Son del Alma

1. Rompecabezas

2. Solo Por Amor

3. Dicen Que la Vieron Sola

4. Todo Pasa

5. Hielo

6. Hechizo de Luna

7. Porque Te Quiero

8. Unidos

9. Veneno

10. Bella

11. Te lo Dire Al Oido

12. Diablo Llego a la Habana

13. Alla Se Quedo [*] - Willy Chirino, Johnny Ventura

Son del Alma,Willy Chirino,Sony International,Latin,Salsa,Salsa/Merenge,Tropical

Jazz

Music

jazz

Customer Reviews:

This is a fantastic deal!.......2007-02-25

If you are a fan at all of the Four Seasons you should love this music. I will admit right now that I am a classical music fan. I don't write or perform it. I am a novice listener. I have never taken any music lessons(though I am leaning in that direction) and certainly have not gone through any university music training. I started out in rock and roll but found classical as I got older and fell in love with it a few years ago.

With that context in mind I do hope I am able to recognize quality and this work is of the highest. It helps when you are starting with good ingredients in the first place. You can't bake great bread without great ingredients and Vivaldi's music library has some of the greatest musical ingredients of the last 300 years. They are very much the foundation for modern western culture and music. His talent is woven through what we are

The first 26 CDs are instrumental starting with the four seasons and working through many of the Master's many popular works. I will admit the four seasons are not the best interpretation I have heard but it is definitely acceptable. The rest of the music shows us many facets of the Baroque style and you can see themes emerging through some of the pieces that give us a 'fingerprint' of Vivaldi's style and the parameters of the stylistic leanings of the genre at the time. If you want to immerse yourself in 18th century music this is your chance

This music would be ideal for someone who owns a store and is looking for background music. With over 26 CDs of instrumental music alone you could have those constantly looping and you'd probably never get bored of them(OK I may be stretching it a little there). The reason is that the music does not leave a bad 'aftertaste' in your mind. It fits into the background as easily and naturally as it is to listen to it consciously in the foreground. If you are a fan of classical Baroque you don't usually need to be in the mood for this, it will adjust your mood to itself and Vivaldi's music is almost always of an uplifting sort if this collection is any indication. If you want something to listen to at your job 8 hours per day this is good for the mind and it would take you over a week to get through it if you listened to it every minute of every work day. You will also work without the worry of the music distracting your concentration. I find it enhances it when I'm working. I don't know how well this would work on school kids but teachers might want to try playing this during school time. You may create a few geniuses, we certainly could use more!

If you are looking for something to ease your sleep and oil your dreams I have put these CD's on in the background. Not only can I easily fall asleep when they are playing quietly in the background but it helps you sleep and you wake up in a very pleasant atmosphere if the music is still playing quietly when you wake(you probably would need to rip them to your MP3 player to do that). It's like napping at a classical music concert without the worry of being nudged by your spouse or offending the other concert goers with your snoring. That will be quite a unique experience for you and possibly give you some real sweet dreams. It has for me

So to wrap it up this is very intelligent, uplifting music that is great for your mind and your soul. It is definitely worth the purchase if you are a fan of the Four Seasons and the Baroque genre in my novice classical music fan's opinion

Excellent, Broad Selection.......2007-01-25

This 40-cd collection affords me a rare pleasure almost daily: the thrill of hearing something new by Vivaldi. Despite my best efforts over the years, I've managed to miss hearing a lot of great works by the master. Listening to a single CD now and then, catching tunes on the radio... you can't possibly get a comprehensive understanding of Vivaldi's output that way.

But when you work your way systematically from CD 1 through 40, you're sure to find many pleasant surprises. I've been skipping through everything I already know -- in some cases, it has only taken me about a minute to get through a whole CD (first 3 seconds of each track is usually enough). But then I stop and listen carefully three or four times to anything that's new.

Ah, what a pleasure. I've already acquired some new favorites. And some old standbys have proved even more rewarding, e.g. at first I thought RV 127 (CD 7, tracks 10-12) was performed too slowly (Naxos No: 8.553742 is much faster), but now I'm not sure; maybe it's BETTER that way! I can't recommend this set highly enough.

$70....when was this???.......2006-11-25

Wish the cost was $70 now. Guess the record producer (or Amazon) got tired of making less than $2 per CD.

$70/40... you do the math........2006-04-07

No, I don't own this collection...yet. However, the price of the collection compels me to review it beforehand. Never have I seen such a complete collection of Vivaldi compositions at such an incredibly low price. At $1.75 dollars a CD, the record producer (Brilliant Classics) isn't making much of a profit. The compilation pulls some of its works from DG Achiv Produktion's vault (see Standage), such as the violin concertos, as well as from unknown producers (the Poland Philharmonic Chamber Orchestra is heavily featured). The collection is so complete that it is academic, and I would not be surprised if music libraries quickly emptied it from Amazon's shelves. The collection is simply worth it for the incredible price (English Concert's recording of the violin concertos cost nearly 30 bucks, and is exactly featured here). Overall, the price alone makes this collection exceptionally attractive, and the ensembles featured aren't bad either.

Average customer rating:

Monumental Recording
Simply fantastic
Marvellous fun and great singing
Worth it!
Gorgeous,but one tiny qualm !

