and sharp. She's about 50/50. She is no Lily Pons. She's decent but utterly forgettable and frankly I'm not sure why people are so enraptured by her. I find Sumi Jo much more appealing and talented

Le vrai Amour & la Grande Musique.......2004-05-14

Elle musique est si paisible et claire. Natalie Dessaix est épousé au baryton chanteur d'opéra Laurent Naouri. Ils ont deux beaux enfants. Natalie et Laurent ont participé dans les films télévisé nombreux. Dans Orphée aux enfers (1997) elle a joué Eurydice et il a joué Jupiter. Laurent Naouri est présenté dans Rameau 'Hippolyte et Aricie'. Dans cet opéra baroque français,
Naouri dans son aria 'Puisque Pluton' il est destiné à tuer son fils.

Salut à la France!.......2004-05-10

Natalie Dessay is a delight on this CD of arias from 19th century French Opera. The listener can experience a singer who is both concerned about the vocal and interpretative values of each selection of this recital. The first two tracks of the Cours de la Reine Scene from Massenet's 'Manon' show a fresh voice that portrays easily the youth and frivolity of the title character. All the stacattos, cadenzas and high notes are on the service of the character. It is delightful to find some rarities on this recital, like the Fabliau from 'Manon' (an alternative aria that Massenet composed for sustitution of the Gavotte) and the pieces from 'Chérubin', 'La fête du village voisin' and 'Robinson Crusoe'. On the selection by Offenbach, Dessay sings a stunning trill on a Dflat and then goes to expectacular scales, finishing the dazzling waltz with an elaborate cadenza and a firm high E. Another highlight of the CD is the elaborate aria from 'Le Comte Ory' by Rossini, where the soprano's attention to the nuances of the piece bring out a lively interpretation. The aria from 'La fille du régiment' makes us wish for a complete recording of the opera. However, the best part of the CD are the last two tracks. Dessay brings all her gifts to a climax with a marvelous performance of the Ophélie's Mad and Death Scenes from 'Hamlet' by Ambroise Thomas. This version of the Mad Scene is even better than her previous rendition on her last recital of French arias. This is a highly emotional interpretation where all the brilliant scales and cadenzas reflect the changing moods of Ophelie's madness and her despair as well as her innocence. This is the definitive performance of this music on records, period. The Orchestre National du Capitole de Toulouse and the Choeur 'Les Eléments', ably conducted by Michel Plasson, complement Dessay beautifully. In summary, another wonderful CD by one of the most remarkable coloratura sopranos of our time.

Wonderful, but a minor quality control problem.......2004-04-02

Five stars for Natalie Dessay, who has an incredible instrument, and a great selection of arias. But I've listened to 4 copies of this disc and each had a very short "click" at 2:22 on track 2 (the Gavotte from Manon). Must be a quality control problem. Maybe it was just a bad batch.

Anyway, Dessay's voice is a force of nature; she must be one of the greatest coloraturas ever. I prefer her live version of Handel's "Tornami" from Alcina to Sutherland's. And she's incredible on Orphee Aux Enfers - not only a wonderful singer, but obviously a great actress and comedienne.

So, if you've not heard her before, give this album a try - ignore the "click" and listen to a truly angelic voice.

Tracks:

Prelude pour les trompetes
Chantons les plaisirs charmants
Quittons notre vaine querelle
Chantons tous de l'Amour
Enfin il est en ma puissance
Chere Climene, dis-moi
Je vous aime, Nymphe charmante & Plainte du Dieu Pan
Duo des Nymphes
Laisse-nous en repos, Philene
L'hiver qui nous tourmente
Que le feu des forges s'allume
Trop indiscret Amour
Ah! J'attendrai longtemps
Armide, vous m'allez quitter/Passacaille

Customer Reviews:

Wonderful CD.......2005-09-22

I only would like to say that this is a first class disc. I love classical music since the barroque century to our days. Thank you very much.

Versailles, Le Roi Soleil, et Lully.......2002-06-19

Great music, wonderfully performed, historically accurrate,
what else could we ask for.

