A Meta Del Viaggio [Import]

1. Tanta Voglia Di Lei

2. Meta Del Viaggio

3. Noi Due Nel Mondo E Nell'anima

4. Piccola Katy

5. Pensiero

6. Dimmi Chi Sei

7. Io Ti Prego Di Ascoltare

8. Storie Di Tuttii Giorni

9. Che Ne Sai

10. Mondo

11. Malinconia

Tracks:

Lucertola [From a Lizard in
Bambola [From Veruschka]
Alegretto Per Signora [Fromla Foto Proibite di una Signora Per ...]
Foto Proibite Di Una Signora Per Bene [From le Foto Proibite di ...]
Ritratto d'Autore [From LA Donna Invisibile]
Doricamente [From ...]
In un Sogno il Sogno [From LA Donna Invisibile]
Alla Luce del Giorno [From Love Circle]
Una Voce Allo Specchio [From LA Stagione Dei Sensi]
Metti Una Sera a Cena [From Love Circle]
Sauna [From Love Circle]
Belinda May [From Alibi]
Altro Mare [From Dirty Angels]
Donna Gattina [From Come Imparai Ad Amare le Donne]
Moda [From LA Donna Invisibile]
Po d'Ironica Acida [From One Can Die of Love]
Immagini del Tempo [From Alibi]
Poesia Di Una Donna [From Veruschka]

Tracks:

Citta' Violenta [From Citta' Violenta]
Alla Serenita [From LA Donna Invisibile]
Come Maddalena [From Maddalena]
Giocoso, Giocoso [From Evil Fingers aka the Fifth Chord]
Terraza Vuota [From Love Circle]
Amore Come Dolore ... [From le Foto Proibite di una Signora Pere Bene]
Sospiri da Una Radio Lontana [From a Town ...]
Secondo Intermezzino Pop [From le Foto Proibite di una Signora Per ...]
Cugina [From La Cugina]
Sorridimi Sorridimi [From Lovers & Liars]
18 Pari [From ...]
Voce Seconda ... [From Evil Fingers aka the Fifth Chord]
Cosa Avete Fatto a Solange [From Who [From Cosa Avete Fatto a Solange]
Cosa Buffa [From Funny Thing]
Svolta Definitiva [From Citta' Violenta]
Lidia [From Listen, Let's Make Love]
Ultimo
Bacio [From la Donna Invisibile [From the Invisible Woman]

Tracks:

Ninna Nanna Per Adulti [From Dirty Angels]
Casse [From Gli Scassinatori]
Malinconica Serenita [From il Mostro]
Dal Mare [From il Secreto]
Ninna Nanna in Blu [From Il Gatto A Nove Code]
Rodeo [From Gli Scassinatori]
Ma Non Troppo Erotico [From "The Burglers"]
Scusi, Faciamo l'Amore [From Scusi, Faciamo l'Amore [From Listen, ...]
Revolver (Lounge Music 1) [From Blood in the Streets]
Beat No. 3 [From Teorema]
Ipocrisa [From LA Smagliatura]
Mariangela E la Seduzione [From Il Gatto A Nove Code]
Una Chegrida Amore [From Love Circle]
Intermezzino Pop [From [From le Foto Proibite di una Signora Per Bene]
De Copalamo [From La Cugina]
Autostop Rosso Sangue [From Autostop Rosso Sangue]
Senza Motivo Apparente [From Senza Motivo Apparente]
Una Donna Di Ricordare [From Maddalena]
Nastassia [From "Cosi Come Sei"]
Matto, Caldo, Soldi, Morto...Girotondo (Reprise) [From Vergogna ...]

Customer Reviews:

The best chill and erotica box set ever!!!.......2005-03-16

I must agree with the previous writer; this CD set contains CDS-200 copy protection which requires you to install a program on your cpu to play highly compressed versions of the songs that sound like garbage! If one pays for the cd, then why can they not copy it to his player of choice? The music industry is totally going about combatting music piracy the wrong way! Maybe they should lower CD prices to compete with piracy, but then they would lose their huge profits. We all know that the musicians see little of that money anyway.

