| 1. Costura de Dios |
| 2. Kuro |
| 3. Es Solo Una Ilusión |
| 4. Paracaidas |
| 5. Regando |
| 6. Costura de Dios |
| 7. Símil Paraiso |
| 8. Todos Duermen |
| 9. Ilegaste |
| 10. Paisaje Pocelana |
| 11. + Bien [Peli Mix] |
Editorial Reviews
Product Description
Gustavo Cerati was the Frontman of the Popular Grammy Nominated Argentinean Rock Band Soda Stereo. This Disc is the Soundtrack to the Film '+ Bien'(Mas Bien).cerati Not Only Stars in the Film, but Composed all the Music as Well.
Although this album doesn't (well, honestly it couldn't) contain all of Debussy's catalog, it does certainly contain some of his best work. There is actually only one track on this CD that I don't care for; that would be Golligwogg's Cake-Walk; it is just a bit annoying to me.
Beyond my dislike for that one track, the entire CD is a beautifully aranged, beautifully played, well recorded compilation with good sound mixing and it is a respectful tribute to a truly great composer.
"Claire de Lune" (Moonlighting) is perhaps one of the most gorgeous pieces of music ever composed; this is the orchestrated version, which I prefer, but the piano version is nice. "Arabesque No. 1" is superb. "Fetes" is both haunting and airy. "Reverie" is the best piano piece I have ever heard. "The Girl with the Flaxen Hair" is also a wonderful piano piece. "The Sunken Cathedral" is dark and mysterious, a true wonder.
The rest of the album is fantastic. Listed above are just my personal favorites from the disc. I listen to this CD at least once a week, but often more. It is perfect for relaxation, for listening while reading, or for my personal favorite use, to block out noise while I am writing.
I would recommend this to any classical lover.
If you have not heard Debussy's music, you must get this CD; it will have you ordering more of his compositions almost immediately.
The man was a genius.
I would also add that if you enjoy this, I recommend that you continue your Debussy experience with the following: Debussy: Orchestral Works I and Debussy: Orchestral Works II
SOME GOOD TRACKS ARE:
TRACK 1 IS THE BEST. THE OPENING FLUTE ON THE TRACK IS TOTALLY CHILLED AND COOL, REMINDS ME A BIT OF TRACK 13 ON ILL COMMUNICATION BY THE BEASTIE BOYS...A COINCIDENCE???
THE ONLY WEAK TRACK ON THE ALBUM IS TRACK 6, THE UNFORTUNATELY TITLED "CHILDRENS CORNER SUITE: GOLLIWOGGS CAKE WALK" THE MUSIC IS JUST DATED MAN, JUST AS DATED AS THE TITLE.
OVERALL THOUGH THIS IS A QUALITY ALBUM, WITH CHILLS, SPILLS AND THRILLS. SERIOUSLY THOUGH A FINE EFFORT.
"Celeste Aida" from Verdi's opera is smoothly sung; his rich voice serves to good effect. As already noted, the little "cries" are unfortunate, but hardly an issue. His higher notes flow smoothly from lower ones, in a seamless fashion. It would have been nice to hear him try for the piano at the end, but he did not choose to do so. Any way you slice it, a nice version of a glorious aria.
"La donna e mobile" is taken at a rather slow pace. It is smoothly sung but does not really catch the spirit of the wretched Duke. He shows wonderful breath control. This is more a workmanlike than scintillating version. On the other hand, "Che gelida manina" is wonderful. Smooth, elegant singing. A very well done high note. An iconic version.
The twin arias from "Tosca," "Recondita armonia" and "E lucevan le stelle" are very well executed. His rendering of the final "la vita" in the latter aria is, again, noteworthy.
And now for something completely different. . . . "Funiculi funicula" is spritely sung, in good spirits, and it is a lot of fun! Most enjoyable. "O Sole mio," likewise, is well rendered. As previously noted, some "off putting" cries, but the warm, full voice more than makes up for such mannerisms. He does not overpower this song with operatic technique. The end result is most satisfying.
"La danza" befuddled the great Caruso (in his version, his breathing fell apart at one point). But not Gigli. Well sung, good breath control. Bravo Gigli!
Back to opera. . . . "Nessun dorma" is well sung. The vocalization is smooth. Gigli's voice soars over orchestra and other voices. The final "Vincero" rings out.
While this CD is not without some questions, as noted above, it is worth 5 stars for its full portrayal of the work of Gigli. As such, it can be recommended for anyone who wants a comprehensive introduction to this singer.
Besides listening to Gigli on Cd, you'd be doing yourself a favor to buy a movie in which Gigli appears and sings. The movie is called "Non Ti Scordar di Me". I'll try to find it on amazon or from "The Bel Canto Society" and give it a "review" also. It's an "old movie" but it has a VERY touching story, is well acted, and you get to see and hear Gigli which is a great treat since he has been gone for at least 50 years. He "comes alive" in this CD and in the movie. You will "thrill" to the sound of his voice. Enjoy! Email:boland7214@aol.
This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:
"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.
From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.
From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.
And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.
Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.
Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.
Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.
Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.
So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.
He is a great force in opera.
Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......
This CD features some of his "greatest hits," among which are his well reputed version of "Vesti la giubba" (from I Pagliacci, one of his signature operas); arias from Verdi's Rigoletto, including the bold "Questa o quella" and "La donna e mobile"; some of his most popular recordings from Puccini, including "E lucevan le stelle," "Recondita armonia," and "Che gelida manina." Nice additions to the CD are wonderful ensemble pieces, such as the sextet from Lucia di Lammermoor (including the voice of Luisa Tetrazzini) and the quartet from Rigoletto (with Amelita Galli-Curci).
Interesting tidbits include his first recording, from 1902, and his last, from 1920.
All in all, this is a very nice representation of his work. I'm not sure that it compares with the old LP (with him in clown outfit) that includes Rossini's nearly unsingable "La danza," among other items. But it is a terrific introduction to the art of Caruso. Anyone who has not listened to this tenor's works before would be well advised to use this as their entree to his oeuvre.
Freni was a Puccini specialist, and you get an embarrasment of Puccini riches on this CD. Of course, you get the arias "Si, mi chiamano Mimi" and "Addio...D'Onde lieta usci" from La Boheme. Those also feature the incredible Niccolai Gedda. I sure would have liked it if they threw in "O soave fanciulla" as well. You also get arias from Tosca, Madama Butterfly, La Rondine, Gianni Schicci, Suor Angelica, and Turandot.
But wait, there's more! I had not heard Freni sing Micaela until this CD. Wait until you hear the "Je dis que rien ne m'epouvant". It will set you free. Then she throws in "Comme autrefois" from Pearl Fishers. Donizetti, Cilea, Mascagni, Massenet, Bellini, Gounod, Mozart, even Verdi(!)...all here.