Vivaldi: Bajazet [Includes Bonus DVD]

Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
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ASIN: B00022LE38
Release Date: 2005-05-10

Tracks:

Allegro
Andante Molto
Allegro
Recitativo: Prence Lo So: Vi Devo
Aria: Del Destin Non Dee Lagnarsi
Recitativo: Non Si Perda Di Vista
Aria: Nasce Rosa Lusinghiera
Recitativo: Principe, Or Ora I Greci
Aria: In Si Torbida Procella
Recitativo: Il Tartaro Ama Asteria
Aria: Quel Ciglio Vezzosetto
Recitativo: Or Si, Fiero Destino
Aria: Vedeste Mai Sul Prato
Recitativo: Non Ascolto Piu Nulla
Aria: Amare Un'alma Ingrata
Recitativo: Cosi La Sposa Il Tamerlano Accoglie?
Aria: Qual Querriero In Campo Aramato
Recitativo: E Bella Irene
Aria: Non Ho Nel Sen Constanza
Recitativo: Amico, Tengo Un Testimon Fedele
Recitativo: Sarete Or Ostinato
Aria: Anche Il Mar par Che Sommerga
Recitativo: Gloria, Sdegno Ed Amore
Aria: Stringi Le Mie Catene

Tracks:

Recitativo: Ah, Disperato Andronico!
Aria: La Sorte Mia Spietata
Recitativo: Signor, Vergine Illustre
Aria: Cruda Sorte, Avverso Fato!
Recitativo: Senti, Chiunque Tu Sia
Aria: La Cervetta Timidetta
Recitativo: Gran Cose Espone Asteria
Aria: Sposa, Son Disprezzata
Recitativo: Dov'e Mia Figlia, Andronico?
Aria: Dov'e La Figla?
Recitativo: Asteria, Siamo Al Soglio ...
Quartetto: Si Crudel! Questo E L'amore
Recitativo: Figlia, Siam Rei
Aria: Veder Parmi, Or Che Nel Fondo
Recitativo: Andronico, Il Mio Amore
Aria: Barbaro Traditor
Recitativo: Lascero Di Regnare
Aria: Spesso Tra Vaghe Rose
Recitativo: Eccoti, Bajazette
Arioso: Verro Crudel, Spietato
Recitativo: Signor, Fra Tante Cure
Aria: Son Tortorella
Recitativo: Signore, Bajazette
Accompagnato: E Morto, Si, Tiranno
Aria: Svena, Uccidi, Abbatti, Atterra
Recitativo: Deh, Tu Cauto la Segui
Coro: Coronata Di Gigli E Rose

Amazon.com

This stunner of an opera involves the proud sultan Bajazet (bass) and his battle with his bloodthirsty rival-tyrant Tamerlane (counter-tenor). More than 50 operas were composed on the subject. Here Vivaldi has composed all the recitatives and marvelous arias for the dignified, fine characters and used arias by other composers--Hasse, Giacomelli, Carlo Broschi--for Tamerlano and the nasties. The music is energetic and virtuosic throughout. Fabio Biondi leads Europa Galante and soloists with urgent, theatrical precision, making the story come to life. The singing could not be better: Ildebrando d'Arcangelo is a remarkably sympathetic Bajazet, singing with fluency and power; David Daniels amazes as Tamerlano; Marijana Mijanovic sings the role of Asteria (Bajazet's daughter) with love and precision; and Viveca Genaux dazzles with her perfect coloratura as Irene. This is a treasure trove of singing, and a bonus DVD allows us to see/hear the performers in rehearsal. Highly recommended. --Robert Levine

Customer Reviews:

Monumental Recording.......2007-03-14

From the same composer that
brought us "The four Seasons"
Antonio Vivaldi, comes this
'dramma per musica' it tells
us the story of Bajazet, a Turkish
leader who ruled vast portions of
the Ottoaman empire, and his defeat
by his great foe, Tamerlano(Timur Lenk).
In the past composers like Handel and
others had taken an interest in the story.
This is the World Premiere recording of
the work. Much musicological research was done
by conductor and violinist Fabio Biondi and others
to put together this monumental recording.As personally
for me this is the first complete opera that
I hear by Vivaldi. This opera comes with a
DVD that features all six soloists in an aria.
Europa Galante and Maestro Biondi do a wonderful
job, and the soloists are great. Wonderful work,
thank you Maestro Biondi...

Simply fantastic.......2007-02-28

This is one of the best recordings that I have bought recently. The entire opera is a treasure, and they couldn't have picked a better cast. Vivica Genaux, Elina Garanca, and David Daniels are especially strong, and Fabio Biondi's orchestra is always clean and polished. The recording quality is also top-notch. It's unlike me not to offer some kind of a criticism, but I can't think of one for this recording. Highly recommended.

Marvellous fun and great singing.......2006-09-19

I have to say that I prefer Handel's Tamerlano for musical reasons. However, Vivaldi's opera on the same subject is very enjoyable and entertaining. Like it has been said of the operas of Haydn, Vivaldi's operas are not great operas, but they do contain great music.

Europa Galante, directed from the 1st violin by Fabio Biondi, is in great form and I've never heard them play better. I have their older recording of Handel's opera Poro, and I enjoyed that one, too.
The singers here are an excellent ensemble. I like the dark and expressive voice of Ildebrando D'Arcangelo - he was also marvellous as Leporello in Gardiner's Don Giovanni. David Daniels is fantastic, as usual, and he is possibly the best operatic countertenor in the world at the moment. Patrizia Ciofi is best heard and not seen - sweet voice coming from a madwoman (check out the DVD!). Vivica Genaux has been hyped to within a centimetre of her life recently. She has a nice flexible mezzo voice. A little too much vibrato for my tastes and she looks like a chipmunk when she attacks coloratura passages. Marijana Mijanovic sings well - she was excellent as the neurotic Penelope in the Christie / L.A.F. DVD of Monteverdi's Il Ritorno d'Ulisse in patria. She is alarmingly thin - possible health problems? She doesn't engage with the conductor or orchestra at all in the DVD - the only singer who doesn't. Elina Garanca looks beautiful (and healthy!) and sings beautifully. She has a lovely contralto voice. I hope I see and hear more from this artist in the future.

