Comic Theatre & Folk Operas [Sri Lanka]

1. Lyugin Nadagama

2. Ahalapola Nadagama Introduction

3. Bahubuta de Liyanora Nadagama

4. Sellam-Lama de Liyanora Nadagama

5. Chant Heroique de Balasanta Nadagama

6. Lamentation de Sinhabahu

7. Plainte de Wessantara

8. Duo d'Amour de Liynora Nadagama

9. Duo Dramatique Entre le Roi Veddah et la Reine Maname

10. Anabera Kolama - Ensemble T.W. Gunadasa

11. Chanson de Mudali Chef du Village - Ensemble T.W. Gunadasa

12. Chanson du Laveur Yasaya et Sa Jolie Femme Lencina - Ensemble T.W. Gunadasa

Tracks:

'La Mamma Morta'
'O Nume Tutelar'
'Je Ne Suis Que Faiblesse... Adieu, Notre Petit Table'
'Oh, Saro La Piu Bella... Tu, Tu Amore?'
Seguedille: 'Pres Des Remparts De Seville'
'Dunque Io Son'
'Dov' E L'Indiana Bruna?'
'Qui Radames Verra!... O Patria Mia'
'O Soave Fanciulla'
'Signore, Ascolta!'
'Qual Fiamma Avea Nel Guardo...Hui!' Stridono Lassu'
'D'Amor Sull' Ali Rosee'
'Vogliatemi Bene, Un Bene Piccolino'
'Ombra Leggiera'

Customer Reviews:

Landmark Soprano. Essential for Opera lovers.......2007-05-26

Maria Callas may be the only female operatic 'superstar' working in my lifetime. In the 1950s and early 1960's, she had all the star power and paparrazi draw of Jackie and Marilyn, far outstripping the fame to the world at large of her primary rival, Renita Tibaldi. I am not an expert, or even an experienced amateur at evaluating operatic sopranos; however I've listened to several of the modern crop, and while the newbies probably do a better job of keeping on key, none of them can match the drama emoted by Ms. Callas on any given aria. All three releases are especially good buys, as they all run to over 72 minutes; however the recording quality does show its early (pre-multitrack, pre-digital) recording technology. Each is as good as the next regarding content, but 2 and 3 are a bit better in sound quality.

music lover.......2007-04-22

I got this for a friend and she was happy with it. I didn't care for it personally.

Wonderful conclusion of the La Divina Series.......2004-11-06

Before buying this recording one should check how many of Callas' EMI-recordings are in one's collection because the La Divina Series aren't independent recitals Callas recorded but very good compilations of her great art. This recording starts out with the piece that is famous beyond all other recordings, Callas singing "La mamma morta" from "Andrea Chenier" as used in the fantastic movie "Philadelphia". Tom Hanks' reaction to this voice is not uncommon for Callas goes straight to the heart and will remain there forevermore. Her tormented timbre as Maddalena is so intense, it'll make you weep. Being recorded as part of her glorious "Lyric and coloratura arias" recital this shows Callas in her prime, the prime we know from her divine Tosca for example. "Io son la vita, io son L'amor!" Callas sings, her voice soaring to the stars. Tom Hanks was crying when he listened to this, this true divine sound. The next track is from the "Callas at La Scala" recital, Spontini's forgotten "La Vestale". Only Maria Callas and Rosa Ponselle triumphed in this role and listening to this recording you'll understand why. "O numi tutelar", Giulia's plea to the gods to protect her from her love for Licinius because she's a Vestal Virgin and therefore has to remain chaste. Incredibly beautiful and phrased to perfection. How sad that her complete live-recording is not in good sound because this studio-gem shows what a triumph it could have been.
The next track features her in the French music that suits her best, the music of Massenet. Manon's "Adieu notre petite table" is a famous aria as performed by Victoria de los Angeles, Ileana Cotrubas, Renee Fleming or Beverly Sills. Callas truly sounds like she's nothing but "faiblesse et fragilité" here, one barely hears the voice of Medea or Norma in this gentle sound. I love her as Charlotte as well as Manon, both characters suited her incredibly well.
As if to invite comparisons we hear her as the "other" Manon next, the Manon as composed by Puccini. Listen to her "Ah! Saro la piu bella!" sung with all the shallow colours of a luxury-ridden mistress whose voice only sounds fully coloured as her beloved appears. (Tu, tu, amore tu?) Callas and di Stefano had a great chemistry, in the studio as well as on stage and this can be heard incredibly well here.
It goes on and on with sparkling renditions of Lakme's and Dinorah's arias, as well as a beautiful "D'amor sul'ali rosee". Björling once said: "Perfection has a name. It's Callas!" And Gigli, when singing a concert with her explained why he couldn't sing a duet with her: "I'm afraid she's just TOO good!" Callas and controversy go hand in hand. Bernstein called her "The greatest artist in the world!" and I, as a mere listener, agree heartily.