There was one thing I found unusual about this compilation, and that was the noticeable absence of "Dove sono" and/or "Porgi amor". I mean, those roles are clearly in the reach of any lyric soprano. I did a little research, and found that she really didn't sing the Countess role in Figaro, she sang Susanna! OK, so let's just say her voice was on the light end of the lyric fach. If that's the case, it makes selections from Tosca, Butterfly, Traviata, Turandot, and Forza kind of curious, doesn't it?
In the end, it doesn't matter. This is an awesome compilation from one of the greatest sopranos of all time. No one is like Freni, and no opera lover should be without this performance record.
Highly recommended.
Now, about the singing on this disc:
The Pasquale aria is nicely done (though I prefer Sill's rendition). The Boheme numbers are legendary, enough said. The Tosca aria is my favorite of all soprano's and ever Freni's (she recorded it at least twice more), beautiful and slow. Her Butterfly is regarded as "model" and her singing of both arias are intense and heart wrenching. Her Amico Fritz arias are perfectly judged and performed. The Adriana arias are fine, though they would grow in character when she took on the full role in the 80's and I prefer her later recording of them for Decca on her Verismo Arias disc. Her Micaela is also regarded as legendary and this recording shows why. The Pearl Fishers, Faust and Manon arias are gorgeously sung with golden tone and the Romeo arias show her technical skills in coloratura, well done. Her Mozart, too, is wonderful, receiving praise from, of all people, Renata Scotto in her autobiography. Her Violetta is secure and rich with brilliant coloratura in the Sempre Libera section. Her Doretta is ok, with some odd breath points that should have been eliminated. The other Puccini sections are very special, showing what a superb Puccinian she is. She is a commanding Verdian in the Forza arias, but the acoustic is horrible. Her singing is worth it, though. The Aida items are intense and with long breaths. I just love her as Aida but the engineers did not capture her voice as richly as it was at that time. Still this is masterful singing of difficult music. Willow Song and Ave Maria are, in my mind, the best ever committed to disc. If you are not under her spell in these tracks, then you must be stone-hearted. My only regret is that her gorgeous Tu che le vanita from Don Carlos is not included here......a serious omission!!!!!
This is a great showcase for a supreme artist. Buy it.....you won't regret it!
This is not to say I have a totally tin ear but rather to indicate that there is as strong or stronger connection between these secular songs and the liturgical music of the day as there is between Aretha Franklin's soul singing and Southern Baptist church songs. One would be foolish to think that church music influenced secular music for the first time in 1956.
The text for these songs is based on the Montpellier Codex from the 13th century and, as I said, are all in what I believe is an early version of French. The accompanying booklet gives all the French lyrics, plus translations of these lyrics into English and German (since the record company, harmonia mundi, is, I believe, headquartered in Germany and the recording is manufactured in Germany.
While this is the first album I have reviewed by this group (named after an anonymous 13th century English writer on music who lived and worked in Paris and wrote about the music done) I have been listening to their recordings for several years now and I decided to start with this one and leave some of the liturgical works for later, closer to the Christmas season.
On a purely visceral level, I like this recording very much. On an intellectual level, I believe this is as good or better than any other medieval pieces, and most other Renaissance vocal pieces I have heard, except for some works with larger choruses such as Guillaume Du Fay's Mass for St. Anthony of Padua and Ensemble Gilles Binchois recording of eleventh century French Polyphony.
For those who are new to Anonymous 4 recordings, they are generally done not in a studio but in the nave of a large church, so there is a distinct sense of their singing in a great open space, with little or no sense of electronic enhancement. I really like this effect for this music and find it just one more reason to recommend this and other Anonymous 4 recordings. I think my highest recommendation comes from the fact that I can listen to this recording many times over and not become tired of it. There are other unusual types of music such as Russian chants, tangos, and even jazz which I can take for an hour or so and then must change. This material I can listen to for hours on end.
Highly recommended for fans of early music or for people who want something different.
The Montpellier Codex has over 300 different motets (not including duplications), including many double motets, where the tenor piece is based on a plainchant, and different voices have their own texts. These 'fin amours' songs were most likely performed mostly in private entertainment settings, and song have argued that certain parts should be done by instruments rather than voices. Of course, the Anonymous 4 is an a capella group, so that idea does not come into practice here.
This is a playful and fun recording, full of lovely songs that reach the heart in strong ways.
-- Liner Notes --
This text accompaniment to this disc is very full, so much so that the booklet is not contained within the jewel case, but rather within a slipcover in which both the CD/jewel case and the booklet reside. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation - all repeated in English, German, and French sections (however, the French lyrics are in the older French language; a modern translation would be helpful). The cover art is a section of the lovely Tapestry, Lady and the Unicorn, Atelier of the Loire Valley, 'mille fleurs', fifteen century in the Museum of Cluny, France.
-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.
Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'
The group ended a touring career of nearly two decades in 2004.
I'm still fairly new to classical music, so I can only speak of my attempts at overcoming my difficulties in listening to mediaeval polyphony. When one knows any piece of music has a text, one wants to be able to hear the words - even if one doesn't know the language -, and this is main reason why a first listening of LOVE'S ILLUSION may be disturbing, if not annoying. One initial solution is to think of it as instrumental, and take the words for granted; I suggest also repeated listening of your favorite tracks, while trying to follow one singer's voice, with booklet in hand. I have paid some attention to this record and I believe it has helped me.
The major flaw of this record is not presenting a translation of the 13th century French songs into contemporary French. The difference is indeed quite astounding.
What I enjoy most about the album is the fact that Juanes isn't afraid to take himself seriously an artist and performer. Many of his songs address social injustice, sensitivity and consciousness in a world that can be cold, violent and narcissistic. I am glad that we have one artist to inspire us and also lead us with strength and grace, like we do in Juanes. He is definitely one great example of much of the beauty, versatility and innovation that exists in the contemporary music of Colombia. Muchas gracias, Juanes.
Viva Juanes!
Gustavo Cerati was the Frontman of the Popular Grammy Nominated Argentinean Rock Band Soda Stereo. This Disc is the Soundtrack to the Film '+ Bien'(Mas Bien).cerati Not Only Stars in the Film, but Composed all the Music as Well.