I am not a big fan of Vivaldi's operas - I enjoy them as collections of arias. I wonder how well Bajazet worked on stage?
I'd love to have a DVD of this production, I would like to see how a Vivaldi opera works on stage. Vivaldi's operas don't have imaginative scorings and the orchestral passages are fairly prosaic. A lot of what goes on in the Vivaldi operas I've heard (I have a few in my CD collection) is pretty routine. However, I am open minded on the subject and I would like to see how well a Vivaldi opera works on stage.

Worth it!.......2006-05-23

This album exceeded my expectations. In the true pasticcio form, Vivaldi copied and pasted other composers' work, and his own of previous operas. The arias are un-paralleled in harmony, balance, up-beat rhythm, and beauty. The orchestration by Fabio Biondi is first rate and world class. Vivica Genaux rocks in her interpretation of "Qual Guerriero in Campo Armato" as so much energy, control, and speed are gushed out at once and sustained without wavering. Her ornamentation in the da capo aria is amazing. Vivica's voice is powerful, ethereal, and acrobatic. She recreates what a castrato voice might have sounded like, beautiful and strong. While Vivica sings perfectly the most demanding and technically difficult aria of the opera, Ciofi delights us with the most beautiful "Nasce rosa". After listening to her, it would be near to impossible to imagine anyone else singing this aria with such charm. But what she excelled at "Nasce", she lacked at "Anche il mar". This aria is perhaps as technically and impossibly challenging as "Qual guerriero", but Ciofi's coloratura is discontinuous. Cecilia Bartoli executes this aria in her Vivaldi Album stunningly in one breath. If there was ever a team of opera gold medalists, that team is put together in this album. Ildebrando's "Dov'e la Figla?" is a handsome showcase of his voice and strong presence. While his singing is worthy of high praise, his hand movements and wedding band flashing might have already cost him 90% of his fan base, not to mention dashing his chances at becoming a teen idol or gay icon. His comportment at the high note of the aria is reminiscent of an opera Olympiad doing a vocal triple summersault in mid-air and sticking a perfect landing. "Dov'e la figlia?" is also an aria that illustrates the great genius of Vivaldi as an opera composer. He wrote very distinct music for the same lyrics and for different registers (basso and castrato) in Bajazet, and Motezuma (with Dominique Visse). At the same time, he used the identical music for two different lyrics in Motezuma, and Orlando Furioso (Sorge l'irato Nembo).The bonus DVD proves not only interesting but also very entertaining at the gesticulations and facial configurations sometimes taken for granted to sing bel canto's finest arias. Superb job!

Gorgeous,but one tiny qualm !.......2006-04-20

While I agree with all the good things that have been written of this splendid perfomance,there is a small,but I feel important, detail about the recording which I find vexing.
When a recitative is is sung the performers are placed across the audio stage,disposed left or right,as you will.When an aria is sung ,the soloist leaps to the very center of the sound stage, which is quite disconcerting,especially when listening through headphones.This points to the arias and recits being recorded in separate sessions.Nothing wrong with that given the ravishing perfomance.Well worth the purchase price.

Average customer rating:

The Complete Caruso

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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General | Soundtracks | Styles | Music

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ASIN: B0001TSWQO
Release Date: 2004-11-09

Average customer rating:

Mesmerizing set. La Divina's gift to the world.
Breathtaking!
Callas is Still Opera's Queen
Grand
The divine Callas

Callas: La Divina [Limited Edition]

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

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Callas, Maria | Divas | Opera & Vocal | Styles | Music

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Similar Items:

Maria Callas - Life and Art
Maria Callas Live
The Very Best Of Maria Callas

ASIN: B000002S6V
Release Date: 1995-11-14

Tracks:

Madama Butterfly, Un Bel Di Vedremo
Carmen, Lamour Est Un Oiseau Rebelle (Habanera)
La Wally, Ebben Ne Andro Lontana
Il Barbiere Di Siviglia, Una Voce Poco Fa
Norma, Casta Diva
Samson Et Dalila, Mon Coeur Souvre A Ta Voix
Rigoletto, Caro Nome
Verdi La Traviata, Sempre Libera
Romeo Et Juliette, Je Veux Vivre Dans Ce Reve
Puccini: La Boheme
Don Giovanni
Cavalleria Rusticana
La Gioconda
Puccini: Gianna Schicchi
Puccini: Turandot
Puccini: Tosca

Tracks:

Divinites Du Styx
Les Tringles Des Sistres Tintaient
Surta E La Notte
In Quelle Trine Morbido
Ritorna Vincitor
Jai Perdu Mon Eurydice
Bolero: Merce Dilette Amiche
Depuis Le Jour
Donde Lieta Usci
Ah, Pour Ce Soir
Teneste La Promessa
O Don Fatale
Printemps Qui Commence
Compagne Teneri Appena
Ecco: Respiro Appena
Spargi Damaro Pianto

Tracks:

La Mamma Morta - Andrea Chenier
O Nume Tutelar - La Vestale
Je Ne Suis Que Faiblesse - Manon
Oh, Sara La Piu Bella....Tu, Tu Amore? - Giuseppe Di Stefano (Tenor)
Pres Des Remparts De Seville (Seguedille) Acte I - Carmen
Dunque Io Son Atto - Barbiere Di Siviglia
Dov' E L'indiana Bruna? - Lakme
Qui Radames Verra!...O Patria Mia - Aida
O Soave Fanciulla - La Boheme
Signore, Ascolta! - Turandor
Qual Fiamma Avea Nel Guardo...Hui! - Pagliacci
D'amor Sull' Ali Rosee - Trovatore
Vagliatemi Bene, Un Bene Piccolino - Madama Beutterfly
Ombra Leggiera - Dinorah

Tracks:

Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview

Amazon.com

In case there was a moment in your life when your suspected that Maria Callas was not a driving force in opera in the last half of this century, pick up this set. Apparently unable to give a dull performance, here we get Callas in La Divina as Rossini's flirty Rosina; Verdi's emotion-torn Aida; Catalani's unbelievably sad Wally (a classic performance, by which all others are measured); Bellini's Norma (ditto); Puccini's lovely, youthful Lauretta in Gianni Schicchi; the same composer's frigid, furious Turandot as well as his confused, desparate Manon Lescaut; Verdi's Loenoras--each noble; Meyerbeer's ditzy Dinorah and Delibes's loco Lakme (in some fabulous, high-flying coloratura singing); and at least a dozen more roles. While it's true that her control over her voice varies--the French coloratura arias, from Gounod and Thomas operas, can be pretty acidic--there's never an uninterested reading, never a once-over read-through. You'll get to know the characters as well as their music by hearing Callas as each heroine--indeed, this collection is like a who's who in opera. No music lover should be without it. --Robert Levine

Customer Reviews:

Mesmerizing set. La Divina's gift to the world........2006-07-30

I have listened to this 4-cd set numerous times and each occasion yields an abundant harvest. Maria Callas, one of my favorites, thrills, exalts, and saddens the listener to no end. You don't have to be a classical music fan to enjoy and be moved by this music. I cannot find words to substantially explain the beauty and meaning of this set.

Thank you La Divina.

Breathtaking!.......2006-06-11

I am no expert, I just love music. I bought this set in order to get an overview of what Callas offers, boy did I get more than I bargained for. There are many wonderful sopranos, I won't say this one or that one is better... its like good wine, what you choose to drink depends on your mood. Sutherland is purity, Bartoli is sheer joy, Callas is darkness. For me she is the Schubert of the voice and she can make me weep, that is her power, pure and simple.

Callas is Still Opera's Queen.......2005-01-25

With the apparent genius embedded in Callas' singing, it is no wonder that decades after her death, her voice will still echo within the chambers of our living rooms. Her great sense of the bel canto style, combined with the empassioned soul she juxtaposed into her performances, along with her amazing control over the three hundred (acclaimed conductor Nicola Rescigno said this) voices she had, are undeniably the reason why such a controversial singer survived the passing of time with a legion of fans still eager to submit to her amazing and passionate singing. She had the ability to chop a singular, monotonic-sounding instrument to convert it into a million shades of human emotion--something that no great singer was able to do today. She was the divine goddess of opera, able to command any listener to watch and listen to her declaim her roles. It was because of this that she was called "La Divina", and then many years later as "The Voice of the Century". But what defines a Voice of the Century, you might ask? It is the ability to live the life of a character all the while singing the lines, the melodies, the trills, and the embellishments required to bring a certain degree of drama into the role. Meaning there was no need for overornamentation, or such and so. Being the Voix du Secle didn't mean that you could sing coloratura roles so efficiently. If that were so, then Lily Pons would have been the Voice of the Century. Callas did so much more than that. She breathed life into opera, and turned it into the most illustrious and the most highly celebrated of all arts. No other singer can claim to have done that, no matter how amazing the range, how great the tonal quality whatsoever. Only Callas deserves such a title...and she truly was La Divina and The Voice of the Century.

I am also a big fan of Joan Sutherland. I just don't find it right for her to be tackling overly dramatic roles such as Norma, which her middle voices couldn't support. The middle voice is required for Bellini, you know. Joan Sutherland has a perfect vocal technique, but let me let you in on something divulged to me by an authority in music: Joan Sutherland never learned to read notes. She had a perfect sense of hearing, and it was Andre Previn and not Richard Bonynge who introduced the roles to her. Andre Previn would play a note on the piano, and she would just follow by singing. Surprising isn't it that the most celebrated coloratura of our age never learned to read notes? She has a great voice anyhow, but the only other thing that bothered me is that she didn't put her soul into singing. Although her voice remained in her throat until her 60's, the only reason that happened was because she didn't pour out her soul. Callas' technique, although one of the most attractive ever to have walked this planet (she could very well sing anything and be the character), was damaging to the vocal cords. Pouring your soul into the role has a tendency to scratch your instrument. Still, she was the Divine One, and she truly places first as my favorite soprano of all time.

Grand.......2004-05-21

Why won't this Callas-Hater leave Maria alone? If he hates her so much, why did he listen to all her recordings? I doubt that he did, bashing a perfect recording like Callas' Aida shows he hasn't heard it. Even Callas' enemies were floored by her Mexican performances. This collection is absolutely magnificent. La Divina will always be La Divina and no one comes close!

The divine Callas.......2004-05-08

An awesome collection of the most supreme voice in the world! Brava La Divina!!!!!

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Average customer rating:

Still the Best
The best for many years, but now surpassed
A Classic Trovatore --- but by far not the best!
A REMINDER OF THE WAY OPERA USED TO SOUND!
Down with the director!!

Verdi: Il Trovatore

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Mascagni: Cavalleria Rusticana
Verdi: Aida
Verdi: Rigoletto
Puccini: Manon Lescaut
Puccini: Tosca

ASIN: B000003EPY
Release Date: 1990-10-25

Tracks:

Il Trovatore: All'erta, all'erta
Il Trovatore: Di due figli vivea
Il Trovatore: Che piu t'arresti
Il Trovatore: Tacea la notte placida
Il Trovatore: Di tale amor che dirsi
Il Trovatore: Tace la notte
Il Trovatore: Deserto sulla terra
Il Trovatore: Non m'inganno
Il Trovatore: Di geloso amor sprezzato
Il Trovatore: Vedi! Le fosche notturne spogile (Anvil Chorus)
Il Trovatore: Stride la vampa!
Il Trovatore: Soli or siamo
Il Trovatore: Condotta ell'era in ceppi
Il Trovatore: Non son tuo figlio?
Il Trovatore: Mal reggendo
Il Trovatore: Inoltra il pie
Il Trovatore: Perigliarti ancor languente
Il Trovatore: Tutto e deserto
Il Trovatore: Il balen del suo sorriso
Il Trovatore: Quel suono! Oh cie!
Il Trovatore: Per me ora fatale
Il Trovatore: Ah se l'error t'ingombra
Il Trovatore: Perche piangete
Il Trovatore: E deggio e posso crederlo

