Buona Vita [Enhanced] [Import]

Disc: 1

1. Forza Delle Donne [Inedito]

2. Quel Che Resta del Mio Amore

3. Io Che Non Vivo

4. Dove Sei [Nuova Versione]

5. Come in un Film [Nuova Versione]

6. Portami Con Te

7. Tutt'a Vita Cu 'Tte

8. Non Dirgli Mai

9. Como Suena el Corazon [Jet Far Radio]

10. Anatroccolo Sposato [Nuova Versione]

See all 11 tracks on this disc

Disc: 2

1. Una Notte Al Telefono

2. Cammino Dell'età

3. Tu Che Ne Sai

4. Mon Amour [Italian Remix Radio Edit]

5. Insieme a Lei

6. Buongiorno

7. Miele

8. Sei Importante

9. Nuovo Bacio - Gigi d'Alessio, Anna Tatangelo

10. Non Mollare Mai

See all 11 tracks on this disc

Tracks:

Forza Delle Donne [Inedito]
Quel Che Resta del Mio Amore
Io Che Non Vivo
Dove Sei [Nuova Versione]
Come in un Film [Nuova Versione]
Portami con Te
Tutt'a Vita Cu 'Tte
Non Dirgli Mai
Como Suena el Corazon [Jet Far Radio]
Anatroccolo Sposato [Nuova Versione]
Quando la Mia Vita Cambier

Tracks:

Una Notte Al Telefono
Cammino Dell'et
Tu Che Ne Sai
Mon Amour [Italian Remix Radio Edit]
Insieme a Lei
Buongiorno
Miele
Sei Importante
Nuovo Bacio - Gigi d'Alessio, Anna Tatangelo
Non Mollare Mai
Buona Vita [Inedito]

Album Description

All the best hits by the Italian singer songwriter plus two fantastic previously unreleased tracks, 'La Forza Delle Donne' & 'Buona Vita'. Copy Controlled. BMG. 2003.

Rossini - The Barber of Seville / Roberta Peters · Leinsdorf

Average customer rating:

Perfection in Seville
Un 'Barbero' sorprendente
Strange to say, but probably one of the best Barbers
Pure Bliss!!! YOU MUST GET THIS!!
Hey! This is one of the BEST!

Rossini - The Barber of Seville / Roberta Peters · Leinsdorf
Gioachino Rossini , Erich Leinsdorf , Roberta Peters , Robert Merrill , Fernando Corena , Margaret Roggero , Carlo Tomanelli , and Giorgio Tozzi
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Giacomo Puccini: La Rondine
Verdi: Ernani (Complete) [Germany]
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Mozart: Le Nozze Di Figaro

ASIN: B000003G4F
Release Date: 1996-09-17

Tracks:

The Barber Of Seville: Overture
The Barber Of Seville: Act I: Scene 1: Piano, pianissimo (Count)
The Barber Of Seville: Act I: Scene 1: Ecco ridente il cielo (Count)
The Barber Of Seville: Act I: Scene 1: Ehi, Fiorello! - Mio signore! (Count)
The Barber Of Seville: Act I: Scene 1: Mille grazie, mio signore (Count)
The Barber Of Seville: Act I: Scene 1: Gente indiscreta! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: La ran le lera; Largo al factotum (Figaro)
The Barber Of Seville: Act I: Scene 1: Ah, ah! che bella vita! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: Non e venuto ancora (Rosina, Count, Bartolo, Figaro)
The Barber Of Seville: Act I: Scene 1: Se il nome saper voi bramate (Rosina, Count, Figaro)
The Barber Of Seville: Act I: Scene 1: Oh, cielo! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: All'idea di quel metallo (Count, Figaro)

Tracks:

The Barber Of Seville: Act I: Scene 1: Evviva il mio padrone - Rossini
The Barber Of Seville: Act I: Scene: 2: Una voce poco fa (Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Si, si, la vincero! (Rosina, Figaro, Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: La calunnia e un venticello (Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ah, che ne dite? (Basilio, Bartolo, Figaro, Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Dunque io son... tu non m'inganni? (Rosina, Figaro) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ora mi sento meglio (Rosina, Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: A un dottor della mia sorte (Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: Brontola quanto vuoi (Rosina, Count) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ehi, di casa... buona gente (Count, Bartolo, Rosina, Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Che cosa accadde, signori miei (Figaro, Bartolo, Count, Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Fermi tutti, nessun si mova (Bartolo, Figaro, Basilio, Count, Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Mi par d'esser con la testa (Rosina, Count, Basilio, Bartolo, Figaro) - Rossini

Tracks:

The Barber Of Seville: Act II: Ma vedi il mio destino! (Bartolo)
The Barber Of Seville: Act II: Pace e gioia sia con voi (Count, Bartolo)
The Barber Of Seville: Act II: Insomma, mio signore (Bartolo, Count, Rosina)
The Barber Of Seville: Act II: 'Contro un cor che accende amore...' (Rosina, Count)
The Barber Of Seville: Act II: Bella voce! (Count, Rosina, Bartolo)
The Barber Of Seville: Act II: 'Quando mi sei vicina...' (Count, Bartolo)
The Barber Of Seville: Act II: Bravo,signor barbiere,ma bravo! (Figaro, Bartolo, Rosina, Count)
The Barber Of Seville: Act II: Don Basilio! Cosa veggo! (Rosina, Count, Figaro, Bartolo, Basilio)
The Barber Of Seville: Act II: Buona sera, mio signore (Count, Figaro, Basilio, Rosina, Figaro, Bartolo)
The Barber Of Seville: Act II: Orsu, signor don Bartolo (Figaro, Bartolo, Count, Rosina)
The Barber Of Seville: Act II: Ah! Disgraziato me! ma come? (Bartolo,
The Barber Of Seville: Act II: Il vechiotto cerca moglie
The Barber Of Seville: Act II: Dunque voi don Alonso non conoscete affatto? (Bartolo, Basilio, Rosina)
The Barber Of Seville: Act II: Temporale - Storm
The Barber Of Seville: Act II: Alfine eccoci qua (Figaro, Count, Rosina)
The Barber Of Seville: Act II: Ah! qual colpo inaspettato! (Rosina, Figaro, Count)
The Barber Of Seville: Act II: Ah,disgraziati noi! come si fa? (Figaro, Count, Rosina, Basilio)
The Barber Of Seville: Act II: Il conte! ah che mai sento! (Bartolo, Count)
The Barber Of Seville: Act II: Cessa di piu resistere (Count)
The Barber Of Seville: Act II: Insomma, io ho tutti i torti! (Bartolo, Figaro, Basilio, Rosina)
The Barber Of Seville: Act II: Di si felice innesto (Figaro, Bartolo, Basilio, Rosina, Count)