+ Bien,Gustavo Cerati,Bmg Int'l,Latin,Latin Pop,Latin Pop/Rock,Rock
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Debussy's Greatest Hits
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ASIN: B000002A23 Release Date: 1994-08-09 |
Tracks:
- Prelude to the Afternoon of a Faun
- Preludes, Book One: The Girl with the Flaxen Hair
- Two Nocturnes: Fetes
- Preludes, Book One: The Sunken Cathedral
- Suite Bergamasque: Claire de lune
- Children's Corner Suite: Golliwogg's Cake-Walk
- Reverie
- Iberia: Le Matin D'un Jour De Fete
- Deux Arabesques: Arabesque No. 1: Andante Con Motto
- Martyrdom Of Saint Sebastian: Prelude To The Council Of The False gods
- String Quartet In G Minor, Op. 10: Scherzo. Assex Vif Et Bien Rythme
- La Mer: I. De L'aube A Midi Sur La Mer
- La Mer: II. Jeux De Vagues
- La Mer: III. Dialogue Du Vent Et De La Mer
Customer Reviews:
Probably the best compilation of a single composer's works. Ever!.......2007-05-06
Although this album doesn't (well, honestly it couldn't) contain all of Debussy's catalog, it does certainly contain some of his best work. There is actually only one track on this CD that I don't care for; that would be Golligwogg's Cake-Walk; it is just a bit annoying to me.
Beyond my dislike for that one track, the entire CD is a beautifully aranged, beautifully played, well recorded compilation with good sound mixing and it is a respectful tribute to a truly great composer.
"Claire de Lune" (Moonlighting) is perhaps one of the most gorgeous pieces of music ever composed; this is the orchestrated version, which I prefer, but the piano version is nice. "Arabesque No. 1" is superb. "Fetes" is both haunting and airy. "Reverie" is the best piano piece I have ever heard. "The Girl with the Flaxen Hair" is also a wonderful piano piece. "The Sunken Cathedral" is dark and mysterious, a true wonder.
The rest of the album is fantastic. Listed above are just my personal favorites from the disc. I listen to this CD at least once a week, but often more. It is perfect for relaxation, for listening while reading, or for my personal favorite use, to block out noise while I am writing.
I would recommend this to any classical lover.
If you have not heard Debussy's music, you must get this CD; it will have you ordering more of his compositions almost immediately.
The man was a genius.
I would also add that if you enjoy this, I recommend that you continue your Debussy experience with the following: Debussy: Orchestral Works I and Debussy: Orchestral Works II
This is a brilliant assembly of Debussy. .......2006-07-08
THIS IS THE STUFF RIGHT HERE!.......2005-09-12
SOME GOOD TRACKS ARE:
TRACK 1 IS THE BEST. THE OPENING FLUTE ON THE TRACK IS TOTALLY CHILLED AND COOL, REMINDS ME A BIT OF TRACK 13 ON ILL COMMUNICATION BY THE BEASTIE BOYS...A COINCIDENCE???
THE ONLY WEAK TRACK ON THE ALBUM IS TRACK 6, THE UNFORTUNATELY TITLED "CHILDRENS CORNER SUITE: GOLLIWOGGS CAKE WALK" THE MUSIC IS JUST DATED MAN, JUST AS DATED AS THE TITLE.
OVERALL THOUGH THIS IS A QUALITY ALBUM, WITH CHILLS, SPILLS AND THRILLS. SERIOUSLY THOUGH A FINE EFFORT.
Debussy is the best. Ever........2004-07-23
i am dumb.......2004-07-01
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Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss
Gustave Charpentier , Charles Gounod , Jules Massenet , Antonin Dvorak , Friedrich von Flotow , Giacomo Puccini , Erich Wolfgang Korngold , Carl Orff , Richard Strauss , Sergey Rachmaninov , Johann II Strauss , Franz Lehar , Jose Maria Cano , Marie-Joseph Canteloube , Jeffrey Tate , Sir Charles Mackerras , Renée Fleming , English Chamber Orchestra , Osian Ellis , London Voices , and Clive Greensmith Manufacturer: Decca ProductGroup: Music Binding: Audio CD Canteloube, Joseph
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ASIN: B0000042I6 Release Date: 1998-02-10 |
Tracks:
- Louise (Acte 3): Depuis le jour ou je me suis donnee
- Faust (Acte 3 - Air des bijoux): O Dieu! que de bijous!... Ah! Je ris de me voir si belle (Air des bijoux - Jewel Song)
- Manon (Acte 3): Je marche sur tous les chemins... Obeissons... Profitons bien de la jeunesse (Gavotte)
- Gypsy Melodies, Op. 55 B104 No. 4: Songs My Mother Taught Me
- Martha (Act 2 - No. 8 The Last Rose): 'Tis The Last Rose Of Summer
- La rondine (Act 1): Chi il bel sogno di Doretta
- Die tote Stadt (Act 1 - Mariettas Lied): Gluck, das mir verblieb
- Carmina Burana (No. 21): In trutina
- Vier Lieder, Op. 27 No. 4: Morgen!
- Vocalise, Op. 34 No. 14: Vocalise
- Die Fiedermaus (Act 2 - Csardas): Klange der Heimat (Csardas)
- Die lustige Witwe (Act 2 - Vilja-Lied): Es lebt' eine Vilja (Vilja-Lied)
- LUNA: Epilogo
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Amazon.com essential recording
This vocal recital certainly lives up to its title, perhaps too well. It's a collection of arias and songs Fleming has sung for years that for some may be too much frosting and not enough cake. Surely, her performances are rich with interpretive nuances, wonder-filled portamentos and word colorings that reflect a long history with this repertoire, which ranges from Charpentier's "Depuis le jour" to Rachmaninoff's "Vocalise." Some may find Fleming a bit much, but agree with her or not, she's far more interesting than singers who keep a safe, discreet distance from the music. --David Patrick StearnsCustomer Reviews:
The best of the best........2007-04-11
Beautiful and creamy voice.......2006-02-28
Renee Fleming;THE BEAUTIFUL VOICE.......2006-01-30
The most gorgeous soprano voice I've ever heard.......2006-01-02
Wow!!!.......2005-09-28
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The Very Best of Beniamino Gigli
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Donizetti
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ASIN: B0000A5BXR Release Date: 2003-09-02 |
Tracks:
- Se Quel Guerrier Io Fossi...Celeste Aida
- La Donna E Mobile
- Una Furtiva Lagrima
- Qual Turbamento...Salve Dimora
- O Dolce Incanto...Chiuder Gli Occhi
- Che Gelida Manina
- Recondita Armonia
- E Lucevan Le Stelle
- Dovunque Al Mondo
- Recitar!...Vesti La Giubba
- Intanto Amici, Qua...Viva Il Vino Spumeggiante
- Mamma, Quel Vino E Generoso
- Non Colombelle!...Ah! Tu Ch'Odi Lo Mio Grido
- Che Avvien?...Ah! Non V'Avvicinate...No! Pazzo Son!