A great introduction to the father of French opera.......2002-06-11

Considering his historical importance as the founder of French Baroque opera, it is perhaps surprising that Jean-Baptiste Lully has not received the same degree of attention on disc as his rivals and followers. The revival of French Baroque music which has been such a phenomenon over the last two or three decades has only rarely paid him much attention. Listeners seem to find the harmonic daring of Marc-Antoine Charpentier or the incredible colour and imagination of Jean-Philippe Rameau far more to their taste. Lully's suave, well-crafted music is often dismissed as bland beside the music of these figures and that of Lully's English follower, Purcell. But as this well-filled (78 minutes) disc of extracts from the whole range of his stage music demonstrates, Lully was a considerable and innovative composer in his own right. If you are new to Lully, this is the ideal place to start.

The new recording tells the story of how this ambitious, and frequently ruthless, young Florentine transformed himself into a French citizen and friend of "Le Roi Soleil", just as he transformed the Italian opera of the mid-seventeenth century into something uniquely Gallic. Lully began by catering to the young King Louis XIV's mania for dance with a series of comedies-ballets written in collaboration with Moliere. Extracts from two of them, "Georges Dandin" and "L'Amour Medecin" are included here, where the Italian influence is still strong with plenty of lively comedy. This phase of Lully's career culminated with the amazing five-hour extravaganza, "Psyche", in 1671. Two powerful choruses from this divertissement start the disc.

It was while he was working on "Psyche" that Lully met the librettist Philippe Quinault who was to be his partner in forging a distinctively French form of opera, the 'tragedie lyrique'. Quinault's contribution was vitally important since Lully saw opera as an equal marriage of words and music. The key would be expressive recitative rather than the show arias that dominated the Italian 'opera seria' of the time. The chorus and ballet would also play a major part in the divertissements which ended each act, offering a chance for Lully to show off his musical imagination. Some of the best examples of this come in the extracts from the opera "Isis" (1677) included here. In fact the first audience found the music rather too imaginative and it soon acquired the reputation as a work for connoisseurs only, 'the musicians' opera'. One of the connoisseurs who appreciated it was Henry Purcell. The "Scene de Froid" inspired him to write the wonderfully atmospheric Frost Scene in his "King Arthur" (1691). You can hear immediately what appealed to the Englishman's imagination - the chattering chorus and shivering violins conjure up a vivid impression of extreme cold. It is quickly followed by a scene depicting blazing heat - the smithy of the Chalybes, where the ringing percussion suggests the music of Wagner's Nibelheim two hundred years later. But the most haunting music is a lament by the god Pan for the nymph Syrinx, after her transformation into a reed. It is touchingly accompanied by woodwind and an organ. The characteristic Lullian blend of words and music (which is possibly one reason why many non-French speaking Baroque enthusiasts find a whole Lully opera hard to listen to) is illustrated by scenes from "Armide" and "Roland". In the latter, the hero Roland searches for his lost love Angelique. Lully's music conjures up a beautiful pastoral scene using only smoothly sliding strings, becoming more and more troubled as Roland learns from the names carved into the trees that his beloved has married his rival, Medor. Finally, Roland explodes into rage, his anguish turns to madness and the music rages too. In "Armide", the eponymous heroine, a pagan sorceress, has lulled the Christian hero Renaud asleep so she can stab him to death. However, when she sees him lying defenceless, she falls in love with him and cannot bring herself to commit the murder. Armide's monologue included here, where she hesitates between hatred and love, has always been rightly regarded as one of the high points of the entire French repertoire with its masterly psychological depiction of the tortured enchantress. The disc ends with a love duet between Armide and Renaud from the final act of the opera, followed by another dance, the massive 'grande passecaille'. Its interweaving musical lines have an extraordinary, hypnotic beauty.

Tracks:

Carmen: Overture - G. Bizet
Carmen: Sur la place, chacun passe - G. Bizet
Carmen: Regardez donc cette petite (Micaela) - G. Bizet
Carmen: Avec la garde montante (Don Jose) - G. Bizet
Carmen: C'est bien la (Don Jose) - G. Bizet
Carmen: La cloche a sonne - G. Bizet
Carmen: La voila, la voila (Carmen) - G. Bizet
Carmen: L'amour est un oiseau rebelle (Carmen) - G. Bizet
Carmen: Carmen! sur tes pas - G. Bizet
Carmen: Quels regards! Quelle effronterie (Don Jose) (Micaela) - G. Bizet
Carmen: Parle-moi de ma mere (Don Jose) (Micaela) - G. Bizet
Carmen: Reste la maintenant, pendant que je lirai (Don Jose) (Micaela) - G. Bizet
Carmen: Que se passe-t-il donc la-bas? - G. Bizet
Carmen: Mon officier, c'etait une querelle (Don Jose) - G. Bizet
Carmen: Tralalalala, coupe-moi, brule-moi (Carmen) (Don Jose) - G. Bizet
Carmen: Pres des ramparts de Seville (Carmen) (Don Jose) - G. Bizet
Carmen: Voici l'ordre; partez (Carmen) - G. Bizet