Customer Reviews:

Perfection in Seville.......2007-05-14

I think the mezzo vs high coloratura soprano as Rosina is irrelevant when considering the merits of this recording. This is almost a complete reading of the score which benefits from the casting of most of the original cast of a production that was still relatively new in 1958 when the recording was made.

All the soloists have the bel canto style nailed down. The Figaro of this recording is Robert Merrill and his voice is caught in all of it's prime time state. Simply gorgeous golden tone here that is richly masculine with an easy upper register. The rest of the cast, the conducting and playing of the Met Opera orchestra and chorus are perfection.

Although there is some minor master tape related problems, and they are really minor, RCA's Living Stereo process is remarkable. This edition's sonics are an incredible improvement over RCA's original CD release.

Un 'Barbero' sorprendente.......2004-10-31

Este 'Barbero de Sevilla' (grabado en 1956 por el sello RCA) depara muchas sorpresas agradables. Se trata de una version completisima (se incluyen todos los recitativos y ademas el aria de Almaviva 'Cessa di piu resistere', que suele suprimirse y que aparece aqui por primera vez en la historia en grabacion de esta opera).
El reparto se acerca bastantea la realidad rossiniana de los canones de hoy en dia (lo que debe sorprender, porque en 1956 eran bien diferentes) Como Almaviva tenemos al tenor CESARE VALLETTI, que combina una bella voz con un dominio de la coloratura bastante correcto para la epoca. La Rosina de ROBERTA PETERS (en version soprano ligera) derrocha una cantidad de agudos y sobreagudos con una seguridad y limpieza absolutamente pasmosa: la voz puede gustar o no, pero su dominio del agudo y del registro agudo no se le puede negar.
ROBERT MERRILL es un Figaro diferente, que quiza pueda chocar un poco, porque es el que mas alejado esta de la realidad rossiniana de hoy en dia. FERNANDO CORENA es un Don Bartolo que quiza peca de excesos de comico y GIRGIO TOZZI es un Don Basilio imponente. La lista de secundarios cumple perfectamente con sus cometidos y ERICH LEINSDORF realiza una lectura que, aunque hoy en dia puede resultar poco rossiniana, no deja de ser interesante ante unos cuerpos estables del Metropolitan de Neuva York que, como siempre, responden con calidad.
En definitiva, sin ser un Barbero de primera opcion, es una buena forma de ver cuanto ha evolucionado la historia del canto y de la conduccion rossiniana, disfrutando y sorprendiendose. Una version que, aunque a priori pueda prometer poco, ofrece bastante. Recomendable.

Strange to say, but probably one of the best Barbers.......2004-10-27

It's funny how some "classic" recordings might be classic but they arent necessarily good introductions to an opera. For example, the Maria Callas/Tito Gobbi/Luigi Alva Barber of Seville is often thought to be the classic recording of Rossini's comic gem. While I agree that recording is unique, it's also extremely cut, and it goes for a drier, more "subtle" humor.
OTOH, the Leinsdorf recording, with a cast of Cesare Valletti, Roberta Peters, Robert Merrill, and Fernando Corena is well-sung, relatively complete, well-recorded, and most of all has a freewheeling sense of fun that I think perfectly captures the charm of this opera.
Roberta Peters was a high, light soprano. Her voice can sound a bit glassy and colorless, but her Rosina is lively, virtuostic, and properly spunky. The only caveat is that like some sopranos she transposes "Una voce poco fa' up to F, while the aria IMO is much more charming in its original key of E. Cesare Valleti's Almaviva is more caressing than dazzling (unlike Juan Diego Florez), but unlike many Almavivas he actually sings the whole part. He does not cut his final aria "Cessa di piu resistere."
Overall, I'd say none of the individual singers on this recording are necessarily the best, but together this is a great ensemble recording, and I highly recommend it as an introduction to the opera. To opera, in fact.

Pure Bliss!!! YOU MUST GET THIS!!.......2003-07-29

Okay, if you are just browsing amazon and this set caught your eye let me just say STOP!! GO NO FURTHER!! THIS IS THE BEST!!
THIS IS PERFECTION!! THIS BORDERS ON DIVINE!! There is simply no point in looking for that all important "most enjoyable piece of opera in the world" BECAUSE THIS IS IT! Its this simple folks, if you like opera, if you like beautiful voices, if you like perfect timing, pitch and recording quality you must get this. This is the DEFINITIVE Barber of Seville. I will let the previous reviews here tell you about the story and the performers. My review is here for just one reason - to let people that are on the fence wondering if they should really get this -YES YOU SHOULD! You absolutely will not be dissappointed - I stake my brothers life on it. :)
End of rant.

Hey! This is one of the BEST!.......2002-07-18

I've owned this on vinyl for decades, and it seldom comes any better. Most of you know that, being familiar with Roberta Peters in her prime, along with Valletti, Merrill, Corena, and Tozzi. This is one of the most balanced casts ever assembled. I happen to like both approaches to Rosina- high in the stratosphere vocalizing and the more down-to-earth approach of Teresa Berganza. In Cesare Valletti, we have one of the finest Almavivas since the days of Fernando de Lucia. Valletti gets right into the meat of this character, with Nicolai Gedda being the only modern Almaviva to rival Valletti's voice. (I can't wait to hear Florez sing this!) What can one say about Robert Merrill? If he didn't love singing Figaro, he's done a fine job of fooling me. I do not agree with all of his interpretation, but this is one of the finest baritones having fun with a role that deserves it. (He has formidable competition here: Stracciari is incredible as Figaro. He had one of the most glorious high baritone voices you could ever want to hear and he's darned funny as Figaro to boot. Then there's Sherrill Milnes, who had a voice to rival Stracciari's formidable instrument and the same sense of fun.)