- Cujus Animam
- Panis Angelicus
- Ingemisco
- Ave Maria
- Core 'Ngrato
- Funiculi, Funicula - Chorus
Tracks:
- 'O Sole Mio
- La Serenata
- La Danza
- Aprile
- Mattinata
- Torna A Surriento
- L'Ultima Canzone
- La Vita E Inferno...O Tu Che In Seno
- E La Solita Storia Del Pastor
- Un Di All'Azzurro Spazio
- Andrea Chenier...Corragio!...Si, Fui Soldato
- Come Un Bel Di Di Maggio
- Di' Tu Se Fedele
- Forse La Soglia Attinse...Ma Se M' E Forza Perderti
- Rachel, Quand Du Seigneur
- Puisqu'on Ne Peut Flechir...Vainement, Ma Bien-Aimee
- Io Son Sol...Ah! Dispar, Vision
- Ah! Non Mi Ridestar
- Quanto E Bella - Chorus
- Nessun Dorma - Chorus
Customer Reviews:
The Art of Gigli.......2007-03-09
"Celeste Aida" from Verdi's opera is smoothly sung; his rich voice serves to good effect. As already noted, the little "cries" are unfortunate, but hardly an issue. His higher notes flow smoothly from lower ones, in a seamless fashion. It would have been nice to hear him try for the piano at the end, but he did not choose to do so. Any way you slice it, a nice version of a glorious aria.
"La donna e mobile" is taken at a rather slow pace. It is smoothly sung but does not really catch the spirit of the wretched Duke. He shows wonderful breath control. This is more a workmanlike than scintillating version. On the other hand, "Che gelida manina" is wonderful. Smooth, elegant singing. A very well done high note. An iconic version.
The twin arias from "Tosca," "Recondita armonia" and "E lucevan le stelle" are very well executed. His rendering of the final "la vita" in the latter aria is, again, noteworthy.
And now for something completely different. . . . "Funiculi funicula" is spritely sung, in good spirits, and it is a lot of fun! Most enjoyable. "O Sole mio," likewise, is well rendered. As previously noted, some "off putting" cries, but the warm, full voice more than makes up for such mannerisms. He does not overpower this song with operatic technique. The end result is most satisfying.
"La danza" befuddled the great Caruso (in his version, his breathing fell apart at one point). But not Gigli. Well sung, good breath control. Bravo Gigli!
Back to opera. . . . "Nessun dorma" is well sung. The vocalization is smooth. Gigli's voice soars over orchestra and other voices. The final "Vincero" rings out.
While this CD is not without some questions, as noted above, it is worth 5 stars for its full portrayal of the work of Gigli. As such, it can be recommended for anyone who wants a comprehensive introduction to this singer.
Gigli Is A Wonderful Singer!.......2006-07-31
Besides listening to Gigli on Cd, you'd be doing yourself a favor to buy a movie in which Gigli appears and sings. The movie is called "Non Ti Scordar di Me". I'll try to find it on amazon or from "The Bel Canto Society" and give it a "review" also. It's an "old movie" but it has a VERY touching story, is well acted, and you get to see and hear Gigli which is a great treat since he has been gone for at least 50 years. He "comes alive" in this CD and in the movie. You will "thrill" to the sound of his voice. Enjoy! Email:boland7214@aol.
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Very Best of
Placido Domingo Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General
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ASIN: B000083GOJ Release Date: 2003-04-22 |
Tracks:
- Ill Mio Tesoro
- Un'aura Amorosa
- Dies Bildnis Ist Bezaubernd Schon
- La Ci Darem La Mano
- Vani Sono I Lamenti...Svegliatevi Nel Core
- Pays Merveilleux...O Paradis
- Quel Trouble Inconnu Me Penetre...Salut ! Demeure Chaste Et Pure (Faust, Act III)
- Ah! Tout Est Bien Fini... O Souverain, O Juge, O Pere (Le Cid, Act III)
- None But The Lonley Heart
- Lensky's Aria
- Donna, Non Vidi Mai (Manon Lescauy Act, II)
- Ah, Manon, Mi Tradisce
- Dammi I Colori...Recondita Armonia
- E Lucevan Le Stelle (Tosca, Act III)
- Ch'ella Mi Creda (La Fanciulla Del West, Act III)
- Dai Campi, Dai Prati (Mefistofele, Act I)
- Virgini Muse...Quando Al Soave Anelito
- O Sink Hernieder, Nacht Der Liebe
- Was Am Besten Er Kann...Hoho! Hohei!
Tracks:
- Se Quel Guerrier Io Fossi!...Celeste Aida
- Su, Profetessa...Di Tu Se Fedele
- Forse La Soglia Attinse...Ma Se M'e Forza Perderti
- O Tu Che In Seno Agli Angeli
- Su, Cacciator...Fontainebleau!...
- Niun Mi Tema
- Ach, Wie So Herrlich Zu Schau'n
- Sckenkt Man Sich Rosen In Tirol
- Gern Hab'ich Die Frau'n Gekusst
- O Vaterland...Da Geh'ich Zu Maxim
- Dein Ist Mein Ganzes Herz
- Mi Aldea
- Cancion Del Sembrador
- No Puede Ser
- Serenata
- Copillas De Belen
- Coplas Del Pastor Enamorado
- En Aranjues Con Tu Amor
- Jealousy Tango
- La Golondina
Amazon.com
Placido Domingo is a phenomenon, and every aspect of his artistry is on display in this 2-CD compilation, which includes arias from his signature roles in Italian, French, German, and Russian operas, and songs from Viennese and Spanish operettas. The original recordings range from the early 1970s to the present and show that though over the years his bright golden voice has taken on a darker, more burnished glow, it has retained the melting lyricism, the heroic ring, the thrilling top notes, and the focused intensity that make it instantly recognizable. (Comparing the Verdi arias included here with their counterparts of later vintage in the all-Verdi set The Tenor Arias bears this out.) The program demonstrates his stylistic and expressive versatility and his ability to instantly establish character and mood, from Lenski's sorrow (in Eugene Onegin), Cavaradossi's heart-rending despair (in Tosca), Otello's shattering agony, to Tristan's passion, Siegfried's exuberance, Faust's ardor (first in French by Gounod, then in Italian by Boito). In three Mozart arias, Domingo spins endless, perfectly shaped phrases with incredible breath control, then adds an oddity: the famous duet between Zerlina and Don Giovanni, a role he has not performed. Five Viennese operetta songs, one of which he also conducts, are delightful; there is a smile of pleasure in his voice, but not a hint of kitsch. By contrast, Tchaikovsky's "None but the Lonely Heart" is spoiled by an orchestration that is pure Hollywood. In the final Spanish group, he is on home ground and incomparable. This is a glorious record, a must for all lovers of great singing. --Edith EislerCustomer Reviews:
A great introduction to the art of Placido Domingo.......2007-07-04
This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:
"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.