Tracks:

Il Trovatore: Or co'dadi
Il Trovatore: Squilli, echeggi la tromba guerriera
Il Trovatore: In braccio al mio rival
Il Trovatore: Quale d'armi fragor poc'anzi intesi
Il Trovatore: Ah, si ben mio
Il Trovatore: L'onda de' suoni mistici
Il Trovatore: Di quella pira
Il Trovatore: Siam giunti
Il Trovatore: D'amor sull'ali rosee
Il Trovatore: Miserere d'un'alma gia vicina
Il Trovatore: Udiste?
Il Trovatore: Mira, di acerbe lagrime
Il Trovatore: Vivra contende il giubilo
Il Trovatore: Madre, non monti?
Il Trovatore: Ai nostri monti
Il Trovatore: Che, non m'inganno

Amazon.com

This is the most beautifully sung Il Trovatore on record, but is by no means the most dramatic and is far from the best-conducted. Those who insist on stereo sound (which has substantial advantages for opera recordings in terms of dramatic presence and impact) may opt for the Zubin Mehta or James Levine treatments. But Jussi Bjoerling and Leonard Warren respond intensely to the score theatrically and, above all, musically, Zinka Milanov sings with a haunting beauty most of the time, Fedora Barbieri approaches the role of the Gypsy woman Azucena as if she were born to sing it, and the relatively small, well-disciplined chorus sings with a clarity and precision comparable to that of Levine's powerful Metropolitan Opera Chorus. --Joe McLellan

Customer Reviews:

Still the Best.......2005-03-25

Despite shortcomings, such as mediocre conducting, cuts and the "old" sound, not least the miscast tenor, this "Trovatore" remains unsurpassed for the beauty of singing. Milanov is simply the best Leonora ever, both in her grand arias and the dramatic coloratura segments. Bjoerling is not heroic enough for my taste. He is perfect for "Ballo," "Faust" and "Manon," but not for "Aida" or "Il Trovatore." But he makes up for the lack of heroic stature with the beauty of voice and singing. If only Milanov could sing this opera with Corelli, what a glorious "Trovatore" that would be!

The best for many years, but now surpassed.......2003-11-04

Most of the reviewers below have covered the majority of good and bad points about this recording, so I will be brief. Beautiful and mostly accurate singing but lacking dramatic credibility from the soprano and tenor; decent conducting but a terrible, thin-sounding orchestra; no sense of "sound-staging," very little drama except from Barbieri and Warren, and a very incomplete version of the score with numerous large and small cuts.

Of competing versions, pride of place goes to the new Ghiorghiu-Alagna set, even though Alagna pushes the voice a little too hard at times and holds the high C in "Di quella pira" well beyond its written length. The 1970 Mehta set has a good Leonora in Price and a decent Manico in Domingo, but Milnes' baritone lacks the proper bite for Di Luna and Cossotto is a joke as Azucena once one has heard Barbieri or Diadkova.

So, basically, we are still waiting for a really great "Trovatore." If you like Milanov and Bjorling, get this set. If you want a good balance between singing, drama and completeness, get the Pappano-Alagna set.

A Classic Trovatore --- but by far not the best!.......2003-01-23

This 1952 set has been acclaimed since its debut, and while it does feature some of the most passionate Italian singing on disc, it is poorly conducted and hopelessly boring. Bjoerling is second-rate (at best), and Cellini never quite captures the dramatic urgency of this gripping work. But the RCA Victor orchestra plays well in spite of it all, and the chorus work is most impressive.

Still, this recording is a must-own for its two leading women, Zinka Milanov and Fedora Barbieri, the latter being indisputably the best Azucena on disc. Zinka Milanov is ideal as Leonora, better than even Antonietta Stella on Serafin's recording; though she doesn't deliver as much intensity as Callas in Herbert von Karajan's inspired performance (who would?), she sings with soaring beauty and smart, focused characterization. The highlight, though, is the exquisite Azucena of Fedora Barbieri, one of the most underrated singers of the 20th century. She is glorious and exciting, bringing some much-needed thrill to this otherwise lackluster performance. She can also be found the aforementioned von Karajan set -- but believe it or not, she's better here.

Here's a summary of great Trovatore recordings: One of the best efforts, in certainly the best sound, is Mehta's 1970 recording with Domingo and Price as the leading roles. It's fantastic, with an all-star cast and superb orchestral work. I've mentioned von Karajan's more than once on this review, and his recording with Callas, di Stefano and Barbieri is a supreme addition to the catalogue. Callas fans should snatch it up without a moment's pause. But don't get it if you want sheer vocal perfection from the leading roles. I guess my No. 1 Recommendation is actually Tullio Serafin's version with Bergonzi as my favorite Manrico of all time. Other cast highlights include Antonietta Stella as a wonderful Leonora and Fiorenza Cossotto as a frightening Azucena. Enjoy!

A REMINDER OF THE WAY OPERA USED TO SOUND!.......2002-08-18

I'm going to make this very short and to-the-point. They simply don't sing like this anymore ----- sopranos and tenors
like Milanov and Bjoerling are an extinct breed, and we are the poorer for it. Ditto for Fedora Barbieri and Leonard Warren ------- two more outstanding singers ---- all of whom could be heard regularly at the Metropolitan Opera in the 1950's. But then again, so were many other great singers. We don't have voices like this today --- and one hearing of this recording of "Trovatore" sadly proves it. Recorded in 1952, it still sounds acceptable --- and no subsequent "Trovatore" has matched it, though the famous 1962 broadcast from Salzburg with Leontyne Price, Franco Corelli, Giulietta Simionato, and Ettore Bastianini, all under the baton of Herbert von Karajan, comes the closest.