Then there are the not so minor roles of Bartolo and Basilio. Corena had a powerful, rich voice used here with a sense of character that's almost impossible to surpass. Has anyone ever had a better voice for Bartolo? Not in my memory! Giorgio Tozzi's Basilio is one of the glories of this performance; a rich, colorful voice with great beauty of tone... all at the service of one of opera's funniest `villains'. Leinsdorf does a fine job capturing the ambience of Barbiere, so I find it hard to go wrong with this recording...

So now it's time for a little rant and rave... One of the reviewers chided Corena and Tozzi for going over the top, speaking of them like dogs who were caught digging holes in the neighbors' gardens. (What must he think of Capecchi? I shudder to think of it!) The Barber of Seville is not a dusty old museum piece, it's a comedy about very human people going about their businesses with wacky results. This opera somewhat resembles a train wreck in the making, with boxcars full to the brim with maniac clowns. I love it when the singers get into the meat of their characters. Combining it with glorious voices and breathtaking singing only adds to the joy. Corena's performance of Doctor Bartolo IS over the top- which is what is needed- Bartolo is a very over-the-top man. Three cheers to Fernando Corena!

Verdi: La Forza del Destino
Average customer rating:

warning: no libretto

Excellent in every way, yet another ignored Verdi Voice!

Musical Sheet Lightning

Verdi: La Forza del Destino

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Verdi: Un Ballo in Maschera

Verdi - Un ballo in maschera / Arroyo · Domingo · Cappuccilli · Cossotto · Grist · NPO · Muti

ASIN: B000BO0GPO
Release Date: 2006-01-10

Tracks:

Overture - Philharmonia Orchestra
Introduzione-Scena: 'Buona Notte, Mia Figlia' - John Tomlinson
Recitativo: 'Temea Restasse Qui Fino A Domani' - Jean Rigby
Romanza: 'Me Pellegrina Ed Orfana' - Rosalind Plowright
Scena: 'M'aiuti, Signoria' - Jean Rigby
Duetto: 'Ah, Per Sempre, O Mio Bell'angiol...Seguirti Fino Agl'ultimi' - Jose Carreras
Scena-Finale I: 'E Tardi...Vil Seduttor' - Various Artists
Coro-Ballabile: 'Hola, Hola, Hola! Ben Giungi, O Multattier' - Mark Curtis
Scena: 'La Cena E Pronta'/Recitativo: 'Viva La Guerra' - Various Artists
Canzone: 'Al Suon Del Tamburo' - Various Artists
Preghiera: 'Padre Eterno Signor...Pieta Di Noi' - Various Artists
Scena: 'Viva La Buona Compagnia'/Recitativo: 'Poich'imberbe E L'incognito' - Various Artists
Ballata: 'Son Pereda, Son Ricco D'onore' - Various Artists
Scena, Coro E Ripresa Della Danza: 'Sta Bene' - Various Artists

Tracks:

Aria: 'Son Giunta! Grazie, O Dio!...Madre, Pietosa Vergine' - Ambrosian Opera Chorus
Scena: 'Chi Siete?' - Juan Pons
Scena E Duetto: 'Chi Mi Cerca?...Infelice, Delusa, Reietta' - Paata Burchuladze
Finale II: 'Il Santo Nome Di Dio Signore...La Vergine Degli Angeli' - Various Artists
Scena: 'Attenti Al Gioco' - Jose Carreras
'La Vita E Inferno All'infelice' - Jose Carreras
Romanza: 'Oh, Tu Che In Seno Agli Angeli' - Jose Carreras
Scena E Duettino: 'Al Tradimento...Amici In Vita, In Morte' - Jose Carreras
Scena: 'All'armi!'/Battaglia: 'Arde La Mischia!'/Scena: 'Piano...Qui Posi' - Various Artists
Duettino: 'Solenne In Quest'ora' - Renato Bruson
Scena: 'Morrir! Tremenda Cosa!' - Renato Bruson
Aria: 'Urna Fatale Del Mio Destino...Egli E Salvo! Oh Gioia Immensa' - Jose Carreras

Tracks:

Ronda: 'Compagni, Sostiamo' - Abrosian Opera Chorus
Scena E Duetto: 'Ne Gustare M'e Dato Un'ora Di Quiete...Oh Tradimento!' - Renato Bruson
Coro: 'Lorche Pifferi E Tamburi' - Abrosian Opera Chorus
Strofe: 'Venite All'indovina' - Agnes Baltsa
Scena: 'Que, Vivandiere, Un Sorso' - Agnes Baltsa
Arietta: 'A Buon Mercato'/Coro: 'Pane, Pan Per Carita' - Various Artists
'Che Vergogna!' - Ambrosian Opera Chorus
Coro-Taratella: 'Nella Guerra, E La Follia' - Various Artists
Predica: 'Toh, Toh! Poffare Il Mondo'/(Recitativo): 'Lasciatelo Ch'ei Vada' - Juan Pons
Rataplan: 'Rataplan' - Various Artists
Coro Ed Aria Buffia: 'Fate La Carita...Che? Siete All'osteria?' - Ambrosian Opera Chorus
Scena E Duetto: 'Auf! Pazienza Non V'ha Che Basti...Del Mondo I Disinganni'/Scena: 'Giunge Qualcun..Aprite' - Paata Burchuladze
Scena E Duetto: 'Invano, Alvaro, Ti Celasti Al Mondo...Col Sangue Sol Cancellasi L'infamia' - Renato Bruson
Melodia: 'Pace, Pace, Mio Dio' - Jean Rigby
Scena E Terzetto Finale: 'Io Muoio...Confessione!...Non Imprecare, Umilitati' - Various Artists

Customer Reviews:

warning: no libretto.......2007-02-22

This is a good recording, no doubt about it, but costumers should be aware of the fact that there is no libretto included, but only a detailed synopsis.