Enough of my ranting... this boxset is absolutely amazing! Forget about Morricone's spaghetti western music... this is where it is! The first disc is my absolute favorite, then followed by the third. His unique arrangements are comparable to no one. Although, the lounge revival is long past us, this music is timeless and will leave you begging for more.

Check out the soundtracks to Le Casse, Forbidden Photos of a Lady Above Suspicion, and La Donna Invisible.

Great Box Set but has Copy Protection!.......2004-09-22

Ennio Morricone is the master of Italian soundtracks. Listening to these gems transports you inside the movies! This is a great box set especially at the price being offered by Amazon. This same box set goes for $50 and more at other sites. But there's something very ugly lurking in this box set: It has the Macrovision CDS-200 copy protection. Which means people who enjoy taking their music with them on portable devices will have lots of Internet searching to do to find out how to rip these 3 wonderful CDs! Shame on Amazon for not pointing this out in their description. Other internet sites that sell this box set, do disclaim that it has copy protection. Macrovision has supposedly released a CDS-300 version of their copy protection, but there is no news regarding whether this box set will be re-released with the newer copy protection. The new version does allow you to rip it for personal use.

You can get around it, I won't tell you how, but you can! No, I'm not a pirate, I own over 800 CDs that I've purchased all legally, I don't trade my mp3s, but I like to take my music with me.

It's a shame that people like me that do purchase CDs instead of downloading the crap that's out there have to pay the price.

Sincerely,

Frank Castro

Mucho Maestro.......2004-06-10

I'm not sure which is more amazing--the sheer overwhelming volume of films Ennio Morricone has scored over the years, or the fact that he has produced so much beautiful music in the service of so many obscure, second-rate and otherwise forgettable ones. There is a generous sampling of the latter on display in this 3-disc set, culled from late-sixties and early-seventies films whose titles even the most hardcore of movie--or Morricone--fans would be hard-pressed to recognize. And yet, as always, the variety, the quality and the beauty of the music is unsurpassed. This is a compilation for the Morricone collector who thinks he's heard it all before--there is very little of the overlap or duplication found in so many of the other compilations of this great artist's work. All of which gives the music a fresh, vibrant quality while remaining unmistakably, inimitably Morricone. Cool packaging too.

Average customer rating:

Five stars for Yu Qiang Dai
Alagna the Over-rated -- He's fine for the deaf!
Alagna brings verismo favorites and rarities to 'real life'
5 for Variety 3 for Voice
What a cool recital!

Nessun Dorma; Roberto Alagna
Ermanno Wolf-Ferrari , Mark Elder , Roberto Alagna , London Voices , Ruggiero Leoncavallo , and Orchestra of the Royal Opera House - Covent Garden
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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

Roberto Alagna - Verdi Arias / Gheorghiu, Berlin Phil., Abbado
Roberto Alagna & Angela Gheorghiu - Duets & Arias
Roberto Alagna - Opera Arias
Roberto Alagna - French Arias / Bertrand de Billy
Bel Canto: Arias by Bellini & Donizetti; Roberto Alagna

ASIN: B0000DD76K
Release Date: 2003-10-21

Tracks:

Nessun Dorma!
Colpito Qui M'avete...Un Di All'azzurro Spazio (Improvviso)
Come Un Bel Di Di Maggio
Quando A Solden
Giulietta, Son Io
Non Parlate Cosi...Io Non Ho Che Una Povera Stanzetta
Musetta! O Gioia Della Mia Dimora!...Testa Adorata
Cielo E Mar!
Comare Lola...Viva Il Vino Spumeggiante
Mamma! Quel Vino E Generoso
La Dolcissima Effigie Sorridente
L'Anima Ho Stanca, E La Meta E Lontana
Dammi Un Amore Selvaggio E Ribelle
Che Piu Mi Resta! Tu Sola A Me Rimani
E Un Riso Gentil Qual'alba D'April
Mai Piu, Zaza, Raggiar Vedro
Tornato E Maggio Dopo Lungo Viaggio
Amor Ti Vieta
Un Orso In Musoliera Innamorato
Nessun Dorma!...O Sole! Vita! Eternita!