Down with the director!!.......2002-06-11

I think this is a nice version from Trovatore, but musicaly, It lacks of intensity and drama coming from Cilario and Bjoreling. I must admit that Milanov, Merril and Barbieri are superb in each of their roles, but I didn't like that much Bjorleing's singing in this opera. With so little power in his "di quella pira". Good but not great!
As for the director I don't understand how they let him direct an orchestra!! he is Owghfull, no strenght. Maybe I'm overreacting with Cillario, but I heard so much better performances of the orchestra than this, an when I come back and listen to this one I get every day more disapointed.
Is a good choice if you think in the singers, but a terrible one if you think in the director.
Listen to Correlli's, Pryce version.

Handel - Giulio Cesare / Larmore · Schlick · Fink · Concerto Köln · Jacobs [Highlights]

Average customer rating:

Something is missing...
Wonderful Arias, But Where Are The Choruses?

Handel - Giulio Cesare / Larmore · Schlick · Fink · Concerto Köln · Jacobs [Highlights]
George Frideric Handel , René Jacobs , Jennifer Larmore , Bernarda Fink , Concerto Köln , Barbara Schlick , Derek Lee Ragin , and Furio Zanasi
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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The Spectacular Voice of Marilyn Horne: Rossini / Horne
Vivaldi Edition: Juditha Triumphans
Il Furioso!
Arias for Farinelli
Sandrine Piau - Handel Opera Seria

ASIN: B00005B6RQ
Release Date: 2001-06-12

Customer Reviews:

Something is missing..........2005-08-18

Lovely performance, but I was very disappointed by finding out that the lovely aria V'Adoro, Pupille is missing!! Such a great pity. I went to the complete recording on Amazon, and I listened to the track (number six, cd two). I found out, the tempo was quit slow. But I was still very disappointed of course.
Anyway, this cd is lovely, buy it!

Wonderful Arias, But Where Are The Choruses?.......2002-08-10

This is actually a 5-star performance and recording of "Giulio Cesare", but for me, a Handel CD of all arias is missing a significant element of Handel's genius. Would it really have reduced the great music if a few choruses had been included on this 78 minute disc? It would only have made it more enjoyable to my ears!

The Complete Recordings, 1902-1920 (Box Set)

Average customer rating:

Get It While You Can
Essential edition for opera lovers

The Complete Recordings, 1902-1920 (Box Set)

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Bach: Cantatas, Vol. 22
Caruso 2000
The Complete Caruso
Wagner: Götterdämmerung
Classic Puccini Recordings

ASIN: B00030B92K
Release Date: 2004-11-23

Album Description

The Complete Caruso: Volumes 1 - 12

The Italian tenor Enrico Caruso holds a unique place in musical history, as the first operatic singer whose recordings sold in millions, and who created an international reputation on the strength of these. Caruso's robust tone and musical sincerity made him both an ideal stage and recording artist, whose voice the primitive acoustic recording technology of the early twentieth century was able to reproduce with startling fidelity. The Naxos Historical Caruso edition constitutes the complete cycle of all Caruso's recordings issued in chronological order. In addition, the transfers have been immaculately undertaken by top sound engineer Ward Marston, unrivalled for his knowledge of the specialized world of acoustic opera recordings, and his rare ability to retrieve all of the music lying in the grooves of the original recordings. Naxos Historical's incredible price (12 CD'S FOR THE PRICE OF 10) puts this unique legacy of great singing within the reach of all music-lovers. This! complete cycle of recordings represents a major document in the history of sound recording, and one which no collector and enthusiast of great singing will wish to be without. "There is no series of vocal records that have a greater documentary value, that meant more to the development of the phonograph record, or that are as consistently capable of providing pleasure to lovers of great singing. ...One of the most significant recording industry events of the decade." Fanfare

Customer Reviews:

Get It While You Can.......2006-10-13

This may not be easy to get in the USA for very long.....don't miss it.

Essential edition for opera lovers.......2005-02-01

This set gives you the opportunity to follow the entire recording career of one of the greatest singers in Operatic History. Enrico Caruso was the first superstar of the 20th century -- and this without the benefit of mass media. His person and his records were his greatest publicity.

The set begins with Caruso's Italian made recordings. They show a great raw talent. The artistry is lacking with many sobs, over acting and mistaken cues. The 1902 and 1903 clearly show a tenor with a lot to learn. But learn it he did. His 1904 sessions show a mature artist on par with any heard since. His voice matures before your very ears and by 1910, you wonder if you will ever listen to any other tenor the same way again.

The engineering used for this set is wonderful. There is no attempt at all to use the soundstream process of computer sound enhancement as heard on the RCA issued sets. These are near perfect mint conditioned discs copied by engineer extraordinary Ward Marston. They sound like natural 78s, they way Caruso himself must have heard the playbacks at the (RCA) Victor studios.

Also included are outtakes and extra takes. There is a "Celeste Aida" from 1908, complete with a broken high note, previously released by RCA in a 1973 set commemorating the tenor's centenary birthday. But there are new treasures here as well, including extra takes of two of Caruso's greatest recordings, the Italian song "L'Alba separa dalla l'uce ombra" and an aria from Rubinestine's Nerone. Listening to them, one wonders what Caruso could have possible thought inadquate in those long lost altenative takes.

Finally, there is the simple joy of hearing so many things so well sung. Caruso was the pinnacle of the tenor art. He can be compared to no other single tenor since ... he has the brilliant ring of Bjorling, the passion of Gigli, the beauty of Gedda, the youthful enthusiasm of Lanza, the warm tonal quality of Tucker, the pure strength of Corelli, the charasma of Pavarotti and the artestry of Domingo.

