Sereno

Amazon.com
Simply put, the Panama-born Miguel Bosé is larger than life. He's a singer, composer, film scorer, thespian, and television host. On top of that, Picasso was his godfather and Ernest Hemingway, Salvador Dalí, and Jean Cocteau were family friends. With nearly two dozen albums to his credit, the much-traveled, thundering baritone--who made waves with his 1985 hit, "Bandido"--shines in this recording from his own crib in Madrid. Backing Bosé on this date are Mana's ace drummer, Alex González, and Antonio Carmona from Ketama. The group receives expert production by Peter and Greg Walsh, who worked with Peter Gabriel and Simple Minds. Included in this set is the hip-hop friendly "Morenamia"; "El Hijo del Capitán Trueno," a reggaefied shout-out to his bullfighter father; the atmospheric "Mirarte"; and "Puede Que," a dedication to the daughter of Latin pop star Alejandro Sanz. The album title, which means Night Watchman in English, is tailor-made for the clubs, and the album itself received a 2002 Latin Grammy Award nomination for Album of the Year. --Eugene Holley Jr.

Sereno,Miguel Bose,Wea Latina,Italian Pop,Latin,Latin Music,Latin Pop,Latin Pop/Rock

Music

jazz

music

Tracks:

Idomeneo: Recitativo ed Aria "Quando avran fine omai" - Mozart
Don Giovanni: Recitativo accompagnato e Rondo "Crudele!" - Mozart
Benvenuto Cellini: Cavatine "Entre l'amour et le devoir" - Berlioz
La Sonnambula: Recitativo e Cavatina "Care compagne, et voi, ternei amici" - Bellini
Manon: Air du Cours-la-Reine "Suis-je gentille ainsi?" - Massenet
Lucia di Lammermoor: Scena e Cavatina "Ancor non giunse!" - Donizet
Faust: Ricitatif "Les grands seigneurs ont seuls des airs..." - Gounod
Rusalka: "Mesicku na nebli hlubokem" - Dvorak
La Boheme: "Quando me'n vo' (Musette's Waltz)" - Puccini

Amazon.com

Here, a year after her sensational Metropolitan debut as Prokofiev's Natasha from War and Peace, comes the debut solo recital album of 30-something soprano Anna Netrebko. She hails from southern Russia, and her emergence from the life of a conservatory student has a touch of the Cinderella tale—the bit, that is, about being discovered by Gergiev mopping floors for the Kirov as a part-time job and making her way into the Kirov's ranks. Later she became a favorite at San Francisco Opera, trying on for size a swath of comic and dramatic roles. Opera Arias parades Netrebko's way through a spectrum of vocal styles and characters. This mesmerizing lyric soprano engages--at times thrillingly grips--the listener with an imagination far greater than the disc's title (couldn't someone have dreamt up a less ridiculously bland handle?), but most significantly leaves an impression that the enterprise here isn't merely about singing. Netrebko's Ilia and Donna Anna are flesh-and-blood characters in real situations, as Mozart wanted them to be. The results are a bit more uneven with her bel canto heroines, where the required balance between Netrebko's emotional identification, so obviously a forte, and the musical phrasing thereof is a delicate one. Her shading of Lucia's mood swings, vocal and emotional, isn't consistently compelling. On the other hand, Netrebko uncovers gemlike facets not just in Gounod's "Jewel Song" but particularly in her stunning, passionately realized and beautifully phrased Manon (even if her trills disappoint). A shame that samples of her Russian repertory are missing here, though Netrebko's "Song to the Moon" from Dvorak's Rusalka concentrates and sets a mood with enviable mastery. Netrebko's musical intelligence and theatrical savvy seem destined to ensure her a magnificent career, so it's no surprise that many fans are already clamoring for more than the tease of an aria collection. --Thomas May

Customer Reviews:

Bright Star.......2007-07-13

If you like opera, if you like the lyric soprano, if the vocal range of the colortura causes goose bumps to rise, Anna Netrebko is a must. Roberta Peters, Beverly Sills, Anna Moffo, Joan Southerland, Maria Callas, she takes a back seat to none of them,she sits he front seat with the best of them and guess what? She is beautiful too.

Anna Netrebko: Opera Arias.......2007-03-29

Her voice takes my breath away, I fell in love with her.
I highly reccomend it.

First DGG album--very promising.......2007-02-01

Anna Netrebko has rapidly become a first tier star in opera. This album, her first at DGG, illustrates why some rate her so highly; it also illustrates some of the questions that some have raised about her. All in all, though, a very nice CD.

A few selections illustrate:

Mozart, Idomeneo, "Quando avran fine omai." She displays a rich and clean voice. There is a very attractive quality to her voice manifest in this work.

Mozart, Don Giovanni, "Crudele? Ah no, mio bene!...Non mi dir." This is Donna Anna's poignant aria, given her circumstances. Netrebko displays rich tones. This is a well sung cut. "Non mi dir" shows off some agility in her voice.

Donizetti, Lucia di Lammermoor. "Ancor non giunse!. . .Regnava nel silenzio. . .Quando rapito in estasi" Something of a disappointment. Coloratura is not her forte (and see her "Sempre Libera" CD for further confirmation). She clearly shows off a rich and lush voice. I think that she displays some characterization here that is compelling. She hits high notes cleanly. But her ornamentation is indifferent, and she appears unable to trill. I know, some say that that is irrelevant. But compare Beverly Sills' version of this work, with almost too many trills extraordinarily well sung and her florid technique, and this version simply pales.

Bellini, La Sonnambula. "Care compagna. . .Come per me sereno." Again, Netrebko displays a rich voice. She displays an agile voice and the ability to hit the high notes. Her rendition of "come per sereno" is spirited.

Gounod, Faust. "The Jewel Song." Very smooth singing; animated singing. But the technique does not measure up to Anna Moffo's version--let alone Joan Sutherland's.

Puccini, La Boheme. "Musetta's Waltz." Yikes! What a version. Brava Netrebko. Her darker voice is very well suited to this. The characterization of Musetta seems on the mark. A wonderful cut.

All in all, this shows the promise of Netrebko. It also indicates where her strengths are and where she does not do so well (coloratura work). However, this is a very nice introduction to her work and her art.