Amazon.com

Here Roberto Alagna takes on verismo arias, works which require a type of exclamatory delivery very unlike arias from the bel canto period or the French repertoire. The danger for any tenor in this music is overstatement and oversinging - passions run high in this music, and the orchestral accompaniment is big and aggressive. Alagna is, for the most part, remarkably successful, bringing interesting nuances to even the most familiar of the arias ("Nessun dorma," "Cielo e mar") and making a fine case for a beautiful, sad aria from Zandonai's Giulietta e Romeo and painting a vivid portrait of the drunken title character from Wolf-Ferrari's Sly. He occasionally sings sharp: a phrase or two at the close of Turiddu's "Addio" from Cavalleria and every so often in the otherwise mellow "Amor ti vieta." But this recital never bores or tires the listener, and there's a good chance that Alagna is finally living up to his reputation as "the fourth tenor." This is terrific, and worth repeated hearings. --Robert Levine

Customer Reviews:

Five stars for Yu Qiang Dai.......2005-01-28

It was a big shock to hear Yu Qiang Dai's debut cd. He is, I think, the best lirico-spinto tenor nowadays. He has a lovely voice, which is very well produced. The center is wonderful, the lower notes are good, the high notes are shining and of fantastic quality... the singing through the passage is very well handled. He is an itelligent musical interpreter and singer, with an interesting and appealing line and sense of style. Very good dynamic changes. He offers some of the absolutely best renditions of some arias (nessun dorma and cielo e mar, for example) that I have heard in many years.
He still has to work his Italian (specially the consonants) and his French. But there were great historical tenors with bigger idiomatical problems.

Despite taking spinto repertoire, Yu never pushes, never tries to make the voice sound darker than it is, everything is always under control, and he takes the chance to give very stylish renditions (for example, of una furtiva lagrima), which is strange for tenors who "want to sing spinto".

The tenor is a fantastic discovery, one of the best ones around. Actually, all my criticism goes to EMI and the production of the CD: no choirs, no solists (for example, for the aria of Cavalleria, where the mother should sing her line), and the acoustic "atmosphere" has made some people to doubt if Yu's voice is really as big as it seems (people who saw his Cavaradossi at Covent Garden say that it is very big, actually).
Not a the best production job by the people of EMI, but five stars (ten if possible) for the singer. Simply wonderful.

Alagna the Over-rated -- He's fine for the deaf!.......2004-12-18

For Heaven's sake, it is ludicrous to compare Alagna -- who has talent but is NOT one of the "greats" -- to the likes of Jussi Bjorling or Domingo. The only reason other reviewers are impressed by this recording is because they haven't heard these arias sung by other, better tenors. First of all, Alagna is a lyric tenor, not a dramatic tenor, and his voice simply isn't big enough to handle the material without displaying a highly unattractrive raspiness, almost a bleating sound, on virtually every aria on the disc. How come no one noticed it (or did his fans simply choose to ignore it)? Alagna can be expressive in his singing, and I have no quibbles with the orchestra or conductor, but this vocal rasp or near-choke hardly makes this CD a listening pleasure for the discerning opera fan. Mario Del Monaco, who had the right dramatic voice for this material, recorded an album of "Verismo" arias which is available on CD and shows how these works should be sung -- with great dramatic power and vitality, not to mention ringing high notes. Alagna hits the high notes, but they are hardly "ringing." This CD demonstrates all too aptly why Alagna has never really caught on with serious and discriminating, knowledgeable opera fans who are familiar with many different tenors of the classic period. Alagna is one of the most over-hyped singers of his generation.