Whether you are an opera fan, a voice fan or just a music lover. This set is worth every penny.

Todd Kosovich

Average customer rating:

Brava Berganza! A Birthday Tribute

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Una voce poco fa: A Portrait of Teresa Berganza

ASIN: B0007DHPRG
Release Date: 2005-04-12

Average customer rating:

Tuccissima! A Recognition of a Great Interpretation!
Excellent
An Excellent Il Trovatore
Our Amazing Stars in Moscow

Verdi: Il Trovatore

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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Giordano: Andrea Chénier
Verdi: Il Trovatore
Verdi: La Traviata
Wagner: Tannhauser - Bayreuther Festspiele/Giuseppe Sinopoli

ASIN: B000000UO0
Release Date: 1997-09-16

Tracks:

Act 1 Scene 1: All'erta, All'erta - Ivo Vinco
Act 1 Scene 1: Di Due Figli Vivea Padrea Beato - Ivo Vinco
Act 1 Scene 1: Abbietta Zingara - Ivo Vinco
Act 1 Scene 1: Brevi E Tristi Giorni Visse - Ivo Vinco
Act 1 Scene 1: Sull'orlo Dei Tetti - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
Act 1 Scene 2: Che Piu T'arresti? - Mirella Fiorentini
Act 1 Scene 2: Tacea La Notte Placida - Gabriella Tucci
Act 1 Scene 2: Quanto Narrasti Di Turbamento - Mirella Fiorentini
Act 1 Scene 2: Di Tale Amor - Gabriella Tucci
Act 1 Scene 2: Tace La Notte! - Piero Cappuccilli
Act 1 Scene 2: Il Trovator!... Deserto Sulla Terra - Piero Cappuccilli/Carlo Bergonzi
Act 1 Scene 2: Anima Mia! (Che Far?... Piu Dell'usato E Tarda L'ora - Gabriella Tucci/Piero Cappuccilli/Carlo Bergonzi
Act 1 Scene 2: De Gelosa Amor Sprezzato - Piero Cappuccilli/Gabriella Tucci/Carlo Bergonzi
Act 2 Scene 1: Vedi Le Fosche Notturne Spoglie - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
Act 2 Scene 1: Stride La Vampa - Ciulietta Simionato
Act 2 Scene 1: Mesta E La Tua Canzon! - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
Act 2 Scene 1: Coli Or Siamo - Carlo Bergonzi
Act 2 Scene 1: Condotta All'era In Ceppi - Ciulietta Simionato
Act 2 Scene 1: Non Son Tuo Figlio? - Carlo Bergonzi
Act 2 Scene 1: Mal Reggendo All'aspro Assalto - Carlo Bergonzi/Giulietta Simionato
Act 2 Scene 1: L'usato Messo Ruiz Invia! - Carlo Bergonzi
Act 2 Scene 1: Perigliarti Ancor Languente - Giulietta Simionato/Carlo Bergonzi
Act 2 Scene 2: Tutto E Deserto - Piero Cappuccilli
Act 2 Scene 2: Il Balen Del Suo Sorriso - Piero Cappuccilli
Act 2 Scene 2: Qual Suono!... Oh Ciel! - Piero Cappuccilli
Act 2 Scene 2: Per Me Ora Fatale - Piero Cappuccilli
Act 2 Scene 2: Ah! Se L'error T'ingombra - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
Act 2 Scene 2: Perche Piangete? - Gabriella Tucci
Act 2 Scene 2: E Deggio... E Posso Crederlo? - Gabriella Tucci/Tutti

Tracks:

Act 3: Or Co' Dadi, Ma Fra Poco - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
Act 3: In Braccio Al Mio Rival! - Piero Cappuccilli
Act 3: Ciorni Poveri Vivea - Giulietta Simionato
Act 3: Deh! Rallentate, O Barbari - Giulietta Simionato/Ivo Vinco/Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
Act 3: Quale D'armi Fragor - Gabriella Tucci
Act 3: Ah Si, Ben Mio - Carlo Bergonzi
Act 3: L'onda De' Suoni Mistici - Gabriella Tucci/Carlo Bergonzi
Act 3: De Quella Pira - Carlo Bergonzi
Act 4: Siam Giunti, Ecco La Torre - Piero De Palma
Act 4: D'amor Sull'ali Rosee - Gabriella Tucci
Act 4: Miserere D'un ALma Gia Vicina - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni/Gabriella Tucci/Carlo Bergonzi
Act 4: Udiste? Come Albeggi - Piero Cappuccilli
Act 4: Mira, D'acerbe Lagrime - Gabriella Tucci/Piero Cappuccilli
Act 4: Conte!...Ne Basti! - Gabriella Tucci/Piero Cappuccilli
Act 4: Colui Vivra!-Vivra!...Contende Il Giubilo - Piero Cappuccilli/Gabriella Tucci
Act 4: Madre? Non Dormi? - Carlo Bergonzi
Act 4: Si, La Stanchezza M'opprime, O Figlio - Giulietta Simionato
Act 4: Ai Nostri Monti Ritorneremo - Giulietta Simionato/Carlo Bergonzi
Act 4: Ciel! Non M'inganna! - Carlo Bergonzi
Act 4: Parlar NOn Vuoi? - Carlo Bergonzi
Act 4: Ti Scosta! - Carlo Bergonzi
Prima Che D'altri Vivere - Gabriella Tucci/Carlo Bergonzi/Giulietta Simionato/Piero Cappuccilli

Amazon.com

Here is a live performance from Moscow, with the La Scala forces, taped in 1964. Gabriella Tucci, a fine singer who was only lacking the individual timbre needed for stardom, is an excellent Leonora, and Carlo Bergonzi is among the most elegant and stirring Manricos on disc. Giulietta Simionato, nearing the end of her career, sings with great passion as the crazy Azucena, and Piero Cappuccilli delivers a big Count de Luna. Gianandrea Gavazzeni, an old hand obviously trying to impress those cold-war Russkies, pulls out all the stops, along with his cast. This one is near the top of the list. --Robert Levine