Remarkable!.......2006-11-02

Perhaps her voice is not as candid as some other sopranos, but her rendition of the score and interpretative expression make her and exquisite hearing pleasure. This recording shows a more matured artist capable of capturing the role dynamics and emotions.

Yes, her voice is not as lyric as you might expect, and some roles may sound a little big heavy (sometimes maybe bordering verismo), but definitively at stated before hearing her is a gloriuos pleasure, almost as good as looking at her.

Beautiful voice, beautiful girl.......2005-11-22

When I heard Anna Netrebko singing Quando Men Vo I was stunned by a voice of stunning purity, great power and sheer beauty. The best Musetta I've heard! Her Song to the moon is stunning and I love her Bel Canto! Anna Netrebko has a very bright future ahead of her. Her Mozart is top class!

Average customer rating:

Beautiful Collection of Songs
A Legend in all.....La Callas.
Excellent compilation of La Divina's arias
Some people have no business reviewing this
BELLA BELLA BELLA!

Maria Callas, the Voice of the Century

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music
Similar Items:

The Very Best Of Maria Callas
Maria Callas - At Covent Garden 1962 and 1964
Maria Callas: The Legend
Puccini: Arias
The Most Famous Opera Duets

ASIN: B00000631B
Release Date: 1998-03-17

Tracks:

Norma: Casta Diva (Atto I): Norma
La Sonnambula: Compagne, teneri amici...Come per me sereno (Atto I): La Sonnambula
Il Barbieri Di Siviglia: Una Voce poco fa (Atto I): Il barbiere di Siviglia
Lucia di Lammermoor: Regnava nel silenzio...Quando, rapito in estasi (Atto I): Lucia di Siviglia
Rigoletto: Gualtier Mald...Caro Nome (Atto I): Rigoletto
La Traviata: E Strano!...Ah, Fors'e lui...Sempre libera (Atto I): La traviata
La Boheme: Si, Mi chiamo Mimi (Atto I): La boheme
La Boheme: Donde Lieta Usci (Atto III) (Mimi's Farewell): La boheme
Madama Butterfly: Un Bel di Vedremo (Atto II): Madama Butterfly
TOSCA: Vissi D'arte (Atto II): tosca
Turandot: In questa reggia (Atto II): Turandot
La Wally: Ebben? ne andro lontana (Atto I): La Wally
Andrea Chenier: La mamma morta (Atto III): Andrea Chenier

Tracks:

Orphee et Eurydice: J'ai perdu mon Eurydice (Acte V)
Alceste: Divinites du Styx (Acte I)
Dinorah: Ombra leggiera (Atto II) (Shadow Song)
Romeo et Juliette: Ah! Je veux vivre (Acte I) (Waltz Song)
Faust: Les grand seigneurs...Ah! je ris (Acte III)
Lakme: Dov'e l'indiana bruna? (Atto II) (Bell Song)
Samson et Dalila: Printemps qui commence (Acte I)
Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte II)
Les Pecheurs De Perles: Me voila seule...Comme autrefois (Acte II)
Carmen: L'amour est un oiseau rebelle (Habanera)(Acte I)
Carmen: Les tringles des sistre tintaient (Acte II)
Le Cid: De cet affreux combat...Pleurez mes yeux! (Acte III)
Manon: Je ne suis que faiblesse...Adieu, notre petite table (Acte II)
Louise: Depuis le jour (Acte III)

Customer Reviews:

Beautiful Collection of Songs.......2006-07-15

I have listened samples of 5 Callas CDs before buying this one. This one has a very beautiful collection of songs on just 2 CDs. he sings with so much expression. Most the recordings are from the fifties and early sixties when her voice was very young and lovely. I'll try to get her on DVD so I can see her sing.

A Legend in all.....La Callas........2005-04-24

I would just like to refer to an article that was published by a German Newspaper in 1959, mentioned on the Callas Edition (CED:100342)
'...her voice is of unparalleled beauty, having an inimitable, completely own timbre of sopranos and altos...a performance of superior musical quality..a phenomenon amongst contemporary singers'
' ...One of the most spectacular Verdi arias, of Elizabeth from Don Carlo, and one, In Germany tottaly unknown, terrific scene from Bellini's opera Il Pirata were enough to enchant huge numers of television viewers, who can say at her next performance: 'we have seen La Callas''(Hamburg concert 1959)
'- from the contra-alt-f to the f - thats Callas' voice range, spanning over 37 half-tones. Callas herself has drawn the range of her voice. In her concert repertoire the contra-alt-f can be found in e.g. the aria from I Vespri Siciliani. In an aria from Rossini's opera Armida she reaches the 'F'. five half-tones above the high C. Normal voices couldnt possibly even whistle this high F. Though there are other singers, whose voices contain these three octaves - Erna Sack with her coloratura soprano, the lyrical singer Ema Berger and the dramatical singer Zinka Milanov from the New York Metropolitan Opera - simple fact is that the phenomenon Meneghini-Callas lies in her fabulous vocal versatility. She is a coloratura singer, drama-player and lyrist in one person - and an exceptionally talented ac-tress at that.'
Excuse from a journalist of the German Newspaper for the Diva :

Article Title : 'I am sorry!'

'I owe Maria Callas an apology. She is a unique vocal talent, a great artist. She is a primadonna. And she has her moods. Moods for which i ask her to forgive me. Because i misunderstood them - and many others too. That much i gathered from her latest television concert. Even in the flickering of the screen this woman's nervousness and enormous effort were visible.
La Callas is a fragile, rather shy person. Her moods are fear of failure. The moloch audience expects her to always go to any lenght, show the brilliance others just dont have. She is not allowed to get weak. Decent country singers are not decapitated for a false note. La Callas, on the other hand, is the identifying mark of the extraordinary. Even the slightest hint of a mistake would cost her her uniqueness, her stardom....a perverse triumph for all bathtube singers.
That explains her inhibitation to perform when she isnt well, her cancellations when she is not in the right mood. I understand them now. If she werent moody, she wouldnt be a primadonna, would not be La Callas.
Stars like her do not fit in our world of standards and programmed data. They pay dearly for their moods, have to put up fights and, undoubtedly, shed many a tear. So one more, my apologies, Maria Callas'
(Hans im Bild)
That's all folks!:D

Excellent compilation of La Divina's arias.......2005-03-21

This is one of the best compilations EMI has ever made for Maria Callas' arias. Each and every aria lets us listen to the best of her voice from each period of her career. An excellent collection!