Tracks:

Carmen: Entr'acte - G. Bizet
Carmen: Act 2 - Les tringles des sistres tintaint (Gypsy Song) (Carmen) - G. Bizet
Carmen: Act 2 - Messieurs, Pastia me dit (Carmen) - G. Bizet
Carmen: Act 2 - Vivat! vivat le Tor - G. Bizet
Carmen: Act 2 - Votre toast, je peux vous le rendre (Toreador Song) (Escamillo) - G. Bizet
Carmen: Act 2 - La belle, un mot (Escamillo) - G. Bizet
Carmen: Act 2 - Eh bien, vite, quelles nouvelles? (Carmen) - G. Bizet
Carmen: Act 2 - Nous avons en t une affaire (Quintet) (Carmen) - G. Bizet
Carmen: Act 2 - Mais qui donc attends-tu? (Carmen) - G. Bizet
Carmen: Act 2 - Halte lQui va l(Don Jose) (Carmen) - G. Bizet
Carmen: Act 2 - Enfin c'est toi! (Carmen) (Don Jose) - G. Bizet
Carmen: Act 2 - Lalalala - Attends un peu, Carmen (Don Jose) (Carmen) - G. Bizet
Carmen: Act 2 - La fleur que tu m'avais jet(Flower Song) (Don Jose) - G. Bizet
Carmen: Act 2 - Non! tu ne m'aimes pas (Carmen) (Don Jose) - G. Bizet
Carmen: Act 2 - HolCarmen! HolHol(Don Jose) (Carmen) - G. Bizet
Carmen: Act 2 - Bel officier, bel officier (Carmen) (Don Jose) - G. Bizet

Tracks:

Carmen: Entr'acte - Georges Bizet
Carmen: Act 3 - Ecoute, ecoute, compagnon, ecoute (Carmen) (Don Jose) - Georges Bizet
Carmen: Act 3 - Reposons-nous une heure ici (Carmen) (Don Jose) - Georges Bizet
Carmen: Act 3 - Melons! Coupons! (Card Scene) (Carmen) - Georges Bizet
Carmen: Act 3 - Eh bien? - Eh bien (Carmen) - Georges Bizet
Carmen: Act 3 - Quant au douanier, c'est notre affaire (Carmen) - Georges Bizet
Carmen: Act 3 - C'est des contrebandiers (Micaela) - Georges Bizet
Carmen: Act 3 - Je dis que rien ne m'epouvante (Micaela's Air) (Micaela) - Georges Bizet
Carmen: Act 3 - Je ne me trompe pas (Micaela) (Don Jose) - Georges Bizet
Carmen: Act 3 - Je suis Escamillo, Torero de Grenade! (Escamillo) (Don Jose) - Georges Bizet
Carmen: Act 3 - Hola, hola Jose! (Carmen) (Escamillo) (Don Jose) - Georges Bizet
Carmen: Act 3 - Moi, je viens te chercher! (Micaela) (Don Jose) (Carmen) - Georges Bizet
Carmen: Act 3 - Helas, Jose! (Micaela) (Don Jose) (Escamillo) - Georges Bizet
Carmen: Entr'acte - Georges Bizet
Carmen: Act 4 - A deux cuartos ! - Georges Bizet
Carmen: Act 4 - Les voici! Voici la quadrille! - Georges Bizet
Carmen: Act 4 - Si tu m'aimes, Carmen (Escamillo) (Carmen) - Georges Bizet
Carmen: Act 4 - C'est toi! - C'est moi! (Carmen) (Don Jose) - Georges Bizet
Carmen: Act 4 - Ou-vas-tu? - Laisse-moi! (Don Jose) (Carmen) - Georges Bizet

Customer Reviews:

A relative success.......2007-07-11

From his multiple readings of the nine Beethoven symphonies, to his controversial, unconventional production of Wagner's Der Ring des Nibelungen, to his individual achievements in the realms of Mozart, Verdi, Wagner, Puccini, Sibelius, Mahler, Strauss, and Schoenberg, the Austrian conductor-legend Herbert von Karajan left his irreplaceable fingerprint on the world of music. However, in spite of all his brilliance in the aforementioned and unmentioned spheres, Georges Bizet's relentlessly celebrated opera Carmen was as musical tapestry Karajan never fully understood.