Alagna brings verismo favorites and rarities to 'real life'.......2004-03-21

The composers of the verismo school made it their mission to take opera away from the gods, royalty and nobles which it had exclusively depicted in the previous centuries and to finally have it concern people who lived 'real lives.' Unfortunately, too many opera fans and performers - especially tenors - make the mistake of assuming that the intense passions and 'crude realism' depicted by these composers is a license for excessive sobbing, gulping, screaming, macho posturing and other inartistic distortions of the music and drama. Roberto Alagna doesn't. What is so wonderful about his new disc of verismo arias is that none of what he sings is here merely a 'tenor showpiece'. His emotion is absolutely genuine, never 'look at me emote!'. He is always totally in tune with the dramatic situations, and serves them with a wide palette of tonal colors and vivid word-painting made even more intense by the clarity of his Italian diction, as superb as his native French. Although he has plenty of power and drama when required, more often he sings sweetly, smoothly, gently, and lyrically, even in the heaviest repertory. Best of all, Alagna's recent tendency to overuse the darker, rougher sides of his voice in recordings of Italian works has disappeared. This CD is his best work in that language and his singing here bodes extremely well for his future live excursions into these roles.

The title track 'Nessun Dorma' sets the stage for much of what follows. I can think of no higher praise than to say that it recalls that of Jussi Bjorling. Although Alagna doesn't have Bjorling's blazing voice and unsurpassable tonal beauty, he provides just as much sensitivity, nuance, and soft singing - this is a young man in love with a beautiful princess, not a soccer fan. His Andrea Chenier truly is a poet - youthful, passionate and desperate, and is Loris is equally impressive. Turridu in 'Cavalleria Rusticana' is surely an ideal vehicle for this tenor of Sicilian parentage, with his high spirits and smile in the voice for the drinking song turning serious and repentant for 'Addio alla madre'. For Enzo in 'La Gioconda', Alagna's 'Cielo e mar' is thoughtful and introspective, with a gorgeous diminuendo on 'O sogni d'or'. And what a joy to have Maurizio in 'Adriana Lecouvreur' sung by such a beautiful lyric voice, especially with more lovely pianissimo singing in 'L'anima ho stanca'! Can we hope for at least a live performance of the complete opera with his wife Angela Gheorghiu, who would be ideal in the title role?

Of course, any CD project Alagna undertakes will include a high percentage of rarities, and the very best of these are 'variations on a theme' to operas that Alagna is already famous for singing. Many consider his greatest role to be Romeo in Gounod's 'Romeo et Juliette', so it is no surprise that he is just as moving a Romeo in the tender and passionate tomb scene from Zandonai's 'Giulietta e Romeo'. In going from Puccini's version of 'La Boheme' to Leoncavallo's, Alagna switches from Rodolfo to Marcello, who is the tenor lead in this version. Having heard this opera in its entirety, I had originally thought that it was interesting but clearly inferior to the Puccini. Now I'm beginning to think all it needs is the right cast! More Leoncavallo rarities show Alagna at his most lighthearted and ebullient, even while playing some rather unsympathetic characters, from the feckless, selfish prince in 'I Zingari' to the married man having an affair with the title character in 'Zaza'. But in the wonderful 'Tu sola a mei rimani, poesia' from 'Chatterton', written by Leoncavallo when he was 17, Alagna is once again a heroic figure unlucky in love.

The 'Song of the Bear' from Wolf- Ferrari's 'Sly' is another triumph. Alagna darkens his tone to a rich bronze to become both the drunken poet of the title and his alter ego, the pathetic, lovestruck performing bear. He even improvises a delightful growl after 'voglio l'orsa!' ('I want the she-bear!'). Giordano's 'La Cene della Beffe' with its tale of a tenor jester's terrible revenge, would be a superb stage vehicle for Alagna's considerable dramatic talents, although here we only hear the character sweetly serenading about love in springtime. It is also nice to hear 'Quando a Solden', Hagenbach's anguished apology to the title character from Catalani's 'La Wally', an opera known mainly for the soprano aria 'Ebben? Ne andro lontano'.