Holly Mathews doesn't know how to appreciate art. Kathleen Battle and Renee Fleming themselves have admitted to the supremacy of Callas' singing over theirs, even if their voices seem more beautiful than La Divina. Why else would Callas be a legend and they wouldn't? They are equally good in their own right, but none of them would surpass the accuracy of La Divina's singing and phrasing. Holly Mathews' left side of the brain must be made of clay or foam, dead material that couldn't absorb any beauty.

Some people have no business reviewing this.......2005-01-25

My goodness, what is a non-musical person like Holly Mathews doing in this board? Do you know what other album she has reviewed? Hayley Westenra! And she's not even an opera singer! She obviously doesn't know her business! Disgraceful review! Ignore it! It obviously was not based on good judgement. I'm sure she is a pop fan who just likes tender music. Oh, her insulting language! What an ignorant Maria basher!

Anyway, this is an excellent compilation of SOME of Maria Callas' greatest arias. Although I do wish some arias like Pace Pace Mio Dio were included here, I do think it is a very good compilation all in all. Although she has many detractors, they still have to admit that Callas is the sheer embodiment of singing and drama. She was an actress...a panther on the stage. Listen to her La Mamma Morta and her Suicidio...those brought chills to my spine when I listened to them. Maria is the only singer in the history of opera besides the great Caruso-tenor Franco Corelli who touched me, moved me even. This is probably the reason why I love Maria Callas' music so much. If you want to hear Medea's anger and Norma's anguish and Butterfly's hopeful blindness, listen to Maria Callas. If you just want a golden voice, then go to Renata Tebaldi or Joan Sutherland. And don't even compare her with Charlotte Church or Hayley Westenra! The distaste of some people!

BELLA BELLA BELLA!.......2004-11-23

THIS WAS THE FIRST ALBUM I EVER BOUGHT FEATURING ANY OPERATIC SOPRANO. I WAS 15 AND WAS GIVEN MY VERY FIRST CLASSICAL PIECE "CARO MIO BEN" WHICH WAS NOT AN OPERA ARIA BUT DUE TOTHIS SONG I WAS SUDDENLY IN LOVE WITH OPERA. I HAD HEAR OF HER A FEW TIMES IN THE PAST BUT MY IDEA OF A GOOD SOPRANO AT THE TIME WAS SARAH BIRGHTMAN (YES I KNOW I KNOW!!!BUT I WAS YOUNG!)BUT IT DIDN'T TAKE LONG TO REALIZE HOW WRONG I WAS!! THIS CALLAS RECORDING HAD THE MOST PROFOUND EFFECT ON ME WHICH LED TO MY OBSESSION WITH MY OWN OPERATIC ASPIRATIONS. IT WAS STRANGE AS SHE DID NOT SOUND LIKE A FAT WOMAN SCREAMING HER HEAD OFF IN FULL BODY ARMOR. YES YES...I AND MANY MANY SAD AMERICANS HAVE THOUGH OF THIS WHEN GIVEN THE WORD OPERA. (NOW NOW, WE ALL FELT LIKE THAT AT SOME POINT) I NEVER REALIZED THAT THERE COULD BE SUCH PASSION. HER NORMA WAS IS SO BEAUTIFUL IN IT'S SIMPLICITY AND UNDERLINING STRENGTH. HER TAKE ON "COME OER ME SERENO" AND "UNA VOCE POCO FA" WERE SWEET AND APPROPRIATELY INNOCENT. HER BEL CANTO ROLES WHICH INCLUDED HER FANTASTIC LUCIA (ALTHOUGH LATER I WOULD PREFER SUTHERLAND) AND GILDA JUST THRILLED ME. I HAD NO IDEA SOMEONE COULD ACTUALLY SING THOSE PIECES! OF COURSE UP UNTIL THIS POINT I DIDN'T EVEN KNOW OPERA COULD SOUND LIKE THAT!! (SILLY ME!) I WAS SURPRISED TO REALIZED I KNEW THE ARIAS SHE SUNG FROM LA BOHEME, LA TRAVIATA, AND MADAME BUTTERFLY. THEY DIDN'T MAKE A HUGE IMPRESSION BECAUSE THEY DID NOT HAVE THE FIREWORKS I WAS LOOKING FOR BUT I STILL FOUND THEM TO BE BEAUTIFUL. AFTER ALL OF THIS I LANDED ON CALLAS' TAKE OF TOSCA'S "VISSI D'ARTE". IT WAS AND HAS BEEN THE ONLY TIME I'VE BEEN SO MOVED BY A PERFORMER THAT I CRIED. IT WAS SO PURE BUT THE PAIN WAS SO EVIDENT THAT IT JUST CHILLED ME. I MUST HAVE LISTENED TO IT THOUSANDS OF TIMES OVER THE YEARS AND STILL HAVE YET TO HEAR A MORE STIRRING RENDITION. DUE TO THE OVERWHELMING FIRST CD I MUST ADMIT I KIND OF IGNORED THE SECOND HALF. EVENTUALLY I DID GET TO IT AND FOUND WHAT I FELT WAS THE GREATEST SONG EVER WRITTEN. MY WHOLE BEING LIVED FOR LAKME'S BELL SONG. AFTER LISTENING TO HER I WAS CONVINCED THIS WOMAN WAS MAGICAL BECAUSE I COULDN'T FIGURE OUT HOW SHE OR ANY HUMAN COULD SING LIKE THAT! HER SECOND DISC WAS INTERESTING BECAUSE IT WENT FROM WHITE HOT COLORATURA TO MEZZO? AAHHH BUT YES SHE WENT THERE. INTO THE INTENSITY OF SAMSON ET DELILA. I THOUGHT THEY WERE BEAUTIFUL!!! OF COURSE I KNOW PREFER MARILYN HORNE TO CALLAS ON THOSE SONGS....BUT IT SHOWED ME THAT NOT EVERY SONG HAS TO BE HIGH TO BE BEAUTIFUL. I LOVED AND STILL DUE LOVE THIS COLLECTION....IN FACT I HAVE BOUGHT IT THREE TIMES AS MINE DETERIORATED QUICKLY 'CAS I PLAYED THEM SO MUCH! AND I'VE GIVEN THIS COLLECTION TO COUNTLESS FRIENDS AND FAMILY. THIS IS THE BEST COLLECTION OF CALLAS' WORK AND I WOULD RECOMMEND IT TO EVERYONE AND ANYONE! VIVA LA DIVA!