While Karajan aficionados plot their revenge for this seemingly gratuitous attack, it should be noted that he was not alone among conductors in this fault; in fact, when one considers than Carmen is the "C" in any beginner's guide to opera ("A" being Verdi's Aïda and "B" being Puccini's La Bohème), it is almost laughable to discover how many disregarded the proper form in which Carmen should be played. Carmen was not a grand opera, despite what Sir Thomas Beecham, Georges Prêtre, Thomas Schippers, and the like wished so ardently to believe. Bizet composed Carmen in the tradition of the opéra-comique, a parallel of the modern musical, with musical sections coupled with spoken melodramas or dialogues. The most superb recorded example of the properly performed Carmen is the Sir Georg Solti recording with Tatiana Troyanos, Plácido Domingo, José van Dam, and Dame Kiri te Kanawa. (Karajan did make a similar recording later in his career, with Agnes Baltsa, José Carreras, van Dam, and Katia Ricciarelli, but his interpretation was regrettably slow and vapid, and the melodramas were spoken (one must wonder why) by actors, rather than the singers.)

In spite of all this, the stars of this recording are superb. Leontyne Price injects a little bit of Bess into her Carmen, which results in a soulful, lyrically beautiful, and dramatically venomous gypsy vamp. Her Habanera ("L'amour est un oiseau rebelle") and Seguidilla ("Près de remparts de Séville") are bewitching. Franco Corelli, who, in 1963, embodied the entire institution of opera with his sultry, sheik-like physique and his hot-blooded, titanic tenor register, is a full-fledged madman as the obsessed Don José. Robert Merrill is a bit too American as the swaggering toreador Escamillo, but his rendition of "Votre toast je peux vous le rendre" is nonetheless suave and debonair. Mirella Freni had not yet reached her silkiest prime in 1963, but she glides through Micaëla's Act III aria ("Je dis que rien ne m'épouvante") like a songbird. (It should be noted that the diction of the four stars is poor, particularly Corelli and Freni; the two of them coupled in Alain Lombard's 1968 recording of Gounod's Roméo et Juliette with similar overall success, hampered only by their abysmal pronunciation.)

The high water mark of this recording is the final track, featuring the opera's cataclysmic finale ("Où vas-tu?"..."Laisse-moi!"). Corelli is so venomously fanatical ("Ainsi, le salut de mon âme"), Price is so inanely noxious and cruel ("Eh bien! Frappe-moi donc, ou laisse-moi passer!"), and the Wiener Philharmoniker is in such tempestuous voice, the following three lines deserve special recognition:

- Don José: "Pour la dernière fois, démon, veux-tu me suivre?"

- Carmen: "Non! Non! Cette bague, autrefois, tu me l'avais donnée. Tiens!"

- Don José: "Eh bien! damnée!"

The above excerpt is literally worth the entire recording; Corelli and Price are unmatched in bravado.

AN ALMOST GREAT CARMEN.......2007-04-13

This Carmen could have been a great one without the role of Don Jose held by Corelli who butchered the french text , which makes me think by the way that unfortunately there is no french opera singers able to deliver an acceptable Opera Comique version ( with the dialogue). (Corelli had also made a mess of the Faust role -with a splendid Ghiaurov-with his
dreadful french accent)..Sorry to say that of deceased great singer but the Carmen libretto is not a text to be only sung but deeply felt which french language does not allow to a singer who does not rehearse enough.
Robert Merrill marvelous dark tone and Mirella Freni, almost a debutante at that time saved the day.

Leontyne Price a Great Carmen.......2007-03-26

Having several Carmen cds, I bought this one on the advice of a great opera expert, Ron Shaheen of San Diego fame. Glad I did. Miss Price is a dramatic on-fire Carmen. Sings with passion and panache. My favorite of all the ones I've heard. Unless you can find one with Milena Kitic singing Carmen, I recommend this version. Corelli, Merrill and Freni, of course, are automatic harbingers of a great cd purchase. All this from an avid opera buffoon. Viva L'Opera!