A milestone!.......2004-02-26

I bought all three La Divina Releases and they're all splendid. Brilliant, for Callas and beyond!

Wow im the first to review this masterpiece.......2001-01-11

This CD has two of the best arias every Callas fan should have....the bell song and la mamma morta these arias alone make this cd worth it....she shows her true power and agility in both of these arias that display what is called perfect technique....making her a true Dramatic Colortura singer...and maybe the only real one...but this cd has more it contains an aria from her famous role of Nedda from Pagliacci which she never did on stage so this is a real treat... and her Carmen is always perfectly done...this cd runs through so many beautiful arias and Callas did great in all of them...this is why we call her La Divina

Average customer rating:

A memento of a productive partnership.

Tauber & Lehar

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Tracks:

Das Land Des Lachelns: Act 2: Dein Ist Mein Ganzes Herz
Das Land Des Lachelns: Act 1: Ich Trete Ins Zimmer - Immer Nur Lacheln
Das Land Des Lachelns: Act 1: Ach, Trinken Sie Vielleicht Mit Mir Ein Tasschen Tee - Bei Einem Tee E - Richard Tauber/Vera Schwarz
Das Land Des Lachelns: Act 1: Von Apfelbluten Einen Kranz
Das Land Des Lachelns: Act 2: Wer Hat Die Liebe Uns Ins Herz Gesenkt - Richard Tauber/Vera Schwarz
Das Land Des Lachelns: Act 2: Ihr Gotter Sagt, Was Ist Mit Mir Geschehn? - Kann Es Moglich Sein?
Friederike: Act 2: O Madchen, Mein Madchen
Friederike: Act 1: Heimlich Kling't In Meiner Seele - Sah Ein Knab' Ein Roslein Stehn
Friederike: Act 1: O Wie Schon, Wie Wunderschon
Friederike: Act 2: Liebe, Goldener Traum
Der Zarewitsch: Act 1: Allein, Wieder Allein - Es Steht Ein Soldat Am Wolgastrand
Der Zarewitsch: Act 3: Kosende Wellen - Warum Hat Jeder Fruhling, Ach Nur Einen Mai - Richard Tauber/Carlotta Vanconti
Der Zarewitsch: Act 3: Madel, Wonniges Madel - Willst Du? Komm, Und Mach Mich Glucklich
Paganini: Act 2: Gern Hab' Ich Die Frau'n Gekusst
Paganini: Act 1: Schones Italien
Paganini: Act 2: Niemand Liebt Dich So Wie Ich - Richard Tauber/Carlotta Vanconti
Paganini: Act 1: Was Ich Denke, Was Ich Fuhle - Richard Tauber/Carlotta Vanconti
Eva: Vorspiel - VPO/Franz Lehar
Frasquita: Ser (When The Moon Is Shining White - Farewell, My Love)
The Land Of Smiles: Always Keep Smiling
The Land Of Smiles: You Are My Heart's Delight
The Merry Widow: Waltz Song (Now Or Never And Forever)/Villa Song (There Once Was A Villa)...

Tracks:

Giuditta: Act 1: Freunde, Das Leben Ist Lebenswert
Giuditta: Act 2: Schon Wie Die Blaue Sommernacht - Richard Tauber/Jarmila Novotna
Giuditta: Act 3: Welch' Tiefes Ratsel Ist Die Liebe - Du Bist Meine Sonne
Giuditta: Act 4. Finale: So Wie Um Den Sonnenball
Giuditta: Act 5: Schonste Der Frau'n
Schon Ist Die Welt: Act 1: Bruder Leichtsinn, So Werd' Ich Genannt - Schon Ist Die Welt
Schon Ist Die Welt: Act 2: Liebste, Glaub' An Mich
Schon Ist Die Welt: Act 1: Frei Und Jung Dabei - Richard Tauber/Gitta Alpar
Schon Ist Die Welt: Act 2: Es Steht Vom Lieben - Richard Tauber/Gitta Alpar
Der Rastelbinder: Act 1. Walzerduett: Ein Ausflug Mit Ihnen - Wenn Zwei Sich Lieben - Richard Tauber/Carlotta Vanconti
Das Furstenkind: Act 1: Ich Wollt' Nichts Von Ihr Erzwingen - Schweig, Zagendes Herz
Das Furstenkind: Act 2: Freihet, Du Bist Unser Leben - Lange Jahre, Bange Jahre
Zigeunerliebe: Act 3: So Sprach Noch Niemals Ein Mann Zu Mir - Es Liegt In Blauen Fernen - Richard Tauber/Vera Schwarz
Frasquita: Ser: Schatz, Ich Bitt' Dich - Hab' Ein Blaues Himmelbett
Die Lustige Witwe: Act 3: Lippen Schweigen
Die Lustige Witwe: Act 2: Es Lebt' Eine Vilja
Die Lustige Witwe: Ov
Paganini: Girls Were Made To Love And Kiss
Paganini: Love Never Comes Too Late - Richard Tauber/Evelen Laye
Paganini: Nobody Could Love You More - Richard Tauber/Evelen Laye
Paganini: Beautiful Italy
Frasquita: Ser (When The Moon Is Shining White)/The Land Of Smiles: Always Keep My Smiling - Love...

Customer Reviews:

A memento of a productive partnership........2001-11-19

EMI commemorate in this double CD a remarkable partnership in the C20th world of music. It began in Berlin in 1926. It had been 20 years since Franz Lehar's "Die lustige Witwe" became the light opera that everyone wanted to see. In places like Beunos Aires it had run simultaneously in five theatres in five different languages. Lehar's subsequent productions had met with diminishing success. His latest light opera, "Paganini", which contained some of his best music, had flopped at its Vienna premiere. Nervous and dispirited as its Berlin premiere drew near, Lehar wrote to the tenor Richard Tauber, "You must sing in Berlin, a second flop is inconceivable for me. I'm suddenly afraid of everything to do with the theatre - I'm getting old".

Tauber obliged. The Berlin production was a resounding success, Tauber sometimes being required to repeat "Gern hab' ich die Frau'n gekusst" as many as five times. Lehar admitted, "Richard, during this moment I have been born again as an artist!" And so began a great final flowering of Lehar theatre productions, all featuring the Austrian tenor Richard Tauber.

Fortunately the Lehar-Tauber association resulted in an extensive series of recordings, in many of which Lehar conducts the orchestra. EMI began issuing a collection of them towards the end of the LP era, and now, in 2001, they are collected onto this double CD. I read the claim that a great many of the tracks appear on CD for the first time, but here in Australia most have already been available on CD.

I don't always find Tauber unexcelled in this repertoire, preferring other tenors sometimes and their recordings. Several of the "Paganini" recordings were made before the Berlin season opened. Tauber and his then wife Carlotta Vanconti sound as though they are sight-reading unfamiliar music. I once possessed several of the "Das Land des Lachelns" items on 78s. The 1929 sound seemed robust and full then, but seems sadly emasculated here.

Customer Reviews:

De los Angelos makes Manon's death a real tragedy1.......2006-02-27

No one has made so real and tragic Manon's death as Victoria de Los Angeles does in this recording. With the beauty and sincerity of her singing, the vulnerability of Manon's love of des Grieux and desire for wealth becomes painfully real as we realize the inevitable price of such passion. I'm puzzled by the mixed review of Legay's Des Grieux. His 'Ah, fuyez douce image", surpassing any other rendition of this aria I have every heard including Nicolai Gedda's, opens with a beautiful pianissimo and plea that is shatteringly stunning. The rest of the cast are all French speaking and all together make this a magnificent tribute not only to the heavenly de los Angeles, but to Monteux who enraptures us with this masterpiece of a recording. The strengths and miracles of this recording have no superior and few equals, the Sills Manon being the only one of them. The choice is a personal choice - but no one loses in that choice.

AN ABSOLUTE CLASSIC.......2006-01-16

Suffice it to say that this is a VAST improvement on EMI's CD re-issue of this recording. A VAST improvement. EMI's was shallow, edgy and generally unpleasant--obviously an old work-tape was dubbed onto CD and left at that.