Early Music Festival / David Munrow, Early Music Consort

Average customer rating:

Ahh, Florence!!
Best Italian Renaissance disc available.
Munrow is magnificent
boccacio would be proud

Early Music Festival / David Munrow, Early Music Consort
Antonio Zaccara da Teramo , Giovanni Da Firenze , Lorenzo da Firenze , Jacopo da Bologna , Claudio Monteverdi , Luca Marenzio , Cristofano Malvezzi , Emilio de' Cavalieri , Costanzo Festa , Bartolomeo Tromboncino , Giovanni Domenico del Giovane da Nola , Marchetto Cara , David Munrow , John Beckett , James Bowman , Nigel Rogers , Martin Hill , John Frost , Janita Noorman , and Grayston Burgess
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Solo Instrumental | New Age | Styles | Music

The Decca Records Store | Specialty Stores | Music
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Sinners & Saints: The Ultimate Medieval and Renaissance Music Collection
Henry VIII & His Six Wives
Panorama: Dances of the Renaissance
Music Of The Crusades
Codex Faenza: Instrumental Music of the Early 15th Century

ASIN: B000009DFX
Release Date: 1998-07-14

Tracks:

Ecca la primavera
Lamento di Tristano
Giuinta vaga bilta
Questa fanciull'amor
Trotto
De! dinmi tu
Con dolce brama
Due saltarelli
Rosetta
Quan ye voy le duc
Cara mie donna
La bionda trecca
La Manfredina
Donna 'l tuo partimento
Chon bracchi assai
Istampita Ghaetta
Da, da, a chi avaregia
Fenice fu' e vissi
Biance flour

Tracks:

Music For Ferdinando de' Medici: Toccata ('Orfeo')
Secondo intermedio: Sinfonia
Secondo intermedio: Belle ne fe' natura
Secondo intermedio: Chi dal delfino
Secondo intermedio: Se nelle voci nostre
Secondo intermedio: O figlie di Piero
Sesto intermedio: Dal vago e bel sereno
Sesto intermedio: O qual risplende nube
Sesto intermedio: Godi turba mortal
Sesto intermedio: O fortunato giorno
Sesto intermedio: O che nuovo miracolo
Quando ritrova
Allemana-ripresa: Quando ritrova
Io son l'occello
Pavana 'La cornetta'
Gagliarda 'Giorgio'
Tri ciechi siamo
Io non compro
Ahime sospiri
Pavana 'Forze d'Ercole'
Orsu, orsu, car' Signori
Pavana 'El colognese'
Dance Songs: Era di Maggio
Dance Songs: El marchese di Salluzzo
Dance Songs: In questo ballo
Dance Songs: Noi ci vogliam' partire
Dance Songs: Bussa la porta
Dance Songs: La pastorella
Dance Songs: E su quel monte
Dance Songs: Maggio valente
Dance Songs: Sorella mia piacente

Customer Reviews:

Ahh, Florence!!.......2002-10-14

Italian culture during the period from the 14th to the 16th centuries was a whirlwind of developing literature and art, and during this period of history Florence was a political and cultural center to rival Milan or Verona.
I love medieval and renaissance music. They are the "roots" of the great classics centuries later. One does not cultivate a complete education of art by studying only such Masters as Van Gogh, Renoir, Picasso, Dali etc. So it is with fine music.
These CD's contain examples of Florentine musical composition from the 1300's and 1500's. The first CD, performed by David Munrow and the Early Music Consort, covers compositions from the 1300's, with many of the works of Francesco Landini, the most prolific Florentine composer of this period. The second covers music from the 1500's and is performed by John Beckett and the Musica Reservata. Here we can see the early development of both symphonic structure and opera.
Both discs are wonderful examples of different periods in the history of musical development, and performed by different conductors and artists. Therefore a comparison between the two is unfair and misplaced. David Munrow and the Early Music Consort are superb, as I have always found them to be, and John Beckett and the Musica Reservata are equally enjoyable.
If you appreciate early music you will find this recording to be a fantastic addition to your collection, and perhaps the definitive collection of early Italian music. If you are unfamiliar with early music or with Italian Renaissance music then these CD's would be a wonderful introduction.

Best Italian Renaissance disc available........2002-06-28

This re-issue of recordings from the early 70's by the Early Music Consort Of London is,in my opinion,the best recordings of Italian Renaissance works.It is the favorite of my eary music discs,and includes music treasures from 14th and 16th century Florence. Great listening on both discs,and worth the money!

Munrow is magnificent.......2001-11-20

The first disc in this collection is delightful. David Munrow's recorder is a genuine treat. The vocal parts blend well and create a festive atmosphere. The Early Music Consort of London offer a splendid performance. By contrast, the second disc, which features Musica Reservata, is a bit disappointing. Two of the solo voices on disc two are harsh, detracting from an otherwise pleasant recording. They may fairly represent the performing style of sixteenth century Florence, but that is small consolation for the twentieth century ear. Nonetheless, the virtues of the first disc are sufficient to warrant purchasing this collection. Munrow is magnificent.

boccacio would be proud.......2000-04-23

this is a superb recording of early music it is well performed and played. the first cd is all music from the 1300,s and the second is from the 1500,s if you like the kind of music this is the cd to get well worth it.