A Gloriously Sung Carmen.......2006-08-09

One of the sad ironies of opera history is that Bizet never lived to see Carmen become the smash hit of the opera world. Described as the world's first musical, with one hit song after another, the opera is packed with great music and memorable melodies such as the Seguidilla, the Habanera and the Toreador Song. It is one of the first operas set in real time in a real place with ordinary people. Today it is arguably the most popular opera in production.
While there are many wonderful recordings, here it's the voices that make this recording so memorable. Leontyne Price is simply in sumptuous form, with the richness of a mezzo in the lower register plus her ringing top notes. Franco Corelli is a clarion and passionate Don Jose, Mirela Freni a sweet voiced Micaela, and Robert Merrill a rich and robust Escamillo. In some respects this is the "Italian" Carmen, (Corelli and Freni don't have the best French accents and Price was never known for her diction), but the quality of the voices make up for any linguistic deficiency.
As is his wont, Herbert von Karajan emphasizes his orchestra, which becomes almost another member of the cast in his hands--this can sometimes be at the expense of his singers, but Price, Corelli, Freni and Merrill But a von Karajan performance is always thrilling, whether it is this album or his Salzburg Festival DVD with Grace Bumbry, Jon Vickers, Mirela Freni and a very young Justino Diaz.
For a fan of Leontyne Price this is a MUST HAVE, and a worthy addition to any opera collection.

Maybe I'm a little partial..........2006-04-23

I first heard this version of Carmen many years ago, and for two main reasons, I can not give up listening to it. Reason #1: Leontyne Price's voice is so rich and spot-on, and reason #2: the Vienna Boys Choir add the necessary youthful element to the opera. I feel that this is a good, solid recording, well worth the five stars I gave it and far, far better than the versions of Carmen that make me cringe (and which shall remain nameless). The voices were cast well, and as usual, Herbert von Karajan conducts superbly.

Opéra Français: Le Récital Oublié (The Forgotten Arias Collection)

Average customer rating:

Opéra Français: Le Récital Oublié (The Forgotten Arias Collection)

Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

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

Classical | Imports | Stores | Music
ASIN: B0001BFIEQ
Release Date: 2004-09-28

Hendricks & Quilico - Duos d'Operettes / Foster

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Hendricks & Quilico - Duos d'Operettes / Foster
Rudolf Friml , Sigmund Romberg , Reynaldo Hahn , Andre Messager , Maurice Yvain , Henri Christine , Jacques Offenbach , Carl Millocker , Richard Heuberger , Johann Strauss II , Franz Lehar , Lyon Opera Orchestra , Lawrence Foster , Barbara Hendricks , and Gino Quilico
Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Operettas | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta
Music of Sigmund Romberg

ASIN: B000025CSH
Release Date: 2000-06-13

Tracks:

(Rose Marie) 'Indian Love Call'
(The Desert Song) 'Desert Song'
(The New Moon) 'Wanting You'
(The Student Prince) 'Deep In My Heart
(Ciboulette) 'Nous Avons Fait Un Beau Voyage'
(Veronique) 'Dou De I'escarpolette'
(Veronique) 'Duetto De I'ane
(Ta Bouche) 'Valse'
(Phi-Phi) 'Duo Des Souvenirs'
(Barbe-Bleue) 'Duo: 'Or Depuis La Rose Nouvelle... Tous Les Deux, Amooureux'
(Gasparone) 'Scene & Duo: 'Wie Freu'ich Mich, Sie Hier Zu Seh's... Huten Sie Sich'
(Der Opernbal) 'Duettino: 'Hier Ist Die Uhr... Geh'n Wir In's Chambre Separee'
(Der Zigeunerbaron) 'Lied: 'Wer Uns Getraut?'
(Wiener Blut (Sang Viennois) 'Duo: 'Das Eine Kann Ich Verzeih'n... Wiener Blut ! Wiener Blut ! Wiene
(Das Land Des Lachelns (Le Pays Du Sourire) 'Duo: 'Ach Trinken Sie Vielleicht... Bei Einem Tee A Deu
(Die Lustige Witwe (La Veuve Joyeuse) 'Duo: 'Lippen Schweigen'

Average customer rating:

A tempting treasury, but only a few performances are great
Berlioz with immaginative variety

The Berlioz Experience

Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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

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Similar Items:

Berlioz: Symphonie Fantastique, Lelio, Tristia
Berlioz Edition (Box Set)
Shostakovich: Concertos; Orchestral Suites; Chamber Symphonies
Grieg: Complete Music with Orchestra
Bruckner: The Nine Symphonies; Helgoland

ASIN: B00008RWRJ
Release Date: 2003-10-14

Customer Reviews:

A tempting treasury, but only a few performances are great.......2007-02-03

Ten discs of Berlioz is a sumptuous offering, and temptingly cheap at Amazon Marketplace. DG has used this occasion to repackage some outstanding performances. At the top of the list goes James Levine's electrifying Requiem from Berlin, with playing and singing to match the conductor's inspiration. Also exciting--perhaps surprisingly so--is Abbado's Te Deum, which has rawer edges and sharper focus than Colin Davis's on Philips, long the standard version.