This crystal-clear TESTAMENT remastering has far more depth and perspective, a stronger bass response and a far smoother treble: night and day.

The 1956 performance is an absolute classic, including a priceless Opéra-Comique ensemble led by the most famous French conductor of the 20th Century, Pierre Monteux.

In the title rôle, the charming Spanish soprano Victoria de los Ángeles (1923-2004) is simply a dream, combining a superb command of the idiom and a lovely, full, silvery timbre rarely heard from French sopranos. This was unquestionably her best stage part. She is ably seconded by the elegant French lyric tenor, Henri Legay.

The rest of the cast understands the style and traditions of this music as in no other modern recording. Listen to Henri Borthayre as des Grieux père or the unforgettable René Hérent as Guillot: this is what true ensemble-playing by an ensemble of STARS means!

This is an indispensable historical document, besides being a most pleasurable musical experience.

The coupling of de los Ángeles-Boston-Münch NUITS D'ÉTÉ (Berlioz) another absolute classic comparable to the supreme Régine Crespin recording on Decca 460973 [ASIN: B00000JXZ4 ] is but an added inducement to this feast!

Manon (ne plus ultra).......2001-05-15

I would be curious to know how the sound has been remastered by Testament, and whether improved over the earlier EMI midpriced reissue, which was exceedingly "hot" on top and strident. Having owned and loved this classic performance on LP, for me the first CD reissue was a distinct disappointment. I was hoping EMI would rebalance the sound, as with their Verdi Falstaff under Karajan which is much improved in its newest edition (Great Recordings of the Century).

Essential French opera recording.......2001-04-29

Massenet's "Manon" may very well be the luckiest recorded opera there is. If there is a poor studio version of this French charmer, I have yet to hear it. Beverly Sills' version comes close to perfection, and we have stylish and excellent entries from Ileana Cotrubas and Angela Gheorghiu as well. But perhaps this early Monteaux recording is best of all, capturing the real flavor of the Opera-Comique and fielding, except for Victoria de los Angeles in the title role, an entire cast of native French speakers.

Everyone sings stylishly and with great attention to words and drama. Michel Dens is a swaggering, virile Lescaut with a handsome baritone which displays a little thinness only on top. Henri Legay is a true French tenor, lightweight and heady, with style to spare. He opens "Ah, fuyez douce image" with a beautifully supported pianissimo and builds his phrases nicely, never straining or blasting.

The real star of the show, however, is Madame de los Angeles. She is a natural charmer, and this role fits her like a glove. She cannot give us the high coloratura options that Sills does, but she does have a warmer, fuller tone. Her delivery is less self-conscious and artificial than lesser Manons, and she never stoops to trying to sound coy or girlish in Act One. Instead, she sings naturally, with that delicious smile in the voice, and we as her listeners are bewitched. This is a Manon one always can sympathize with, even in her petulant and self-absorbed moments.

Monteaux conducts with energy and vigor, although the traditional stage cuts are observed. The sound is excellent mono, clear and full, never boxy like some of the early Callas recordings. The spoken sections have a tendency to sound "tracked in," which they most likely were, at a later date.

Customer Reviews:

TERRIFIC!!!.......2003-09-09

No more to say. If you love the sopranos you will love collection.

Average customer rating:

The only authentic Werther recorded
An INDISPENSABLE lesson in style and expression
The "Werther" against which all others must be measured

Massenet: Werther

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
Similar Items:

Verdi: La Forza del Destino
R. Strauss: Der Rosenkavalier (abridged)
Puccini: Madama Butterfly
Donizetti: Lucia di Lammermoor
Toscanini Conducts Verdi: Two Sacred Works: Requiem Mass & Te Deum

ASIN: B00004YYQK
Release Date: 2001-01-16

Tracks:

Werther, Act I: Prld...Assez! Assez! - Armand Narcon
Werther, Act I: Noel Jesus Vient De Naitre - Armand Narcon/Children's Chor Of The Cantoria/Paris Opr Chor
Werther, Act I: Bravo Pour Les Enfants! - Louis Guenot/Henri Niel/Armand Narcon/Germaine Feraldy/Children's Chor Of The Cantoria/Paris Opr...
Werther, Act I: Alors, C'est Bien Ici...Je Ne Sais Si Je Veille... - Georges Thill/Ninon Vallin/Armand Narcon/Germaine FeraldyChildren's Chor Of The Cantoria/Paris...
Werther, Act I: O Spectacle Ideal D'amour Et D'innocence - Georges Thill/Armand Narcon/Ninon Vallin/Germaine Feraldy/Marcel Rocque
Werther, Act I: Elle M'aime!...Quelle Priere De Reconnaissance - Marcel Rocque
Werther, Act I: Clair De Lune - Paris Opr Orch/Elie Cohen
Werther, Act I: Il Faut Nous Separer - Ninon Vallin/Georges Thill
Werther, Act I: Mon Ame A Reconna Votre Ame - Ninon Vallin/Georges Thill
Werther, Act I: Vous Avez Dit Vrai! - Ninon Vallin/Georges Thill
Werther, Act I: Reve! Extase! - Georges Thill/Ninon Vallin/Armand Narcon
Werther, Act II: Prld - Paris Opr Orch/Elie Cohen
Werther, Act II: Vivat Bacchus! - Louis Guenot/Henri Niel
Werther, Act II: Trois Mois! Voici Trois Mois... - Marcel Rocque/Ninon Vallin
Werther, Act II: Un Autre Est Son Epoux! - Georges Thill/Henri Niel/Louis Guenot/Marcel Rocque
Werther, Act II: Mais Celle Qui Devint Ma Femme - Marcel Rocque/Georges Thill
Werther, Act II: Frere, Voyez!....Du Gai Soleil - Germaine Feraldy
Werther, Act II: Heureux! Pourrai-je L'etre Encore? - Georges Thill/Marcel Rocque/Germaine Feraldy/Ninon Vallin
Werther, Act II: Ah! Qu'il Est Loin Ce Jour - Georges Thill/Ninon Vallin
Werther, Act II: Lorsque L'enfant Revient D'un Voyage - Georges Thill/Germaine Feraldy/Ninon Vallin/Marcel Rocque

Tracks:

Werther, Act III: Prld - Paris Opr Orch/Elie Cohen
Werther, Act III: Werther! Werther!...Qui M'aurait Dit - Ninon Vallin
Werther, Act III: Ces Lettres!...Ces Lettres! - Ninon Vallin
Werther, Act III: Bonjour, Grande Soeur!...Mais Souffres-Tu? - Germaine Thill/Ninon Vallin
Werther, Act III: Ah! Le Vire Est Beni - Germaine Thill/Ninon Vallin
Werther, Act III: Les Larmes Qu'on Ne Pleure Pas - Germaine Thill/Ninon Vallin
Werther, Act III: Ah! Mon Courage M'abandonne! - Ninon Vallin
Werther, Act III: Oui, C'est Moi! - Georges Thill/Ninon Vallin
Werther, Act III: Toute Mon Ame Est La...Pourquoi Me Reveiller - Georges Thill/Ninon Vallin
Werther, Act III: Ciel! Ai-je Compris? - Georges Thill/Ninon Vallin
Werther, Act III: Ah!...Ah! Moi! Dans Ces Bras! - Georges Thill/Ninon Vallin
Werther, Act III: Soit! Adieu Donc! - Georges Thill
Werther, Act III: Werther Est De Retour - Marcel Rocque/Ninon Vallin
Werther, Act IV: Symphonie - Paris Opr Orch/Elie Cohen
Werther, Act IV: Werther!...Werther!...Rien! - Ninon Vallin/Georges Thill
Werther, Act IV: Et Moi, Werther, Et Moi, Je T'aime! - Ninon Vallin/Georges Thill/Germaine Feraldy/Children's Chor Of The Cantoria/Paris Opr Chor
Werther, Act IV: Ecoute Bien! La-Bas, Au Fond Du Cimetiere - Georges Thill/Ninon Vallin
Werther, Act IV: Jesus Vient De Naitre - Ninon Vallin/Children's Chor Of The Cantoria/Paris Opr Chor
Le Cid: Oh Noble Lame Etincelante - Georges Thill
Le Cid: Ah! Tout Est Bien Fini...O Souverian! O Juge O Pere - Georges Thill
Herodiade: Ne Pouvant Reprimer... - Georges Thill
Manon: C'est Vrai!...Instant Charmant... - Georges Thill
Manon: Je Suis Seul...Ah! Fuyez, Douce Image - Georges Thill
Sapho: Ah! Qu'il Est Loin Mon Pays! - Georges Thill

Customer Reviews:

The only authentic Werther recorded.......2006-06-08

This is the most authentic recording of Massenet's "Werther". No later singers can match Thill and Vallin in diction, voice, commitment, and feeling, for this masterpiece. The remastering, thanks to the genius of Ward Marston, hardly sounds like a recording from 1931. A real gem which catches the drama behind this moving story.