Maria Callas - Life & Art (2 CD's & Bonus DVD)

Average customer rating:

The Fascinating Maria Callas
Stupenda! A great compilation...
wonderful representation of Callas artistry

Maria Callas - Life & Art (2 CD's & Bonus DVD)

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

French | Languages | Opera & Vocal | Styles | Music

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

Verdi: Arias by Maria Callas (includes DVD - rare performance of Callas on film)
The Passion of Callas
Maria Callas - The Callas Conversations (EMI Classic Archive)
Callas - A Documentary Plus Bonus / John Ardoin, Franco Zeffirelli
Maria Callas - Passion / A Film by Gerard Caillat

ASIN: B0002Z83KW
Release Date: 2004-11-16

Tracks:

Bellini: Norma - Casta Diva (Act I)
Donizetti: Anna Bolena - Al dolce guidami castel natio (Act II)
Verdi: Il trovatore - D'amor sull'ali rosee (Act IV)
Catalani: La Wally - Ebben? ne andrr lontana (Act I)
Giordano: Andrea Chinier - La mamma morta (Act III)
Puccini: La bohhme - Donde lieta uscl (Act III)
Puccini: Tosca - Vissi d'arte (Act II)
Mascagni: Cavalleria rusticana - Voi lo sapete o mamma
Boito: Mefistofele - L'altra notte in fondo al mare (Act III)10. Puccini: Madama Butterfly - Un bel dl vedremo (Act II)
Puccini: Turandot - Signore, ascolta (Act I)
Puccini: Manon Lescaut - Sola, perduta, abbandonata (Act IV)
Ponchielli: La Gioconda - Suicidio! (Act IV)
Verdi: Aida - Ritorna vincitor! (Act I)
Bizet: Carmen - Carreau ! Pique ! (Card Scene) (Act III)
Massenet: Le Cid - De cet affreux combat...Pleurez, mes yeux ! (Act III)

Tracks:

Bellini: La sonnambula - Compagne, teneri amici...Come per me sereno...Sovra il sen la man mi posa (Act I)
Bellini: I puritani - Son vergin vezzosa (Act 1)
Donizetti: Lucia di Lammermoor - Regnava nel silenzio...Quando rapito in estasi (Act I)
Verdi: Rigoletto - Gualtier Maldh...Caro nome (Act I)
Verdi: La traviata - Ah, fors'h lui (Act I)
Puccini: Gianni Schicchi - O mio babbino caro
Cilea: Adriana Lecouvreur - Ecco: respiro appena. Io son l'umile ancella (Act I)
Thomas: Mignon - Ah, pour ce soir...Je suis Titania (Act II)
Gounod: Romio et Juliette - Ah ! Je veux vivre dans ce rjve (Act I)
Gounod: Faust - Un bouquet !...Ah ! je ris (Jewel Song) (Act III)
Berlioz: La Damnation de Faust - D'amour l'ardente flamme (Part IV)
Massenet: Werther - Werther ! Qui m'aurait dit...Des cris joyeux (Letter Scene) (Act III)
Bizet: Les Pjcheurs de perles - Me voil` seule...Comme autrefois (Act II)
Saint-Saens: Samson et Dalila - Printemps qui commence (Act I)
Charpentier: Louise - Depuis le jour ( Act III)

Tracks:

Massenet: Le Cid - De cet affreux combat...Pleurez, mes yeux (Acte III) (DVD)
Bizet: Carmen - Prilude; Habanera (Acte I); Entr'acte (Acte III); Siguidille (Acte I) (DVD)
Verdi: Ernani - Surta h la notte...Ernani, involami (Atto I) (DVD)
Rossini: La Cenerentola - Nacqui all'affanno e al pianto...Non piy mesta (Atto II) (DVD)
Verdi: Don Carlo - O don fatale, o don crudel (Atto III) (DVD)

Customer Reviews:

The Fascinating Maria Callas.......2007-01-10

The DVD of her life was the most interesting part. I was really hoping for a wide selection of arias on the CDs, rather than the two full operas that came in the set.

Stupenda! A great compilation..........2006-08-23

First off, I think this is a great compilation of Maria Callas' work. It has a little bit of almst everything. It picks the right records and highlights them quite well. I liked the idea of splitting the album into two discs. One of lighter romantic arias. The other with tragic and dramatic arias. Now, to the point...
I listen to many operas as it is my music of choice. Whenever I find myself at a loss with a certain soprano for either character or tone I always find myself coming back to Callas. Not having the most tonaly beautiful voice she does for me what is more important. She adds life and passion to the music instead of just singing it. She knows the characters and their motivations. This rare feat comes thru in her voice. Capable of singing almost any soprano role from a light lyric coloratura such as Lakme or to the heavy demands of a Wagnerian role such as Norma. Not only does her range impress but her voice was capable of such colors and shades of those colors. She imparts such pathos and depth with her voice. This for me is most important. A singer can have the most tonaly beautiful voice, but if there is no heart and emotion behind it, forget about it. Callas has that in spades. Maybe that is why 30 some odd years after her death I still find myself turning to her for inpsiration.

wonderful representation of Callas artistry.......2006-04-29

This 2 set CD and additional DVD are a great sampling of Maria Callas singing various operatic arias. They demonstrate not only her remarkable vocal range but her ability to perform expressively as well. No artist in my opinion can act today as well as Callas. Callas voice may have been flawed later on during her career, but her ability to act truly makes up for any vocal imperfections. After all, she is the only operatic soprano I know of who possessed not only the natural talent for acting, but the ability to sing anything from mezzo to soprano. If you are a fan of Callas, then I highly recommend this set. Even those not familiar with Maria Callas should hear her perform at least once.

Ruth Ann Swenson - Positively Golden ~ Colaratura Arias

Average customer rating:

Swenson Coloratura?
A nice introduction to Ruth Ann Swenson
A True Successor
It's only showbiz, but she is real good at it!
Positively golden...!