Customer Reviews:

Tuccissima! A Recognition of a Great Interpretation!.......2005-03-02

La Mia Tuccissima! Gabriella Tucci IS Leonora. Only with her do I feel the hectic torture that this woman endures, the pain of not knowing, the agony of love gone astray, the confusion of complex feelings and the joy of the brief happy yet fleeting moments. Tucci portrays the kind of mercurial agony that all the characters, except perhaps Azucena whose suffering is life long, experience. She accomplishes this through superb vocalism (that is very much on a par with any Verdi soprano) and emotional insight. Never is she too intense, haughty, or too flighty. There is perfect balance and in this way she surpasses other interpretations. For example, the closing phrase of "D'amor sull'ali rosee" the final cadenza is on the word "le pene" (pain)which Verdi wrote in an awkward shifting up and down motion descending, which suggests a kind of mental collapse. Tucci gives it an amazing speed and tortured quality which causes the audience to gasp. Other sopranos slow it down and apply portamenti and so on....lovely?....perhaps yes!....dramatically effective....not really! Tucci understands that Leonora is slightly touched......a little crazy.

As for her voice, it is very distinctive. It seems to possess extreme qualities simultaneously ice cold/hot metal .....hard to explain. Her style is excellent and her heart is warm!

This is a great Trovatore overall! I have heard many live recordings and few sopranos drive audiences to the point of frenzy that Tucci does! Thats all that matters in the end!

Excellent.......2004-12-05

Firstly, for a live recording, I have to say the sound it top notch! This is really a wonderful recording, and it does reflect the practices of the times (the Cabaletta after the famous Miseria for Leonora is cut, which was a common practice at the time, yet, a stupid one to me, for if the soprano can sing the coloratura's of the first act, she would have no worries in this aria, for it is far easier). What I find sad is that these great singers recorded so little together. Each recorded some on their own, and with other singers, but they work so well together. Tucci sings a wonderful Leonora, and she actually has a very beautiful trill. Some say her voice just wasn't individual enough to make her a star. I find her voice very individual, and I find I have no trouble instantly identifying her when I hear her sing, however, she does remind one of Stella a great deal. Bergonzi has always been a favorite Manrico, but not the only tenor I enjoy in the part (I love Corelli, Domingo, Di Stephano, del Monaco, and each for very unique reasons). He brings a very lyric quality to the role, one of a young lover, even if in the super dramatic moments there are others who really do a more compelling job. Cappuccilli is his "not-at-all-subltle" self (I don't think he ever sang a role without reminding you of a bull in a china shop, but no matter how loud and large he was in voice, it works here beautifully). However he works well with the other principles. Then there is the famous Simionato, and I have to say my most favorite Azucena ever. I wish she recorded the role with the high C that it contains, for she did sing it that way on occasion (but not often, as she really stuck more to performing practices of the day), yet, at this stage in her career, I am sure that note was beyond her. I think this is one of the only times (excepting a newer recording out with Pavarotti containing the Azucena of Verrot, and she is nearly her 70's when she made that recording) we actually hear the singer portraying the role who is close to the age of the role (we make that comment sometimes in regard to sopranos who are at last young enough to match the age of the heroine they are portraying, but we seldom think of it in terms of being old enough to reflect the age of the person they are portraying). Personally, no matter the actual shortcomings of Simionato in this role, I really think being the correct age for the gypsy mother only adds to the reality of the part. We are hearing an old wornout person who deeply reflects the distructive forces of a life filled with hate. Simionato's age works for her making this portayal very real, and very authentic to that sort of a person. It is very true that there are moments one is forced to listen to some real struggling to get out the music, but again, I don't see that as a draw back at all. It only makes her suffering all the more real, the pains of life actually gulping away her ability to speak. This is an electric Trovatore, and sadly, we NEVER see that in the theater today. The singers either have voices far too small for the roles, or are too intent on sounding pretty, and all the drama is lost.

An Excellent Il Trovatore.......2004-11-28

This recording of Il Trovatore is underappreciated. It features an all-star cast with an excellent conductor. Carlo Bergonzi is one of the best Manricos alive. He sings with dramatic intensity, which is relevant in his "Infida!" in Act I. Bergonzi's finest moment in the opera is his High Cs at the end of "Di quella pira." Gabriella Tucci is an under recorded opera star. Her Leonora is one of the best around today. Her vocal beauty is apparent in "Tacea la notte," and "Di tale amor." Piero Cappuccilli is one of my favorite baritones, so his presence on this CD influenced me to purchase it. His powerful baritone voice is perfect for Count di Luna. His "Il balen" is absoutely wonderful. Giulietta Simionato is THE Azucena. Her "Stride la vampa" is great, and her best moment. She sounds just like a crazy gypsy mother seeking revenge on the Count. The supporting singers ae also great. Ivo Vinco is a commanding Ferrando. Piero de Palma is one of my favorite "supporting singers", and is excellent as Ruiz. Conductor Gianandrea Gavazzeni is a superb conductor, and pulls out everything he has to impress the Moscow audience.

Our Amazing Stars in Moscow.......1999-09-11

This recording is set in Moscow as La Scala's opera tour. For the names of the singers you may choice this set without any hesitation. Of couse, all the singers are pretty good. Although Simionato is already old, she sings still exactly. And Tucci is in her pick. She's cool! Cappuccilli is normal. But our Bergonzi is not so good at that time and "Di quella pira"is downed in a half-note. The reaction of Moscow's audience is very passionate. But remastering isn't a little satisfying. But I'd like to tell you, only if you love this opera, to buy this set.

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