An INDISPENSABLE lesson in style and expression.......2005-02-10

France's two leading singers of the 1920-1940 era, heard in 1931, in an opera they both owned. As far as I am concerned, they still do. Thill (1897-1984), a fluent vocalist with the ability to sound like a young man in love, simply sounds like Werther: there is no distance between himself and the rôle; his identification with every syllable he is singing is total. This is one of the great classic assumptions of the gramophone.

Ninon Vallin (1886-1961), a more brilliant vocalist per sè, with a better voice and a more subtle style, is a perfect foil for him: a tremendously conflicted Charlotte, profoundly disturbed below the cool exterior: Vallin does not miss a single nuance. And what phrasing, what tone!

Both these artists understand the style and character of this music perfectly, have all the resources, vocal and technical, to do their parts justice, and simply give their all: what more could one ask?

The 1931 sound has been expertly refurbished. All people who pretend to love opera simply have to get used to old recordings of musical greats. It comes with the territory. The music always comes first.

As a filler, NAXOS adds some further Massenet arias superbly sung by Georges Thill: they too are indispensable.

The "Werther" against which all others must be measured.......2004-07-02

Source: Studio recording from the 1930s.

Sound: This set is clearly a relic of the early days of electric recording, but still quite listenable, once one accepts its limitations. Voices are clearly captured, particularly that of Georges Thill, and given emphasis over the rather dimly-caught orchestra.

Documentation: Naxos gives its standard package. There is a brief essay on the opera, accompanied by thumbnail biographies of the principal singers and all-but forgotten conductor. No libretto. There is a fairly useful plot summary tied to the track listings. (For those desperate for the words, a Google search under "Werther libretto" yields a serviceable French-English version.)

"Werther" is very much a tenor's opera. Although there have been a number of recordings since this primordial set, and many fine tenors recorded, none has ever matched Georges Thill in the role of Werther. Thill is said to have been the last, great, classic French tenor. Perhaps he was, but he was a robust one, with none of the preciousness that such a description tends to conjure up. Why, he was still giving concerts of Wagner's music into his sixties! His tone is slightly dry, his diction precise and his control awesome. I say that despite the famously bobbled high note. He could, I assume, have simply re-recorded his aria to correct the error but, I further assume, his self-confidence was so great that he let it go, just as in a live performance. Or it might be that he wanted to get out of the recording studio without delay, for--so the oft-told tale goes--he and soprano, Ninon Vallin, despised one another and had a stormy recording session.

Ninon Vallin is exactly what one imagines when one hears of a traditional French soprano. Hers was a bright, sharply focused voice, not great in size, but of wonderful precision. Her characterization of Charlotte is right on target: a perfectly ordinary bourgeois girl, with a perfectly ordinary bourgeois husband, who has the misfortune to be extravagantly loved by young Werther, a gormless and suicidal Romantic. The role was apparently intended for a mezzo, but it lies easily in the range of a soprano and has been performed successfully by singers in both ranges.

The entire cast is French and steeped in the traditional French approach to opera. So, too, are the orchesta and conductor. That puts this recording in marked contrast to more recent sets, with their polyglot casts and one-size-fits-all international style.

By all means, seek out the better fidelity of more recent recordings, but you are not likely to find a better performance during this lifetime. This is the classic standard for all recordings of "Werther," an excellent but too-rarely performed opera.