From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.
From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.
And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.
Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.
Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.
Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.
Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.
So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.
This is really the best........2007-05-16
If you like Placido at all, you must have this CD........2005-04-06
Rare And Great Domingo Classics.......2005-03-08
He is a great force in opera.
Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......
A real Bobby Dazzler.......2004-02-19
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Kiri Te Kanawa - Canteloube: Chants d'Auvergne, Villa-Lobos: Bachianas brasileiras
Marie-Joseph Canteloube , Heitor Villa-Lobos , Jeffrey Tate , Kiri Te Kanawa , English Chamber Orchestra , and Instrumental Ensemble Manufacturer: Decca ProductGroup: Music Binding: Audio CD Canteloube, Joseph
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ASIN: B00000427R Release Date: 1995-11-14 |
Tracks:
- La Pastoura als Camps
- Bail ro
- Trois Bourr es
- Pastourelle
- L'Antou no
- La Pastrouletta lou Chibali
- La Dela ssado
- Bour es
- Lo Fiolair
- Passo pel Prat
- Lou Boussu
- Brezairola
- Malurous qu'o uno Fenno
Tracks:
- Chants d'Auvergne: Jou l'pount d'o Mirabel
- Chants d'Auvergne: Oi ayai
- Chants d'Auvergne: Per l'efon
- Chants d'Auvergne: Tchut, tchut
- Chants d'Auvergne: Pastorale
- Chants d'Auvergne: Lou Coucut
- Chants d'Auvergne: Obal, din lo coumb
- Chants d'Auvergne: Quand z'eyro petitoune
- Chants d'Auvergne: Laut, sur le rocher
- Chants d'Auvergne: HBeyla-z-y dau f
- Chants d'Auvergne: Postouro, su m'aymo
- Chants d'Auvergne: Uno jionto postouro
- Chants d'Auvergne: Lou diziou b
- Bachianas brasileiras: Aria (Cantilena)
- Bachianas brasileiras: Dansa (Martelo)
Customer Reviews:
Simply beautiful.......2005-08-07
Simply Sublime.......2004-02-27
There are so many fine recordings of these songs.
The great Frederica Von Stade recorded a quite mesmerizing selection of the Auvergne songs at about the same time as Dame Kiri. There is the lovely recording by the legendary Victoria De Los Angeles, a selection of the songs many of us grew up on.
There is the seminal first complete recording (and then some, as I recall) by the late Natania Davrath, a much under-appreciated artist who, in many ways, is responsible for the popularity these songs enjoy today. Even Anna Moffo recorded a lovely handful of the songs in the 60s conducted by no less than Leopold Stokowski!
And then there is Dame Kiri. We know her. We love her. We have come to expect the best from her. We have come to always expect more from her, in fact, than from just about anyone else.
So unfair. We expect her to jump the musical hurdles of our emotional connections to music and art in a way we expect from few others.
And yet she so seldom disappoints. Is this the absolute best recording of the Chants d'Auvergne ever? Such a personal choice. Who is to say?
I can tell you this, once I heard this truly remarkable set, which has literally sent chills up my back since the the first time I heard it all those years ago, I knew my search for the recording of these songs I would keep near me forever was over.
Here is an interpretation combining, in equal measure, patrician elegance with almost peasant-like eloquence. She renders song after song, some deceptively complicated, with a divine simplicity that simply defies the imagination.
I don't know how Dame Kiri achieved this miraculous feat. It must have come from the heart, because it certainly goes to mine.
And finally, it would be unthinkable not to give credit to the exquisite playing of the English Chamber Orchestra and the always sensitive collaboration of conductor Jeffrey Tate.
LUSH AND PASSIONATE!.......2003-03-09
I first heard a selection of these songs 30 years ago, performed by Anna Moffo, and fell in love with them. It's wonderful to find a complete recording of all 5 series on this 2 CD set, sung by Kiri te Kanawa with enormous talent and verve. Whether the mood is passionate, playful, mocking, tender, mournful or-an emotion few composers have ever captured-helpless with pleasure, these pieces have one thing in common: they are the work of a master orchestrator at the height of his powers, using the fullest resources of the modern orchestra. You will not find more beautiful music than this!
Beautiful!.......2001-08-28
Only Kiri.......2001-07-13
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Artists Of The Century - Caruso, The Greatest Tenor In The World
Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Donizetti
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ASIN: B00000J913 Release Date: 1999-05-25 |
Tracks:
- Act II: Amor Ti Vieta
- Act II: Che Gelinda Manina
- Act III: Salut Demeure Chaste Et Pure
- Act III: Di Quella Pira
- Act IV: Spirto Gentil, Ne' Sogni Miei (Romanza)
- Act III: Solenne In Quest'Ora
- Act IV: Mi Batte Il Cor...O Paradiso!
- Act I: Un Di All'Azzurro Spazio (Improvviso)
- Recitar!... Vesti La Giubba
- Act I: Questa O Quella
- Act IV: La Donna E Mobile
- Act III: Ah Si, Ben Mio
- Act I: Celeste Aida
- Act I: Recondita Armonia
- Act III: E Lucevan Le Stelle
- Act III: Della Natal Sua Terra Il Padre... O Tu Che In Seno Agl' Angeli
- Act II: Magiche Note
- Act II: La Fleur Que Tu M'Avais Jetee
- Act I: Ah, Qual Soave Vision...Bianca Al Par Di Neve
- Act II: Cielo E Mar
- Act II: Nell'Ore Arcane Della Sua Lussuria... Ora E Per Sempre Addio
- Un Ballo In Maschera: Act I: Di' Tu Se Fedele
- Act II: Una Furtiva Lagrima
Tracks:
- Act III: Je Suis Seul... Ah, Uyez, Douce Image
- Act II: Chi Mi Frena In Tal Momento? (Sextett)
- Act I: O Soave Fanciulla
- Act III: Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
- Act I: Donna Non Vidi Mai
- Cujus Animam
- Act II: Oh! Mostruosa Colpa!... Si, Pel Ciel
- Act I: Libiamo, Libiamo (Brindisi)
- Ingemisco
- Act II: Faiblesse De La Race Humaine!... Inspirez-Moi, Race Divine
- Act III: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere!