The only problem I have with this disc, and I considered but decided against deducting the final star because of this, is that at least in the familiar selections I find conductor Mark Elder's tempos a little too slow. Although this allows Alagna to be at his most expressive, it takes away from the drama and urgency that is so necessary in this music. The Covent Garden orchestra does their usual splendid job, as does London Voices in their choral contribution, and Marianne Coterill and Tasmin Dalley are fine as Lola and Mamma Lucia. In addition to a wonderful background essay by John Steane, the documentation includes full texts and translations and - FINALLY - a biography of Alagna, as well as one of Elder.

I hope Alagna will get the opportunity to perform much of this material on stage, especially the rarities, although it might be best to limit his appearances in these roles to small theaters. Although Alagna has recently left EMI to go freelance, I am sure we will hear and see more of him in this and other interesting repertory - especially as he wants all his roles on DVD. Until then, "Nessun Dorma" is an ideal showcase for the marvelous voice and adventurous spirit of one of the greatest tenors of our day.

5 for Variety 3 for Voice.......2004-03-19

First off I think that it is really awesome that Roberto Alagna is recording rare works. On the flip side of that coin I dont really see how his voice can last through much more.
It is very clear that Alana should not really touch Verismo. I don't say this to be cynical or dismissive, he just goes very sharp and shows alot of force. The voice is very comfortable in French lyric Rep. When building a carrer, I think, a singer must find what his voice natually tends to and build around that. Certainly you can test and push boundaries, but If you make it your whole life pushing boundaries, than the voice breaks down. A similar fate befell Carreras, Di Stefano and many other singers. When I say that he should not touch verismo, I don not say that he brings nothing to the table, but that his voice does not have squillo and he goes very sharp when he hits high notes under stress, a sign of forcing. There is no squillo in his tone or dramatic declamation, and he has picked up the odd habit of scooping to seeminly every higher note.

The real positive is the interpretative ability, it is clear that Alagna is really thinking about each note, expecially in his excellent stuff from Cavalleria. I really enjoyed the Aria from sly, and listen to it more than most of the other tracks combined. Overall this is a good buy for some arias that you probably havent heard before.
I am not suggesting that roberto Alagna will ruin his voice. I am suggested that he is slowly beating the bloom out of his high notes, and taking the flexibilty and bright color by doing many artificial things in heavier rep.
So although I enjoyed this disc, and would recommend its purchace, I don't think it is the idiomatic verismo voice that one might expect in a verismo recital disc.

What a cool recital!.......2004-02-18

After a downright magnificent account of Berlioz, Roberto Alagna ventures into an equally demanding world of verismo. With Ruggero Leoncavallo most prominently featured, a wealth of material abounds.
Some of the grounds covered here were recently treaded by Argentinean tenor José Cura. I would venture to say that while Cura's recital was unusual and interesting, the CD at hand provided a lot more exciting moments in its 65-min time span save for the double-take of "Nessun Dorma." (the "updated" version would be welcome on another disc, I don't believe we need to have them both here for contrast).
Alagna's matured tenor is remarkably agile and the top notes are very secure. Even the rare sharps don't sound out of place. While there is an occasional unsteadiness in upper range, he makes up for it by a strong attack and seemingly endless breath span. He is also able to infuse a little sob when called for - some argue that this sob and not a hair more is what verismo demands. Such treatment of little known aria from Zaza "mai piu, Zaza, raggiar vedro" brought to mind young Carreras on his extremely rare Philips album. It's really a heart-gripping piece and it's a shame that a full recording of the opera is not available. Aside from this brief comparison, I wish Mr. Levine et al would stop the senseless references to the "4th tenor". The only "package" deal that Alagna participates in is with the missus - soprano Angela Georghiu. I sincerely hope he would not ever consider forming another duo or trio and ever venturing into pop. It's better to be a leader than a follower, even if the latter approach makes more money.
With his latest two CDs, Alagna shines as a pioneer of wonderful, but forgotten material. I have little doubt that composers such as Zandonai and Franchetti just found legions of fans thanks to this recital. I hope to be treated to a full recording soon!