Tracks:

Semiramide: Bel Raggio Lusinghier
Medea: Dei Tuoi La Madre
Norma: Casta Diva
Of Barbier Von Sevilla: Una Voce Poca Fa
Lucia Di Lammermoor: Il Dolce Suono... Ardon Gli Incensi
La Traviata: Addio Del Passato
Die Entfuhrung Aus Dem Serail: Tutte Le Torture
Louise: Depuis Le Jour
Le Cid: Pleurez Mes Yeux
Dinorah: Ombra Leggera

Average customer rating:

Russia's Folk Opera

Rimsky-Korsakov: Mainacht (May Night)

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
ASIN: B000001WUQ
Release Date: 1997-12-23

Tracks:

May Night: Act One: Overture
May Night: Act One: No. 1 - Reigen ,,'Hirse', 'Millet-sowing game' (Chor)
May Night: Act One: No. 2: Lied - Song: ,,'Sonne schon sinket...' (Lewko - Lefko)
May Night: Act One: No. 3: Duett - Duet: ,,'Du schlafst nicht...' (Lewko - Levko, Hanna)
May Night: Act One: No. 4: Erzahlung - Narration: ,,'Es lebte vor Zeiten...'
May Night: Act One: No. 5: Rezitativ und Pfingstlied - Recitative And Whitsun Song: ,,'Das, meine Hanna...' (Hanna, Chor der Madchen, Chorus Of Girls)
May Night: Act One: No. 6: Hopak - Szene - Hopak Scene: ,,'Hopp, hopp, hopp, trala...'(Kalenik, Chor der Madchen - Chorus Of Girls)
May Night: Act One: No. 7: Trio: ,,'Hanna! Hanna!' (Der Alteste, Hanna, Lewko - Mayor, Hanna, Levko)
May Night: Act One: No. 8: Rezitativ und Spottlied - Recitative & Mocking Song: ,,'He! Burschen!' (Lewko, Chor der Burchschen - Levko, Chorus Of Youths)

Tracks:

May Night: Act Two : No. 9: Trio: ,,'Sagt, gedenkt ihr bald...' (Der Alteste, Schwagerin, Brenner )
May Night: Act Two: No 10: Szene des Kalenik und Erzahlung - 'Sieh mal, wie den Weg der Bose...' (Kalenik, der Alteste, Brenner, Schwagerin)
May Night: Act Two: No. 11: Spottlied, Szene und Trio : 'Ah!' - 'Was Gibts?' (Schwagerin, der Alteste, Brenner, Lewko, Chor, Schreiber)
May Night: Act Two: No. 12: Finale : 'Hier? . . .' (Der Alteste, Schreiber, Brenner, Schwagerin, Chor, Kalenik)
May Night: Act Three: No. 13: - Ukraine Nacht und Lieder Lewkos : 'Wie stil, wie herrlich' (Kewko, Nixenkonigin, Chor der Nixen)
May Night: Act Three: No. 13: Nixenreigen : 'Auf, sammelt euch . . .' (Nixe, Chor der Nixen, Lewko, Nikenkonigin)
May Night: Act Three: No. 13: Tanze und Spiele der Nixen : 'Freundlicher Jungling . . .' (Nixenkonigin, Lewko, Chor der Nixen)
May Night: Act Three: No. 14: Szene und Pfingstlied : 'Nur vorwarts!' (Der Alteste, Lewko, Schreiber, Brenner, Chor, Hanna)
May Night: Act Three: No. 15: Finale : 'Lewko, Lewko, du mein Liebster . . .' (Hanna, Lewko, Burschen, Der Alteste, Schreiber, Brenner, Chor, Kalenik, Schwagerin)

Customer Reviews:

Russia's Folk Opera.......2001-08-18

I found this recording of Rimsky-Korsakov's opera, May Night, to be a fine example of his unique orchestral sound and ability to manipulate Russian folk elements. These performers provide a solid and silky interpretation of this opera, allowing its truly Russian demeanor to prevail. The villager's exuberant song beginnig the first act provides a clean introductoin into the opera's characture and musical elements. Throughout the piece, an air of honesty and directness not often felt in Rimsky-Korsakov's works is evidnet in the vocal lines, folklike in origin. His melodies flow beautifully from an excellent lead tenor, who has a depth and vocal quality that permeate the opera's central action. Anyone familular with Rimsky-Korsakov's usual instrumentation and treatment of harmony will find nothing new here, but are treated with fine examples of his charactristic style. Particularly notable is the orchestral introduction to the third act. Here, one should observe the true imagery and impact that the Mighty Handful sought to achieve in thier orchestral writing which Rimsky-Korsakov perfected. Russia's rural scene is vividly depicted through lush music, folk lore, and a few stock charactures. These elements, calling on traditional Russian opera techniques and then hightened by such a skillfull composer, fullfill anyone's hunger for musical satisfaction.