- Act IV: O Figli, O Figli Miei... Ah, La Paterna Mano
- Act II: Pour Moi Ce Jour Est Tout Mystere
- Act I: A Cette Voix Quel Trouble...Je Crois Entendre Encore
- Act IV: Bella Figlia Dell'Amore (Quartett) - Giuseppe De Luca
- Act II: Chi Mi Frena In Tal Momento? (Sextett) - Amelita Galli-Curci
- Act I: Frondi Tenere E Belle...Ombra Mai Fu (Largo)
- Act I: Studenti! Udite!
- Crucifixus
Customer Reviews:
A nice overview of Caruso's legacy.......2007-01-04
This CD features some of his "greatest hits," among which are his well reputed version of "Vesti la giubba" (from I Pagliacci, one of his signature operas); arias from Verdi's Rigoletto, including the bold "Questa o quella" and "La donna e mobile"; some of his most popular recordings from Puccini, including "E lucevan le stelle," "Recondita armonia," and "Che gelida manina." Nice additions to the CD are wonderful ensemble pieces, such as the sextet from Lucia di Lammermoor (including the voice of Luisa Tetrazzini) and the quartet from Rigoletto (with Amelita Galli-Curci).
Interesting tidbits include his first recording, from 1902, and his last, from 1920.
All in all, this is a very nice representation of his work. I'm not sure that it compares with the old LP (with him in clown outfit) that includes Rossini's nearly unsingable "La danza," among other items. But it is a terrific introduction to the art of Caruso. Anyone who has not listened to this tenor's works before would be well advised to use this as their entree to his oeuvre.
Unearthly.......2002-12-23
If You Only Buy One Caruso . . ........2001-01-03
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Music of the Gothic Era
Geoffrey Shaw , David James , David Munrow , and Early Music Consort of London Manufacturer: Archiv Produktion ProductGroup: Music Binding: Audio CD General
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ASIN: B00006L3IE Release Date: 2002-10-08 |
Tracks:
- Viderunt Omnes - David Munrow
- Alleluya Pascha Nostrum - Martyn Hill
- Gaude Maria Virgo - David Munrow
- Locus Iste - Charles Brett
- viderunt Omnes - Martyn Hill
- Sederunt Principes - David Munrow
- Alle, Psallite Cum Luya, 3 Voc. - Martyn Hill
- Amor Potest, 3 Voc. - Martyn Hill
- S'on Me Regarde, 3 Voc. - Martyn Hill
- In Mari Miserie, 3 Voc. - Martyn Hill
- On Parole De Batre, 3 Voc. - James Bowman
- En Mai Quant Rosier Sont Flouri, 3. Voc. - Martyn Hill
- Dominator Domine, 3 Voc. - Martyn Hill
- El Mois De Mai, 3 Voc. - Martyn Hill
- O Mitissima, 3 Voc. - James Bowman
Tracks:
- Hoquetus I-VII, 3 Voc. Neuma-Virgo-In Seculum Longum-In Seculum Viellatoris In Seculum Breve-Seculum D'Amiens Longum-In Seculum - David Munrow
- Aucun Ont Trouve, 3 Voc. - David Munrow
- De Ma Dame Vient, 3 Voc. - Martyn Hill
- J'os Bien A M'amie Parler, 3 Voc. - James Bowman
- La Mesnie Fauveline, 3 Voc. - David Munrow
- Quant Je Le Voi, 3 Voc. - Martyn Hill
- Zelus Familie, 3 Voc. - Martyn Hill
- Quasi Non Ministerium, 4 Voc. - David Munrow
- Impudenter Circumivi, 4 Voc. - David Munrow
- Cum Statua, 3 Voc. - James Bowman
- Pantheon Abluitur, 5 Voc. - James Bowman
- Clap, Clap, Par Un Matin, 3 Voc. - Martyn Hill
- Ida capillorum, 4 Voc. - James Bowman
- Rachel Plorat Filios, 3 Voc. - Martyn Hill
- Les I'ormel A La Turelle, 3 Voc. - Martyn Hill
- O Philippe, Franci Qui Generis, 3 Voc. - James Bowman
- Febus Mundo Oriens, 3 Voc. - Martyn Hill
- Lasse! Comment Oublieray, 3 Voc. - Martyn Hill
- Qui Es Promesses, 3 Voc. - James Bowman
- Hoquetus David, 3 Voc. - David Munrow
- Christe, Qui Lux Es, 4 Voc. - James Bowman
- Degentis Vita, 4 Voc. - Martyn Hill
- Inter Densas Deserti Meditans, 3 Voc. - Martyn Hill
- Rex Karole, Johannis Genite, 5 Voc. - James Bowman
Customer Reviews:
Unique.......2006-02-07
A classic performance.......2003-02-28
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Very Best of
Mirella Freni Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Berlin Philharmonic Orchestra
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ASIN: B000083GOK Release Date: 2003-04-22 |
Tracks:
- Quel Guardo Il Cavalier...So Ancho'io
- Si. Mi Chiamano Mimi - Nicolai Gedda
- Addio...D' Onde Lieta Usci - Nicolai Gedda
- Vissi D'arte
- Un Bel Di Vedremo
- Son Pochi Fiori
- Ecco! Respiro Appena...Lo Son L'umile Ancella
- Poveri Fiori
- C'est Des Contrebandiers...Je Dis Que Rien Ne M'epouvent
- Me Voila Seul...Comme Autrefois
- Allons!...Adieu, Notre Petite Table
- Je Voudrais Bien Savoir...Il Etait Un Roi De Thule...Ah ! Je Ris (Jewel Song)
- Voyons, Nourrice...Je Veux Vivre
- O Nuit Divine ! - Franco Corelli
Tracks:
- Vedrai, Carino
- O Rendetemi La Speme...Qui La Voce Sua Soave...Vien Diletto
- E' Stano...Ah! Fors' E Lui...Sempre Libera
- Chi Il Bel Sogno Di Doretta
- O Mio Babbino Caro
- Senza Mamma
- Signore, Ascolta
- Tu, Che Di Gel Sei Cinta
- Son Giunta!...Madre, Pietosa Vergine
- Pace, Pace Mio Dio!
- Ritorna Vincitor!
- Qui Radames Verra...O Patria Mia
- Mia Madre Avea Una Povera Ancella...Piangea Cantando... - Stefania Malagu
- Ave Maria
Customer Reviews:
A Superstar To Remember.......2007-01-10
Freni was a Puccini specialist, and you get an embarrasment of Puccini riches on this CD. Of course, you get the arias "Si, mi chiamano Mimi" and "Addio...D'Onde lieta usci" from La Boheme. Those also feature the incredible Niccolai Gedda. I sure would have liked it if they threw in "O soave fanciulla" as well. You also get arias from Tosca, Madama Butterfly, La Rondine, Gianni Schicci, Suor Angelica, and Turandot.