Dropping down a notch in quality, we have an elegantly played Romeo et Juliette by the Boston Symphony, superbly recorded, that has few rivals for refined virtuosity. But after a while Seiji Ozawa's approach seems to lack depth and meaning; he's skating over the surface of the musical drama, however brilliantly. Sharp and brilliant also describes Myung-Whun Chung's contribution, a Symponie fantastique, two overtures, and the Royal Hunt and Storm from Les Troyens, all with his well-trained Bastille Opera orchestra. Chung is to the manner born in Berlioz, but so are greater conductors in these works, including Munch and Markevitch.

At about the same quality level I'd place the Mort de Cleopatre, a dullish early vocal scene sung with plushness by Jessye Norman, and Kiri Te Kanawa's Les Nuits d'Ete, which is ravishing in terms of sheer vocalism but otherwise vacant. Daniel Barenboim's slack conducting does the piece no favors, either, which holds true on a much larger scale for his Damnation of Faust. This is a typical Barenboim product, full of lush sounds, excellent singing, big-scale orchestral work, but leading to a meager artistic payoff. Barenboim's Faust isn't remotely competitive with Markevitch, Chung, Solti, Pretre, and others in this work. It's great to hear Domingo in the title role, but the conducting is so routine that I'm not sure the overall experience is worth it.

We get odds and ends of varying quality: the rarely recorded Tristia done superbly by Boulez, an uneven batch of songs that previously appeared in their own double-CD set (a chore to listen to in its entirety, despite the occasional gem), and a pedestrain Harold in Italy conducted by Lorin Maazel in Berlin, a performance that DG surely could have bettered by looking deeper into their vaults.

In all, I can't see investing in such an uneven collection except at super-budget price. If you do a little searching, all the best things here can be gotten separately, and the lesser recordings pale by comparison with classic Berlioz from Colin Davis, Charles Munch, and Igor Markevitch.

Berlioz with immaginative variety.......2003-10-30

This box makes a nice alternative to the Philips boxes under Colin Davis. Not to take anything away from Davis. His Berlioz cycle certainly ranks up there with the elite for recording achievements. But many will not want to invest in all 3 boxes, so Universal has brought us a great compilation of some of Berlioz' best works from a variety of performers with different styles.
The jewel has to be Ozawa's unsurpassed Romeo and Juliet. This 1976 studio recording had its birth at the Tanglewood Festival and features excellent soloists (Julia Hamari, Jose Van Dam, and Jean Dupouy), a very competent choir, and of course the reliable Boston SO. The recording is of outstanding quality. It seems cleaned up a little from what I remember of the CDs from the mid 80s; much more spacious, less muddy sounding. I especially like the chorus in the hushed night scene.
Barenboim's Damnaton is perdictably Furtwangler-like in tempo, and again features top notch singers in Fischer Dieskau, Jules Bastin, & Placido Domingo; Yvonne Minto is probably not in the same class with the others, but she's more than acceptable.
Levine directs a well recorded and balanced classical-sounding Requiem, and Abbado is more than competent in the Te Deum.
Chung's Fantastique is fun and enjoyable, if not first-class.
The rest of the works are very commendable, if not top-of-the-class.
In short, you can't go wrong for the price, and if you love Berlioz' Romeo, you've got to get this box just for the Ozawa gem.

World Music:

World Music

world music

World Music

Mirror

Classical Music for Lovers: Romantic Momements

Beethoven: String Quartets, Op. 59

Premonition

Don't Know What to Tell Ya [CD-single] [Enhanced] [Import]

Day By Day

Chaval De La Peca [Import]

Chaos And Creation In The Backyard [Enhanced] [Special Edition]

Dreamer Come in [Import]

Crossroads 2: Live in the Seventies [Box set] [Live]

Blue Lines

Cookin'

Devil's Advocate [Explicit Lyrics]

Worth

The Rough Guide to Tito Puente