Excellent in every way, yet another ignored Verdi Voice!.......2007-01-06

Fortunately, we do not have too many recordings of Forza to choose from. It is hard to cast those roles, so dramatic and long winded and phrases requiring piano and fortissimo and Rosalind Plowright was up to the challenge, but you need more than a big voice to justify Forza, you need TEXTURE too - depth, width, and sheen! No wonder, the opera has vanished from the repertory.

According to what I've heard, she was a Verdi soprano par excellence! Her tendency to cut the top notes short, play with the rhythm at times, and bottle up the tone can't detract from that awesome exciting voice AND that excellent Verdi beat. HOWERVER, Rosalind Plowright seemed to assiduously avoid the typical Verdian soprano sound a la Milanov, Price, Dunn, and Arroyo etc but opted for a brighter sound every bit as huge and crisp as Crespin and as veiled as the Callas of the 1960's. All this makes for an avalanche of a voice that must have raised the roof. She is very very thrilling to hear and this explains why she was a Verdi soprano of choice in Europe during the Milllo and Dunn years. I assume her voice didn't please everyone because it was unwieldy at the top, again like Crespin and also the tone hardened at times; in fact, i must repeat, she sounds exactly like a combination of Callas and Crespin. But make no mistake, those great divas never wrapped their great voices around Verdian phrases like Plowright, especially in .."Son Giunto, grazie o Dio" for in this regard she joins that long line of Verdians going way back to Arangi-Lombardi, Ponselle, and Milanov -- this is Art and anyone who has studied Verdi can identify a Verdian of this caliber. You Verdians out there know what I mean.

Carerras is close to the microphone, and this forcing does not do well in Verdi. Nevertheless, there is an honesty with this man, a passion, an innate truth. I prefer him dead or alive to Domingo, but he is not at the technical level of Domingo or Aragall. Preziosilla is Ms. Baltsa, and how well she sings. I am a FAN of RENATO BRUSON so its not fair to sing his praises!

Giuseppe Sinopoli is intense and he achieves a noble Verdi sound appropriate for Forza, nice and warm sounding but rhythmic indeed. I do like his work in this Forza and I think his work as a Verdian has NOT been bettered, not even by Jimmy Levine who I also really like. However, Trovatore belonged to Zubin Mehta and Humberg (I think I spelled it right - he is on the Naxos Trovatore)

TOP MODERN VERDI -- THAT IS MY ASSESSMENT!

Musical Sheet Lightning.......2006-10-11

Although Verdi's basic style was established early in Nabucco (1842), he keeps getting better down through the 1860s with the spectacular La Forza del Destino and Don Carlo. In listening to his operas after 1870, I am too familiar with Aida and Otello to be deeply impressed with them; and I have never cared for Falstaff. The progress toward "true music drama" climaxing in Otello does not concern me although Boito's brilliant libretto makes that 1887 opera one of Verdi's best. The setting and plot of La Forza del Destino interest me more than any other Verdi opera. The accidental killing of a father, the brother's irrational but deadly vendetta and ,above all, the role played by Italian monasticism capture my imagination. Verdi's supercharged music is convincing at every point. What could be more electric than the brooding overture with its mournful clarinet melody? Leonora prays convincingly to the Virgin and then with a group of monks in Act II. I recall the role played by Italian monasticism in Ann Radcliffe's striking novel The Italian published in the 1790s, the same decade that Cherubini's Medee set the pattern of "grand opera," a basic element in Verdi despite all the talk about "music drama" without arias. Ewen observes, "With its pronounced dramatic content and enriched harmonic and orchestral writing, La Forza del Destino represents a gradual departure from the style of La Traviata toward that of Aida." I prefer to see this brilliant opera as a end in itself apart from any progressive scheme.

I appreciate most the interaction of keen drama with religion in a form preferable to the rather morbid religious-secular dualism of Wagner's Tannhauser. Although Verdi's monks may sing quietly, the religious element blends with the plot more convincingly than in Wagner's schematically opposed Pilgrim's Chorus and Venusberg music. Even more striking is the contrast between Verdi's opera and Tchaikovsky's frantic Eugen Onegin where the protagonist's stupid egotism results in a tragic duel. In Act IV of La Forza del Destino the noble lover Alvaro tries to convince the vengeful Carlo that "God alone can bring retribution." Although Carlo murders his sister and Alvaro is weak enough to curse his "destiny" (secular language for the overruling sovereignty of God), the last word goes to Padre Guadiano in "Non imprecare, umiliati." In addition to all these features the performance gives us Agnes Baltsa as an entertaining gypsy Preziosilla. Verdi measures out just the right amount of this change of pace rather than making us wallow in it as does Bizet's Carmen. In his great tragic opera, Verdi proves once for all that one of the best forms of opera is high-tension theater. His work forms a perfect complement to the operas of Meyerbeer.

Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Average customer rating:

A Classic Set
Callas is okay- Price the ONLY VERDI SOPRANO????
An excellent "Forza" but not the best all round performance
Brilliant Forza and a stupid reviewer
Brilliant - But I also love Tebaldi

Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Ponchielli: La Gioconda (complete opera) with Maria Callas, Fiorenza Cossotto, Antonino Votto, Orchestra & Chorus of La Scala, Milan

ASIN: B000002RY5
Release Date: 1997-08-19

Tracks:

La forza del destino: Sinfonia
La forza del destino: Act One: Buona notte, mia figlia (Leonora)
La forza del destino: Act One: Temea restasse qui fino a domani! (Leonora)
La forza del destino: Act One: Me pellgrina ed orfana (Leonora)
La forza del destino: Act One: M'aiuti, signorina, piu presto andrem (Leonora)
La forza del destino: Act One: Ah, per sempre, o mio bell'angiol (Alvaro, Leonora)
La forza del destino: Act One: Vil seduttor! Infame figlia! (Leonora, Alvaro)
La forza del destino: Act Two: Scene One: Hola, hola, hola! Ben giungi, o mulattier
La forza del destino: Act Two: Scene One: La cena e pronta (Carlo)
La forza del destino: Act Two: Scene One: Che vedo! Mio fratello! (Leonora, Carlo)
La forza del destino: Act Two: Scene One: Viva la guerra! (All)
La forza del destino: Act Two: Scene One: Al suon del tamburo (All)
La forza del destino: Act Two: Scene One: Padre Eterno Signor (Leonora, Carlo)
La forza del destino: Act Two: Scene One: Viva la buona compagnia! (Carlo, Preziosilla)
La forza del destino: Act Two: Scene One: Poich'e imberbe l'incognito (Carlo)
La forza del destino: Act Two: Scene One: Son Pereda, son ricco d'onore (Carlo)
La forza del destino: Act Two: Scene One: Sta bene (Preziosilla, Carlo)
La forza del destino: Act Two: Scene Two: Sono giunta! Grazie, o Dio! (Leonora)
La forza del destino: Act Two: Scene Two: Madre, pietosa Vergine (Leonora)
La forza del destino: Act Two: Scene Two: Chi siete? (Melitone, Leonora)
La forza del destino: Act Two: Scene Two: Chi mi cerca? (Guardiano, Leonora, Melitone)
La forza del destino: Act Two: Scene Two: Infelice, delusa, rejetta (Leonora, Guardiano)
La forza del destino: Act Two: Scene Two: Il santo nome di Dio Signore sia benedetto (Guardiano)
La forza del destino: Act Two: Scene Two: La Vergine degli Angeli (Guardino, Leonora, All)

Tracks:

La forza del destino: Act Three: Scene One: Attenti al gioco, attenti, attenti al gioco
La forza del destino: Act Three: Scene One: La vita e inferno all'infelice
La forza del destino: Act Three: Scene One: O tu che in seno agli angeli (Alvaro)
La forza del destino: Act Three: Scene One: Al tradimento! (Carlo, Alvaro)
La forza del destino: Act Three: Scene One: All'armi!
La forza del destino: Act Three: Scene Two: Arde la mischia!: Piano...qui posi...approntisi il mio letto (Alvaro, Carlo)
La forza del destino: Act Three: Scene Two: Solenne in quest'ora (Alvaro, Carlo)
La forza del destino: Act Three: Scene Two: Morir! Tremenda cosa!
La forza del destino: Act Three: Scene Two: Urna fetale del mio destino (Carlo)
La forza del destino: Act Three: Scene Two: E s'altra prova rinvenir potessi? (Carlo)
La forza del destino: Act Three: Scene Three: Compagni, sostiamo
La forza del destino: Act Three: Scene Three: Ne gustar m'e dato un'ora di quiete (Alvaro, Carlo)
La forza del destino: Act Three: Scene Three: Lorche pifferi e tamburi par che assordino la terra (Preziosilla)
La forza del destino: Act Three: Scene Three: Qua, vivandiere, un sorso
La forza del destino: Act Three: Scene Three: A buon mercato chi vuol comprare?
La forza del destino: Act Three: Scene Three: Pane, pan per carita!
La forza del destino: Act Three: Scene Three: Nella guerra e la follia (Preziosilla)
La forza del destino: Act Three: Scene Three: Toh! Toh! Poffare il mondo! Che tempone! (Melitone, Preziosilla)
La forza del destino: Act Three: Scene Three: Rataplan, rataplan, della gloria (Preziosilla)

Tracks:

La forza del destino: Act Four: Scene One: Fate la carita, e un'ora che aspettiamo! (Melitone, Guardiano)
La forza del destino: Act Four: Scene One: Giunge qualcuno, aprite (Guardiano, Melitone)
La forza del destino: Act Four: Scene One: Invano Alvaro ti celasti al mondo
La forza del destino: Act Four: Scene One: Le minaccie, i fieri accenti (Alvaro, Carlo)
La forza del destino: Act Four: Scene Two: Pace, pace mio Dio! (Leonora)
La forza del destino: Act Four: Scene Two: Io muoio! Confessione! (Carlo, Alvaro, Leonora)
La forza del destino: Act Four: Scene Two: Non imprecare, umiliati a Lui ch'e guisto e santo (Guardiano, Leonora, Alvaro)

Amazon.com

If it were not for Maria Callas, we would all think that La Forza del Destino is essentially a prime exercise and showcase for great soprano voices, with a few goodies thrown in for the rest of the cast and the chorus. In this recording, Callas's voice is not technically great, though it is usually good.She makes most of her points by other means: close attention to the value of words, subtle nuances of tone and phrasing, an uncompromising determination to confront the emotions in the text and convey them honestly and strongly, even when they reach a terrifying intensity. We have here, under the absurdities of plot, a compelling psychological portrait of a woman driven beyond her limits--a woman whose brother wants to kill her lover, who has killed her father. The supporting cast is skilled and Serafin shapes a powerful interpretation. -- Joe McLellan

Customer Reviews:

A Classic Set.......2006-11-09

Despite the few cuts and the mono recording this is still one of the most desirable sets of "La Forza del Destino". The main reason is of course Maria Callas's traversal of the role of Leonora. She was still in pretty good voice at this stage in her career and, though there are moments more comfortably vocalised by some of her rivals ("la vergine degli angeli" for instance), she is the complete Verdi heroine. No other soprano sets before us so well a character torn between conflicting feelings in the first act - on the one hand, love and filial duty, and on the other, love for Don Alvaro. Her very first utterances have a thrill unmatched on other recordings. Later, in the second scene of Act II, she is absolutely superb. Whenever she is before the microphone, we are aware of the greatness of the score as music drama. Here she is helped immeasurably by Serafin's command of the dramatic impulse of the music, and the magisterial, kindly and protective Padre Guardiano of Nicola Rossi-Lemeni. Others may have sung the role with better technique and more beautiful tone, but few, if any, are more interesting in the role. Of the other principals, Richard Tucker is almost their equal. With a voice so splendid and so suitable for the role, it seems a pity that he occasionally feels the need to make up for the fact that he is not Italian, by breaking the line of his singing with unmusical aspirate and sobs. In all other respects he is ideal. Carlo Tagliabue is a little past his best (he was 56 at the time of the recording), but he sings with authority, if without great immagination. Elena Nicolai is, if not the best or most accurate of Peziosillas, at least a spirited and involved performer. Both Plinio Clabassi as Il Marchese di Calatrava and Renato Capecchi as Melitone give strong accounts of their roles.
I have never quite been able to understand why in some of EMI's Callas recordings from this time the mono sound is pretty open and in others quite constricted. This, like the De Sabata "Tosca" is really pretty good. I hardly missed stero at all. And Serafin is superb. He is still, to my mind, a severely underrated conductor. Seen as a singer's conductor, he is somehow thought of as being a little anonymous, but for me, he allows the music and the drama to unfold in a completely natural way, without drawing too much attention to himself, as so many modern conductors tend to do. His "Otello", after all, is considered one of the best conducted versions in the catalogue.
As the previous reviewer noted, this is probably the most expensive way of acquiring this set, but it does come with full notes, libretto and translation. If they are not important to you, you may wish to wait until it is issued at super bargain price, as it inevitably will be, by Naxos, Regis and EMI themselves.

Callas is okay- Price the ONLY VERDI SOPRANO????.......2006-09-06

Callas, not my favorite, could sing Verdi well so could Leontyne Price. Any statements suggesting that these were the only Verdi sopranos - Opera Lover's refusal to acknowledge anyone but Price suggests either very limited listening experience- what about Ponselle, or Milanov or poor hearing.
In this role Tebaldi is as good as I ever heard although she did not sing as much Verdi as the above mentioned divas. CAVEAT!!!! Unfortunately, I did not hear Ponselle either live or in the whole opera or all bets might be off with Tebaldi. Ponselle was a unique vocal and dramatic presence.

An excellent "Forza" but not the best all round performance.......2006-08-24

I'm saddened by the intemperate nature of some of the preceding reviews of this recording, so let's try to keep it objective and fair. First, no-one inflects the text and caresses those glorious melodies as affectingly as Callas although Price in 1964 and Tebaldi in the (pretty raw!) live Mitropoulos recording run her close. The infamous "flap" in Callas' voice is only occasionally in evidence and she more than compensates with heart-wrenching portamenti and thrilling excursions into her lower register. Tucker is very, very good, if occasionally guilty of his besetting fault of being too lachrimose, but the top rings out magnificently. The rest of the cast, with the exception of Capecchi's firm, characterful Melitone, is not up to their standard, though Nicolai is wholly acceptable in the essentially irritating role of Preziosilla, with her silly tub-thumping music. Tagliabue is clearly past his best but does not disgrace himself, despite some rather nasal, laboured sounds. My one real bugbear is Rossi-Lemeni; I have never understood why he was so esteemed. The voice is woolly, unsteady, lacking centre and without the true bass gravitas the role of Padre Guardiano requires - although he certainly sounds old! Serafin's conducting is typically well-judged, in turn both pacy and intense as this gloomily beautiful music demands and you soon forget that the recording is mono, the sound being so clear, clean and brilliant. My favourite "Forza" is still the 1964 Schippers for the all-round excellence of the cast, though the 1947 Marinuzzi (available cheaply on Naxos) is worth having as it's a real period recording with a pulsating sense of live theatre about it (and you can hear Tancredi Pasero sing the role of Padre Guardiano as it should be sung). The above-mentioned live Mitropoulos contains the single most exciting piece of tenor singing I have ever heard in Del Monaco's "O tu che in seno" - the audience go wild and start mooing their appreciation like demented cattle - so you have quite a choice, the Schippers being the safest.

Brilliant Forza and a stupid reviewer.......2004-11-22

What does such drivel give you? Do you have to bash a devoted artist in order to have a life? What a shame this is! This Sills-sycophant accuses Callas' fans of bashing while HE is the one who posts profane, unmusical and tasteless nonsense. I've worked with singers and conductors for over 50 years and am appalled by such awful manners and stupidity. This is a great La Forza del Destino. Even IF one were not to "get" Callas, how [...] he rate the work of a Tullio Serafin who experienced Verdi himself in such a horrenduous way? Go, listen to your Sills and leave the reviewing to those who have taste and musical knowledge!

Brilliant - But I also love Tebaldi.......2004-10-18

The Callas-Forza is brilliant. Wonderful. But Callas was neither a mezzo (Well, with an F in her throat?) nor was her voice ugly IMHO but had a very unique beauty to it, very bittersweet, not all whipped cream like Tebaldi or today Fleming. But hey, I love many flavours. That's why I can heartily recommend both sopranos' Leonoras here.

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman

Average customer rating:

Refreshing and Surprising!
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.
Best ever!!

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Beethoven: Symphonies Nos. 1-9 (Fra)
Wagner: Der Ring des Nibelungen
Mozart Opera Glyndebourne Collection: Cosi fan Tutte, Don Giovanni, Le Nozze di Figaro, Die Entfuhhrung aus dem Serail, Idomeneo, Die Zauberflote (6 DVDs)
Complete Mozart Symphonies / Pinnock, English Concert
Tchaikovsky: Violin Concerto Op35; Brahms: Violin Concerto in D Op77

ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.

Classic Puccini Recordings
Average customer rating:

Excellent introduction to Tebaldi's art

Wonderfull

Classic Renata

Classic Puccini Recordings
Puccini , and Tebaldi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Andrea Chenier

Giacomo Puccini: La Rondine

Verdi: La Forza del Destino

The Complete Recordings, 1902-1920 (Box Set)

Verdi: Un Ballo in Maschera

ASIN: B00006IU8W
Release Date: 2003-03-11

Album Details

Italian Soprano Renata Tebaldi was One of the Most Important Post-war Sopranos to Tackle a Wide Range of Puccini Roles, and During the 1950s She Recorded Several Complete Opera Recordings. Some of the Operas were Recorded Twice — in Mono and Then in Stereo. Amongst Those which Tebaldi Committed to Disc in the Recording Studio on Two Occasions Must Be Included La Bohème and Madama Butterfly. It is the Earlier, Mono Recordings of These Two Operas which Are Included Here and They Reveal a Fresh-voiced Tebaldi in Recordings Which, Despite the Stereo Remakes, have Stood the Test of Time.