But wait, there's more! I had not heard Freni sing Micaela until this CD. Wait until you hear the "Je dis que rien ne m'epouvant". It will set you free. Then she throws in "Comme autrefois" from Pearl Fishers. Donizetti, Cilea, Mascagni, Massenet, Bellini, Gounod, Mozart, even Verdi(!)...all here.
There was one thing I found unusual about this compilation, and that was the noticeable absence of "Dove sono" and/or "Porgi amor". I mean, those roles are clearly in the reach of any lyric soprano. I did a little research, and found that she really didn't sing the Countess role in Figaro, she sang Susanna! OK, so let's just say her voice was on the light end of the lyric fach. If that's the case, it makes selections from Tosca, Butterfly, Traviata, Turandot, and Forza kind of curious, doesn't it?
In the end, it doesn't matter. This is an awesome compilation from one of the greatest sopranos of all time. No one is like Freni, and no opera lover should be without this performance record.
Highly recommended.
I'm am so glad I found this CD!.......2004-07-17
My growing affection.......2004-05-25
This new release is a great introduction to her big recording legacy. She didn't possess the largest instrument but her technique and wise choices allowed her to expand her repertoire in many areas. The lyrical roles such as Zerlina, Mimi, Liu suit her the best but notice how a more florid part like Norina in Don Pasquale or even the more demanding Puritani Elvira benefits from her firm lyric sound. She avoids the highest notes and if needed sings them carefully but everything is so charmingly sung that a single note cannot ruin the whole. Sincere classical singing does not lie in a single note. Even without the large voice these roles need, she handles the heavy Verdi parts impressively. "O patria mia" and especially Desdemona's scene are magnificient.
This collection has increased my admiration for this wonderful artist. If all the sopranos were flowers in a garden, Freni would be a lovely daisy.
A great voice and a great lady!.......2004-02-07
A Bible of Soprano Singing.......2003-04-30
Now, about the singing on this disc:
The Pasquale aria is nicely done (though I prefer Sill's rendition). The Boheme numbers are legendary, enough said. The Tosca aria is my favorite of all soprano's and ever Freni's (she recorded it at least twice more), beautiful and slow. Her Butterfly is regarded as "model" and her singing of both arias are intense and heart wrenching. Her Amico Fritz arias are perfectly judged and performed. The Adriana arias are fine, though they would grow in character when she took on the full role in the 80's and I prefer her later recording of them for Decca on her Verismo Arias disc. Her Micaela is also regarded as legendary and this recording shows why. The Pearl Fishers, Faust and Manon arias are gorgeously sung with golden tone and the Romeo arias show her technical skills in coloratura, well done. Her Mozart, too, is wonderful, receiving praise from, of all people, Renata Scotto in her autobiography. Her Violetta is secure and rich with brilliant coloratura in the Sempre Libera section. Her Doretta is ok, with some odd breath points that should have been eliminated. The other Puccini sections are very special, showing what a superb Puccinian she is. She is a commanding Verdian in the Forza arias, but the acoustic is horrible. Her singing is worth it, though. The Aida items are intense and with long breaths. I just love her as Aida but the engineers did not capture her voice as richly as it was at that time. Still this is masterful singing of difficult music. Willow Song and Ave Maria are, in my mind, the best ever committed to disc. If you are not under her spell in these tracks, then you must be stone-hearted. My only regret is that her gorgeous Tu che le vanita from Don Carlos is not included here......a serious omission!!!!!
This is a great showcase for a supreme artist. Buy it.....you won't regret it!
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Love's Illusion-Music From The Montpellier Codex 13th Century
Anonymous 4 , and Marsha Genensky Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD Vocal & Song
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ASIN: B0000007E5 Release Date: 1994-08-23 |
Tracks:
- Montpellier Codex: Plus Bele Que Flor - Quant Revient - L'autrier Joer - Flos Filius (Mo 21)
- Montpellier Codex: Puisque Bele Dame M'eime - Flos Filius (Mo 231)
- Montpellier Codex: Amours Mi Font Souffrir - En Mai - Flos Filius (Mo 111)
- Montpellier Codex: Ne Sai, Que Je Die - Iohanne (Mo 185)
- Montpellier Codex: Si Je Chante - Bien Doi Amer - Et Sperabit (Mo 311)
- Montpellier Codex: Or Ne Sai Je Que Devenir - Puisque D'amer - Kyrieleyson (Mo 267)
- Montpellier Codex: H? Dieus, De Si Haut Si Bas - Maubatus - Cumque (Mo 92)
- Montpellier Codex: Celui En Qui - La Bele Estoile - La Bele, En Qui - Iohanne (Mo 20)
- Montpellier Codex: Qui D'amours Se Plaint - Lux Magna (Mo 215)
- Montpellier Codex: Amours, Dont Je Sui - L'autrier, Au Douz Mois - Chose Tassin (Mo 270)
- Montpellier Codex: Au Cuer Ai Un Mal - Ja Ne M'en Repentirai - Jolietement (Mo 260)
- Montpellier Codex: Quant Voi La Fleur - Et Tenuerunt (Mo 241)
- Montpellier Codex: Quant Se Depart - Onques Ne Sai Amer - Docebit Omnem (Mo 131)
- Montpellier Codex: Joliement - Quant Voi La Florete - Je Sui Joliete - Aptatur (Mo 34)
- Montpellier Codex: Amor Potest Conqueri - Ad Amorem Sequitur (Mo 238)
- Montpellier Codex: Ce Que Je Tieng - Certes Mout - Bone Compaignie - Manere (Mo 33)
- Montpellier Codex: J'ai Si Bien Mon Cuer Assiz - Aucun M'ont - Angelus (Mo 128)
- Montpellier Codex: Ne M'oubliez Mie - Domino (Mo 236)
- Montpellier Codex: J'ai Mis Toute Ma Pensee - Je N'en Puis - Puerorum (Mo 255)
- Montpellier Codex: Blanchete - Quant Je Pens - Valare (Mo 168)
- Montpellier Codex: Dame, Qeu Je N'os Noumer - Amis Donc Est - Lonc Tans A (Mo 337)
- Montpellier Codex: Li Savours De Mon Desir - Li Grant Desir - Non Veul Mari (Mo 323)
- Montpellier Codex: Entre Copin - Je Me Cuidoie - Bele Ysabelos (Mo 256)
- Montpellier Codex: S'on Me Regarde - Prenn?s I Garde - H?, Mi Enfant (Mo 223)
- Montpellier Codex: Quant Yver La Bise Ameine - In Seculum (Mo 223)
- Montpellier Codex: Ne M'a Pas Oubli? - In Seculum (Mo 207)
- Montpellier Codex: On Doit Fin[e] Amor - La Biaut? - In Seculum (Mo 134)
- Montpellier Codex: Ja N'amerai Autre Que Cele - In Seculum (Mo 3)
- Montpellier Codex: Quant Je Parti De M'amie - Tuo (Mo 200)
Amazon.com essential recording
How's this for a concept: "True love may exist only outside of marriage, and a man must subject himself totally to the will of his beloved, whether or not her requests seem rational." If you think these ideas strange, be glad you weren't looking for love in France in the Middle Ages. These precepts course through thousands of song lyrics and love poetry during the 12th and 13th centuries and some of them appear on this exceptional recording by Anonymous 4. Specifically, these four women perform 13th century French motets found in an important manuscript known as the Montpellier Codex. These polyphonic works span the entire century and thus express a variety of styles. Sometimes the use of texts is striking, as when a love song, a diatribe against hypocrisy, and a rousing drinking song are sung simultaneously. Not bad, if you can get away with it. Anonymous 4 can-and does. --David VernierCustomer Reviews:
Excellent Rendition of Early Music. Buy It........2005-10-29
This is not to say I have a totally tin ear but rather to indicate that there is as strong or stronger connection between these secular songs and the liturgical music of the day as there is between Aretha Franklin's soul singing and Southern Baptist church songs. One would be foolish to think that church music influenced secular music for the first time in 1956.