Ruth Ann Swenson - Positively Golden ~ Colaratura Arias
Gaetano Donizetti , Giacomo Meyerbeer , Vincenzo Bellini , Charles Gounod , Nicola Rescigno , London Philharmonic Orchestra , and Ruth Ann Swenson
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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

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Twilight and Innocence

ASIN: B000002RTG
Release Date: 1994-08-16

Tracks:

Linda di Chamounix. Act I Recitative and Cavatina: Ah! tardi troppo...O luce di quest' anima
Lucia di Lammermoor.Act I Cavatina: Regnava nel silenzio...Quando, rapito in estasi
I Puritani.Act II Aria: O rendetemi la speme...Que la voce... Vien. diletto
La Sonnambula. Act I Scene and Cavatina: A te diletta... Come per me sereno... Sovra il sen
Romeo et Juliette. Act I Ariette: Je veux vivre
L'Africaine. Act I Romance: Adieu, Mon doux revage... Pour celle qui M'est chere
Les Huguenots. Act II Aria: O Beau pays de la touraine!...A ce Mot seuls'anime
Dinorah. Act II Aria: Ombre legere, qui suis mes pas ( Shadow Song)

Customer Reviews:

Swenson Coloratura? .......2007-03-22

WHEN ARE WE EVER GOING TO HEAR THE BEAUTY OF THE HUMAN VOICE? PLEASE, Listen to the Coloraturas of the Golden Age. This young lady's singing is muddled, hooty, there is no center to the tone and the articulation is muffled. Absolutely no brilliance to the voice. These singers, and even moreso their teachers, should listen to Nezhdanova, Muzio and more. Alas, it is too late - the Golden Age of Singing will not return as long as the correct frequency of the human voice is not developed. 1 Star for the conductor

A nice introduction to Ruth Ann Swenson.......2007-02-09

Ruth Ann Swenson takes on some standard coloratura roles from Bellini and Donizetti and then some examplars from the French repertoire (Gounod and Meyerbeer). In this CD, we see a number of examples of the standard technique of Bellini and Donizetti, with a cabaletta following a slower work. As the Wikipedia puts it: The cabaletta is a "form of aria within 19th century Italian opera. It usually refers specifically to the second half of a double aria: a faster or more rhythmic movement following a cantabile section. . . . Classic examples include "Vien diletto, è in ciel la luna" from I Puritani by Bellini (1835). . . ."

Some samples of her style from this CD. In Donizetti's "Lucia di Lammermoor," we are treated to Swenson's version of "Regnava nel silenzio. . .Quanto rapito in estasi." Hers is a somewhat darker, heavier voice than that of Dessay or Sills (more similar to Netrebko and Callas in that regard). Still the voice is agile; her trill technique is adequate but not noteworthy. In the cabaletta, she shows agility and her florid technique is fine. She is able to hit the higher notes well. In the repeat of "Quanto rapito in estasi," she is fine, but not at the level of top coloraturas such as Dessay or Sills or Sutherland.

Bellini's "I Puritani" features the standard cantabile-cabaletta structure as per the Wikipedia's description above, "Qui la voce. . .Vien, diletto." Classic coloratura territory. In the first part, she shows a nice smoothly sung line. In the cabaletta, she hits the high notes cleanly, Her florid technique is fine but not exciting. Her trills are adequate but not wonderful. In the repeat, her ornamentation moves up a jot. All in all, a competently done--but not exciting--version.

From Bellini's "La Sonnambula," we have "A ti deletta. . .Sovra il sen." Again, Swenson does a technically sound version. There is a very nice trill early on. She floats some higher notes very well. The cabaletta is fine, her florid technique is good, she shows off in this cut a nice trill, and she closes out with a well executed high note.

All in all, Ruth Ann Swenson comes off as a good coloratura soprano with fine technique. She lacks some of the firepower and technique of the top performers, but this is a nice CD in the final analysis.

A True Successor.......2004-03-15

Ruth Ann Swenson is one of the finest coloratura sopranos singing today. Her voice is a seamless, pearly-timbred instrument; her technique is rock-solid. In her first solo CD (recorded in 1993) Swenson concentrates on the bel canto repertory and gives us some of the most assured singing in this since Joan Sutherland. My favorite track is the Act I aria from LUCIA DI LAMMERMOOR, in which Swenson conveys Lucia's horror in a stream of eerily pure tone, which then sparkles in the cabaletta, "Quando, rapito in estasi." In both beauty of sound and coloratura virtuosity, Swenson is a very worthy successor to Sutherland and Montserrat Caballe. "Positively Golden" is, so far, my favorite coloratura recital next to Sutherland's "The Art of the Prima Donna."

It's only showbiz, but she is real good at it!.......2001-12-01

Ruth Ann Swenson is like Michael Jordan - a supremely gifted & disciplined athlete, & also a freak of nature. The great basketball player shatters the backboard, the colortura soprano shatters the wine glass. Composers use the colortura aria to show off a certain kind of composing that requires an unreal voice. It's strictly showbiz. Conveying a character - that demonstration of peculiar, exaggerated emotions many opera fans call "acting" - is completely optional. So just crank up the volume, sit back, & let Ms. Swenson raise goosebumps on your neck. That's the job Gounod, Bellini, Donizetti & Meyerbeer gave her to do. & boy, does she do it swell!

Positively golden...!.......2000-06-08

I first heard Ruth Ann Swenson when she was in the Merola Opera Program at SFO, saw and heard her on several occasions that year and have followed her career with interest since then. This album showcases the beauty and perfection of Miss Swenson's voice, and immediately became one of my most favorite coloratura soprano arias recordings.

Average customer rating:

La Stupenda is stupendous on this recording. Don't miss it!
Sutherland is Amazing
A Phenomenal Historic Recording Newly Minted
Canary in the silver mine
Bel Canto from an angelic voice

The Art of the Prima Donna

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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La Stupenda ~ The Supreme Voice of Joan Sutherland
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Very Best of

ASIN: B00004XQ8G
Release Date: 2000-10-10

Tracks:

Artaxerxes: The Soldier Tir'd
Samson: Let The Bright Seraphim
Norma: Sediziose voci ... Casta diva ... Ah! bello a me ritorna
I Puritani: Son vergin vezzosa (Polonaise)
Semiramide: Bel raggio lusinghier
I Puritani: O rendetemi la speme ... Qui la voce ... Vien, diletto
La Sonnambula: Care compagne ... Come per me sereno ... Sovra il sen
Faust: O Dieu! que de bijoux ... Ah! je ris de me voir

Tracks:

Romeo et Juliette: Ah! Je veux vivre
Otello: Mia madre aveva una povera ancella ... Piangea cantando
Die Entfuhrung Aus Dem Serail: Martern aller Arten
La Traviata: E' strano ... Ah, fors'e lui ... Sempre libera
Hamlet: A vos jeux, mes amis
Lakme: Ah! Ou va la jeune Indue
Les Huguenots: O beau pays de la Touraine!
Rigoletto: Gualtier Malde ... Caro nome

Amazon.com

In February 1959, an unknown (well, comparatively) Australian singer appeared at Covent Garden in Franco Zeffirelli's new production of Lucia di Lammermoor and took the world by storm. The following year, Joan Sutherland went into the studio to record this reissued tribute to prima donnas of previous generations, illustrating along the way the bel canto tradition of which she was to become a leading exponent. The 16 excerpts on this digitally remastered double CD include several roles she had already sung or was on the verge of singing, from Gilda in Rigoletto, which she had sung at Covent Garden before her Lucia debut, to Norma. What a performance! The voice is fresh, remarkable in its beauty, and she makes it all sound so effortless, tossing off Handel's "Let the bright Seraphim" or the Jewel aria from Gounod's Faust as if they're the easiest things in the world. This sparkling selection of glorious singing demonstrates just why Sutherland was to remain at the top of her profession for the next 30 years and join those to whom she here pays tribute as one of the great singers of all time. --Richard Fawkes

Customer Reviews:

La Stupenda is stupendous on this recording. Don't miss it!.......2007-01-05

I originally bought "The Art of the Prima Donna" in 1963, when I was just a kid, after seeing Dame Joan's debut in "Norma" with the Vancouver Opera in October of that year, and I was completely bowled over by both her live performances and her recording. She made me an opera fan for life. I've worn out and replaced that miraculous recording since then, and now have a third version on CD.

I completely disagree with those who believe that Sutherland lost the gleam on her voice after 1961. It's true that she suffered for several years with intermittently poor diction and rhythmic lapses, but these were due to terrible medical problems and the results of serious operations that were required to restore her health. Later she recovered most of her vocal lustre and all of her enthusiasm for performing, and her diction steadily improved. Her fabulous technique remained intact until her retirement in 1990.

No singers sound as fresh at 50 as they do at 30. Just listen to how Callas sounded in her later years, when her voice had almost completely deteriorated, and her career was far shorter than Sutherland's. The fact is that Sutherland sang in public for forty years, without amplification and often in barnlike theatres, and yet she still sounded formidable when she retired. Just listen to her performance of the final aria from "Lucrezia Borgia" on YouTube. I heard her debut in that role, again in Vancouver, shortly before that Covent Garden performance, and can attest that she was still in fabulous voice at the age of 53 and her coloratura remained spectacular.

What "The Art of the Prima Donna" gives us is the memory of an unparalleled vocal phenomenon in her glorious youth, before her physical disabilities briefly interrupted her career. No singer since has created a recording that exhibits anything like the range, vocal beauty and versatility that Sutherland displayed on this historic recording--not Callas, nor Caballe, nor Sills, nor any of their recent imitators. The title of this recording was not an exaggeration. This is singing that truly revived "The Age of Bel Canto," to quote the title of another Sutherland recording. "The Art of the Prima Donna" and Sutherland's earlier recordings, if you can get them, constitute an invaluable legacy from an artist who truly restored the golden age of singing.

Sutherland is Amazing.......2006-06-29

The first thing I ever heard by Sutherland was the Bel Raggio and I was floored. The voice sounded huge but I wondered if it was a technicians trick. I heard her on stage many times. Recordings do NO JUSTICE to the hugeness of the voice. Her diction was weak and her line sometimes droopy but the warm, huge, fexible voice was amazing. I don't think she or anyone else was the Voice or Singer of the century- no voice or singer could sing every role in the repetoire. Sutherland could no more sing Brunnhilde than Flagstad could sing Lucia.

In her repertoire, JS was one of the greatest voices with an incredible technique and style that ever made recordings. This is a great CD - but some others which were issued on vinyl but to my knowledge not on CD help round out the Sutherland greatnes, viz., Command Performance, The Age of Bel Canto and the French Opera Album. She did a 2 disc set called "A Festival of Baroque Operas- There is an aria called "Barbaro, Barbaro" which is mind boggling for the speed and clarity of its coloratura. Even in 1977 at 51 yrs old her video performance of Lucrezia Borgia is amazing - it is one of the greatest performances she ever did- exciting, tender and again with that huge voice and flexibility. The last scene is amazing.

Flawless-NO Unique-WITHOUT A DOUBT!!!!!

A Phenomenal Historic Recording Newly Minted.......2005-10-08

There is not much to add to the encomiums of previous reviews. This is one of the most astounding vocal recitals, if not THE most astounding, ever recorded. It caught one of history's greatest singers in her absolute prime, before the well-known defects - mushy diction, cloudy tone, sliding into notes, enervated rhythmic sense - began to compromise her singing. (Well, ok, the diction here is not crystal clear, but mostly quite acceptable and MUCH better than it later became.)

One wonders if any other soprano in history ever sang so fast, so high and so loud while always preserving such a full, golden, round sound. Sutherland was a genuine vocal phenomenon, and even those who don't generally care for her singing surely must find their jaws on the floor repeatedly during this recital. Every selection has something treasurable. My personal favorites: "A soldier tir'd," "Bel raggio lusinghier," "Qui la voce," "Come per me sereno," the "Hamlet" Mad Scene, the Bell Song, and "O beau pays."

The remastering is superb, enabling us to hear Sutherland's voice in all its pristine glory. The engineers have even managed to mitigate the rumble of Underground trains (the Picadilly Line?) that were a perpetual problem in Kingsway Hall, although I was glad to hear that the loud yell in the distance one hears during the "Croce e delizia" section of "Ah, fors'e lui" is still there; by now it is an old friend, and I would miss it.