Customer Reviews:

Excellent introduction to Tebaldi's art.......2005-09-29

This set covers the entire productive years of Tebaldi's recording career. Turandot, Butterfly and Boheme are from her earlier career while Tosca is from her later career. Since this Tosca recording is now out of print and is somewhat hard to find, this recording itself almost worth the cost of the set. In Turandot, you will find Tebaldi at her fresher voice, lovely and melting. Eventhough I would still rate Callas' first recorded Tosca as my first choice, this Tosca comes very close. Enjoy.

Wonderfull.......2005-08-19

Fantastic recordings at a very good price. Tebaldi and Del Monaco rule. You should definetely own this set.

Classic Renata.......2005-03-16

To say that these 12 disks contain some of the finest singing ever committed to disk is no exaggeration, but a simple statement of fact. Historical fact. In the 100 years (more or less) that Puccini operas have been around, only a few sopranos in each generation have been the equal of Renata Tebaldi. One cannot objectively say that anyone has surpassed her. Some opera lovers find her peerless in many of these performances. Personal tastes in singers vary, but no one ever sang these roles better. Few anywhere nearly so well. There is not a single note on any of these recordings that is not heartfelt to the core of her being. Like Maria Callas and Franco Corelli, she was luminous, gargantuan in her talent that personified an age. This is one of the great compilations.

Average customer rating:

Great performance spoiled by the sound engineers

Verdi: La forza del destino

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

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Verdi: Il Trovatore

ASIN: B000026CZ4
Release Date: 1993-01-01

Tracks:

Ov - Orch Del Teatro Alla Scala, Milano/Riccardo Muti
Act One. Intro - Scena: Buona Notte, Mia Figlia - Giorgio Surian/Mirella Freni
Act One. Recitativo E Romanza: Temea Restasse Qui Fino A Domani - Francesca Garbi/Mirella Freni
Act One. Recitativo E Romanza: Me, Pellegrina Ed Orfana... - Mirella Freni
Act One. Scena E Duetto: M'aiuti, Signorina, Piu Presto Andrem - Francesca Garbi/Mirella Freni
Act One. Scena E Duetto: Ah, Per Sempre, O Mio Bell'angiol... - Placido Domingo/Mirella Freni/Francesca Garbi
Act One. Finale I: Vil Seduttor! Infame Figlia! - Giorgio Surian/Mirella Freni/Placido Domingo
Act Two. Chor Ballabile: Hola, Hola, Hola! Ben Giungi, O Mulattier - Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Two. Scena: La Cena E Pronta - Silvestro Sammaritano/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Giorgio Zancanaro
Act Two. Scena: Che Vedo! Mio Fratello! - Mirella Freni/Silvestro Sammaritano/Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano...
Act Two. Recitativo E Canzone: Viva La Guerra! - Dolora Zajic/Giorgio Zancanaro/Silvestro Sammaritano/Chor Del Teatro Alla Scala, Milano...
Act Two. Recitativo E Canzone: Al Suon Del Tamburo - Dolora Zajic/Giorgio Zancanaro/Silvestro Sammaritano/Chor Del Teatro Alla Scala, Milano...
Act Two. Prayer: Padre Eterno Signor... - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Giorgio Zancanaro/Silvestro Sammaritano...
Act Two. Scena: Viva La Buona Compagnia! - Giorgio Zancanaro/Dolora Zajic/Silvestro Sammaritano/Chor Del Teatro Alla Scala, Milano...
Act Two. Scena E Ballata: Poich' E Imberbe L'incognito... - Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Silvestro Sammaritano
Act Two. Scena E Ballata: Son Pereda, Son Ricco D'onore - Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Two. Scena, Coro E Ripresa Della Danza: Sta Bene - Silvestro Sammaritano/Dolora Zajic/Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano...
Act Two. Aria: Sono Giunta! Grazie, O Dio! - Mirella Freni
Act Two. Aria: Madre, Pietosa Vergine... - Mirella Freni/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Two. Scena: Chi Siete? - Sesto Bruscantini/Mirella Freni
Act Two. Sena E Duetto: Chi Mi Cerca? - Paul Plishka/Mirella Freni/Sesto Bruscantini
Act Two. Sena E Duetto: Infelice, Delusa, Rejetta... - Mirella Freni/Paul Plishka

Tracks:

Act Two. Finale II: Il Santo Nome Di Dio Signore Sia Benedetto - Paul Plishka/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Two. Finale II: La Vergine Degli Angeli - Sesto Bruscantini/Paul Plishka/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Scena E Romanza: Attenti Al Gioco, Attenti, Attenti Al Gioco... - Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Scena E Romanza: La Vita E Inferno All'infelice... - Placido Domingo
Act Three. Scena E Romanza: O Tu Che In Seno Agli Angeli... - Placido Domingo
Act Three. Scena E Duettino: Al Tradimento! - Giorgio Zancanaro/Chor Del Teatro All Scala, Milano/Giulio Bertola/Placido Domingo
Act Three. Scena E Battaglia: All'armi! - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Frank Hadrian
Act Three. Scena E Duettino: Piano...Qui Posi...Approntisi Il Mio Letto - Giorgio Zancanaro/Frank Hadrian/Placido Domingo
Act Three. Scena E Duettino: Solenne In Quest'ora - Placido Domingo/Giorgio Zancanaro
Act Three. Scena Ed Aria: Morir! Tremenda Cosa! - Giorgio Zancanaro
Act Three. Scena Ed Aria: Urna Fatale Del Mio Destino... - Giorgio Zancanaro
Act Three. Scena Ed Aria: E S'altra Prova Rinvenir Potessi? - Giorgio Zancanaro/Frank Hardian
Act Three. Ronda: Compagni, Sostiamo... - Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Scena E Duetto: Ne Gustare M'e Un'Ora Di Quiete - Placido Domingo/Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Chor E Strofe: Lorche Pifferi E Tamburi Par Che Assordino La Terra - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Three. Scena Ed Arietta: Qua, Vivandiere, Un Sorso - Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Scena Ed Arietta: A Buon Mercato Chi Vuol Comprare? - Ernesto Gavazzi/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Chor: Pane, Pan, Per Carita! - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Three. Chor - Tarantella: Nella Guerra E La Follia... - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Three. Predica: Toh! Toh! Poffare Il Mondo! Che Tempone! - Sesto Bruscantini/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Three. Rataplan: Rataplan, Rataplan, Della Gloria... - Dolora Zajic/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic

Tracks:

Act Four. Chor Ed Aria Buffa: Fate La Carita, E Un' Ora Che Aspettiamo! - Sesto Bruscantini/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Four. Scena E Duetto: Auf! Pazienza Non V'ha Che Basti! - Sesto Bruscantini/Paul Plishka
Act Four. Scena E Duetto: Del Mondo I Disinganni... - Paul Plishka/Sesto Bruscantini
Act Four. Scena: Giunge Qualcuno, Aprite... - Paul Plishka/Sesto Bruscantini
Act Four. Scena E Duetto: Invano Alvaro Ti Celasti Al Mondo... - Giorgio Zancanaro/Placido Domingo
Act Four. Scena E Duetto: Le Minaccie, I Fieri Accenti... - Placido Domingo/Giogio Zancanaro
Act Four. Melodia: Pace, Pace Mio Dio! - Mirella Freni
Act Four. Scena E Terzetto Finale: Lo Muoio! Confessione! - Giorgio Zancanaro/Placido Domingo/Mirella Freni
Act Four. Scena E Terzetto Finale: Non Imprecare, Umiliati A Lui Ch'e Giusto E Santo... - Paul Plishka/Mirella Freni/Placido Domingo

Customer Reviews:

Great performance spoiled by the sound engineers.......2006-12-13

This recording features a terrific cast of singers, all in very good voice. And Riccardo Muti conducts the forces of La Scala in a great outpouring of passion. So why only three stars? Quite simply, the recording is irreparably marred by poor sound quality. There are two problems. First, the microphones are placed way too far from the performers--and second, the recording studio is painfully deficient in natural reverberation. Increase your playback volume, and the resultant sound becomes strident, even harsh. I assure you that no amount of fiddling with your stereo's settings will substantially ameliorate this situation. The performance lacks all sense of presence. My ear simply could not adjust--and I therefore cannot recommend this otherwise fine performance.

Your best bet for "La Forza del Destino" will undoubtedly be the Levine recording, which features great sound, the only drawback being Leontyne Price in a voice that is just slightly past its prime.

All in all, a terrible shame--because Freni and Domingo are both just terrific here in this recording . . . singing somewhere out there in the distance.

Average customer rating:

A great tribute for a truly great artist
Pleased to find this CD.

The Very Best of Tito Gobbi

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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The Very Best of Franco Corelli
Tito Gobbi: Opera and Song
The Very Best of Giuseppe di Stefano
The Very Best of Boris Christoff

ASIN: B0000A5BXS
Release Date: 2003-09-02

Tracks:

Si Puo?
Non Piu Andrai
Largo Al Factotum
All'idea Di Quel Metallo - Luigi Alva
Resta Immobile
Come Paride Vezzoso
La Donna E Originale... Venti Scudi
Cruda, Funesta Smania
La Pietade In Suo Favore
Buona Zaza
Zaza, Piccola Zingara
Come Due Tizzi Accesi
Ecco Il Monologo
La Donna Russa
Nemico Della Patria
Aprile O Bella
Tosca E Un Buon Falco!
Minnie, Dalla Mia Casa
Tre Sbirri, Una Carrozza

Tracks:

Di Provenza Il Mar
Pari Siamo
Povero Rigoletto...Cortigiani, Vil Razza Dannata
Ah, Prigioniero Io Sonno...Dio Di Giuda!
Perfidi!...Pieta, Rispetto, Amore
Alla Vita Che T'arride
Alzati!...Eri Tu
Urna Fatale Del Mio Destino
Era La Notte
Dinne...Figlia! A Tal Nome Palpito
Plebe! Patriz!
Questo Arcano...Dio, Che Nell'alma Infondere
Per Me Giunto E Il Di Supremo
O Carlo, Ascolta
Vanne!...Credo In Un Dio Crudel
Quand'ero Paggio
L'Onore! Ladri!

Customer Reviews:

A great tribute for a truly great artist.......2007-04-22

If you want to know about Tito Gobbi, this is the set for you. Truly the very best of this phenomenal baritone, one of those rara avis in opera (both a great singer and a great actor).
On both CDs, is Gobbi in his finest: from comedy (All'idea di quel metallo/Come Paride vezzoso) to tragedy (Nemico della Patria), from grand opera (Cruda, funesta smania) to verismo (Si puo?).
The first CD includes some selections of less known operas (such as Zazà, Fedora, I gioielli della Madonna or L'arlesiana) that adds value thanks to Gobbi's artistry.
But it is truly on the second CD where Gobbi shines as the powerful artist he was. Devoted entirely to Giuseppe Verdi's incredible rols for baritone, track after track Gobbi reveals himself as one of the milestones in opera; his deeply emotional approach of Di Provenza il mar (La Traviata) and A tal nome palpito (Simon Boccanegra) matches perfectly with the grandeur of Eri tu (Un ballo in maschera) or Dio che nell'alma infondere (Don Carlo), and chilling Pietà rispetto amore (Macbeth) and Iago's Credo (Otello).
Cherry over the cake: his portrait of Falstaff...

Do not miss this album. Not only a excellent tribute to Gobbi, but also one of the best double sets of The Very Best series of EMI.

Pleased to find this CD........2006-11-10

A wonderful collection of the roles sung by this superb and multi-talented
baritone of days long gone. In 65 years as an opera lover, I never heard a
better Figaro or a more bone-chilling Scarpia.