The text for these songs is based on the Montpellier Codex from the 13th century and, as I said, are all in what I believe is an early version of French. The accompanying booklet gives all the French lyrics, plus translations of these lyrics into English and German (since the record company, harmonia mundi, is, I believe, headquartered in Germany and the recording is manufactured in Germany.
While this is the first album I have reviewed by this group (named after an anonymous 13th century English writer on music who lived and worked in Paris and wrote about the music done) I have been listening to their recordings for several years now and I decided to start with this one and leave some of the liturgical works for later, closer to the Christmas season.
On a purely visceral level, I like this recording very much. On an intellectual level, I believe this is as good or better than any other medieval pieces, and most other Renaissance vocal pieces I have heard, except for some works with larger choruses such as Guillaume Du Fay's Mass for St. Anthony of Padua and Ensemble Gilles Binchois recording of eleventh century French Polyphony.
For those who are new to Anonymous 4 recordings, they are generally done not in a studio but in the nave of a large church, so there is a distinct sense of their singing in a great open space, with little or no sense of electronic enhancement. I really like this effect for this music and find it just one more reason to recommend this and other Anonymous 4 recordings. I think my highest recommendation comes from the fact that I can listen to this recording many times over and not become tired of it. There are other unusual types of music such as Russian chants, tangos, and even jazz which I can take for an hour or so and then must change. This material I can listen to for hours on end.
Highly recommended for fans of early music or for people who want something different.
Fun and full of love.......2005-10-13
The Montpellier Codex has over 300 different motets (not including duplications), including many double motets, where the tenor piece is based on a plainchant, and different voices have their own texts. These 'fin amours' songs were most likely performed mostly in private entertainment settings, and song have argued that certain parts should be done by instruments rather than voices. Of course, the Anonymous 4 is an a capella group, so that idea does not come into practice here.
This is a playful and fun recording, full of lovely songs that reach the heart in strong ways.
-- Liner Notes --
This text accompaniment to this disc is very full, so much so that the booklet is not contained within the jewel case, but rather within a slipcover in which both the CD/jewel case and the booklet reside. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation - all repeated in English, German, and French sections (however, the French lyrics are in the older French language; a modern translation would be helpful). The cover art is a section of the lovely Tapestry, Lady and the Unicorn, Atelier of the Loire Valley, 'mille fleurs', fifteen century in the Museum of Cluny, France.
-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.
Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'
The group ended a touring career of nearly two decades in 2004.
from a newcomer viewpoint.......2003-02-23
I'm still fairly new to classical music, so I can only speak of my attempts at overcoming my difficulties in listening to mediaeval polyphony. When one knows any piece of music has a text, one wants to be able to hear the words - even if one doesn't know the language -, and this is main reason why a first listening of LOVE'S ILLUSION may be disturbing, if not annoying. One initial solution is to think of it as instrumental, and take the words for granted; I suggest also repeated listening of your favorite tracks, while trying to follow one singer's voice, with booklet in hand. I have paid some attention to this record and I believe it has helped me.
The major flaw of this record is not presenting a translation of the 13th century French songs into contemporary French. The difference is indeed quite astounding.
Love's Illusion.......2002-12-11
OUTSTANDING.......2001-01-11
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Fijate Bien
Juanes Manufacturer: Universal Latino ProductGroup: Music Binding: Audio CD General
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ASIN: B00004ZDW6 Release Date: 2000-10-17 |
Tracks:
- Ahi Le Va
- Para Ser Eterno
- Volcan
- Podemos Hacernos Dano
- Destino
- Nada
- Fijate Bien
- Vulnerable
- Sonador
- Ficcion
- Para Que
- Me Da Igual
Amazon.com
Just try and classify the eclectic, often-electric sound of Fijate Bien, the debut solo album from Colombian singer-songwriter Juanes (formerly of the rock group Ekhymosis). Every track mixes and matches genres, careening between--among other things--rock, salsa, and vallenato (traditional Colombian folk music). It's not surprising, given that Latin Grammy nominee Juanes lists Metallica, Jimi Hendrix, Eminem, Vicente Fernández, and Soda Stereo as musical influences. Songs such as "Ahi le Va" and "Nada" ride straightforward rhythms, while "Podemos Hacernos Dano" and "Ficcion" frolic amid the sounds of past and present. There's a lot going on here, both musically and lyrically. Producer Gustavo Santaolalla, who helmed the even more diverse Amores Perros soundtrack, keeps Juanes's exceptional work tight and focused, resulting in one of the year's most refreshing examples of a real Latin explosion. --Joey GuerraCustomer Reviews:
Love Juanes.......2006-07-08
awesome introduction to Juanes!.......2004-11-13
What I enjoy most about the album is the fact that Juanes isn't afraid to take himself seriously an artist and performer. Many of his songs address social injustice, sensitivity and consciousness in a world that can be cold, violent and narcissistic. I am glad that we have one artist to inspire us and also lead us with strength and grace, like we do in Juanes. He is definitely one great example of much of the beauty, versatility and innovation that exists in the contemporary music of Colombia. Muchas gracias, Juanes.
Juanes is the bomb.......2004-01-31
Great CD.......2003-06-03
Viva Juanes!
I can't decide which is my favorite.......2003-01-10
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