Canary in the silver mine .......2005-09-20

This is a good compilation, and Sutherland was captured at the right time, before she went completely mushy dictionwise and lost her vocal sheen. The remastered sound is very good, too, spectacular for a recording from the 1960s.
However, after digesting this CD for several weeks, I still have a mixed response to all these Stupendous vocalistics.
The beginning is the main sour note- Arne is tired, with often imprecise, behind the beat coloratura, quite unlike the rest of Sutherland's output, and Let the Bright Seraphim is unbelievably leaden- the orchestra in particular sounds awful, and clunky. I can't comment on ornamentation here because I didn't detect any. This is a poor man's Seraphim, only impressive if you never heard any other versions, and Sutherland's voice is wasted in this piece.
This CD really picks up with Casta Diva, a dazzling showcase for Sutherland's voice. I was very impressed with Sutherland's performance as Norma in this recording- what happened to her in later years, when her "acting" was limited to, as she herself described it, wearing a "generally pained expression" and singing without much color or feeling?
Pieces from I Puritani are great, then we get excellent Rossini, wonderful Jewel Song, and then sparkling Juliet and very effective, beautiful and dramatically involved Desdemona.
And then- another fly in the ointment, Marten Aller Arten. This is one of my favourite arias and I can be very unforgiving when it comes to its performance, plus I like Konstanze to be really angry and wired, which is sort of opposite of what Joan does. This is a pretty, chirpy Marten, and she works hard on her German- way too hard actually, she seems to be slowing down trying to pronounce it, and still "Ich verlache" and "mich" turn into "Ich ve-ayee" and "meeeh", plus she does not sound as secure on top as I would expect, with a metallic high C. She picks up at the very end, putting some feeling into the sound, then topples again... This is a hit and miss one.
Fortunately the rest of the CD is filled with sparklers more in Sutherland's vein. Violetta is really great, with a fantastic high E, Ophelia is nice, Lakme is vocally one of the best I have ever heard, the dull Meyerbeer aria is made interesting and shimmery- that fabulous trill is finally put to work after many tracks of underuse- and then it all ends with a most charming Gilda.
It's not the greatest vocal performance ever put on vinyl/plastic/megabites, but overall, a good, historical set to add to your collection of opera recitals and soprano specials.

Bel Canto from an angelic voice.......2005-04-19

There are only a few soprano-recitals that are absolutely essential and must be in every opera collector's collection. The art of the primadonna, does it qualify? Oh yes indeed and here's why. Joan Sutherland had one of the most brilliant and beautiful voices in recorded history, combine that with an excellent technique, high notes that sparkle like stars and coloratura of angelic quality and you get what Joan Sutherland was in 1961. To describe only a few favourites:

2. Samson, oratorio, HWV 57 Let the bright Seraphim
Composed by George Frideric Handel
with Joan Sutherland

A sparkling and intense interpretation of this well known yet hardly ever magnificently performed piece. Lucid, beautiful and technically impeccable.

3. Norma, opera Sediziose voci... Casta diva... Ah! bello
Composed by Vincenzo Bellini
with Joan Sutherland

Surely her best studio-recording of this killer-aria. She is one of the few Normas who masters the recitativo without cracking or sounding strained, yet full of authority and intelligent drama. The Casta Diva itself is fluent, the make-or-break coloratura wonderfully executed. As for the cabaletta, not since young Callas in 1949 have I heard this piece sung so beautifully! Amazing high notes crown a cabaletta that broke more than one famous Norma before.

6. I Puritani, opera O rendetemi la speme... Qui la voce... Vien, diletto
Composed by Vincenzo Bellini

A Bellinian madscene at its finest. Once again only Callas in 1949 can be compared to this wonder of a recording. Callas too found darker colours and more intensity. (Dolore e passione as described in the score) Sutherland may lack these but she sings it with her own sense for drama which is uniquely sublime.

10. Otello, opera Mia madre aveva una povera ancella... Piangea cantando
Composed by Giuseppe Verdi
with Joan Sutherland

An interesting and excellent choice. There are pictures of Joan Sutherland as Desdemona and what a pity that no complete recording of her performances survived. I find her Desdemona to be far more convincing than Tebaldi because she sounds more fragile and elegant, plus she has that silvery tone of innocence that I don't hear in Tebaldi's golden, sensual voice. Excellent in the floating lines, beautiful and tender in the cantabile.

16. Rigoletto, opera Gualtier Maldè... Caro nome
Composed by Giuseppe Verdi
with Joan Sutherland

This can be compared to Maria Callas' live-performance of this piece and, being in excellent sound, might be preferred. (Callas was excellent in the studio as well, yet in 1955 she was less daring and defying) Stunningly intense in the cantabile and brilliant in the coloratura-passages. Far better than her famous performance with Pavarotti where she had lost the youthful, silvery sound that made her earlier Gilda so loveable.

I do not adore her as much in French opera and La Traviata or anything German but that doesn't mean that her singing was anything but amazing, just a personal preference. In short: Buy it and discover why Joan Sutherland is indeed La Stupenda!

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Serenata: "Choros & Waltzes of Brazil"
Paulo Bellinati
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Brazil | South & Central America | International | Styles | Music

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Choro Sereno
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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.

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Siempre Sereno Bosé
La madurez de un hombre
La primera y la última...
¡Excelente! Great!
Sereno como Bosé

Sereno
Miguel Bose
Manufacturer: Warner Music Latina
ProductGroup: Music
Binding: Audio CD

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Por Vos Muero
Lo Mejor de Miguel Bose
Once Maneras de Ponerse Un Sombrero
Los Chicos No Lloran
Directo '90

ASIN: B00005QDHT
Release Date: 2002-01-29

Tracks:

Puede Que
Gulliver
Mirarte
El Hijo Del Capitan Trueno
Te Digo Amor
Tic Tac
Mientras Respire
Morenamia
La Noche Me Gusta
A Millones De Km. De Aqui
Sereno

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Simply put, the Panama-born Miguel Bosé is larger than life. He's a singer, composer, film scorer, thespian, and television host. On top of that, Picasso was his godfather and Ernest Hemingway, Salvador Dalí, and Jean Cocteau were family friends. With nearly two dozen albums to his credit, the much-traveled, thundering baritone--who made waves with his 1985 hit, "Bandido"--shines in this recording from his own crib in Madrid. Backing Bosé on this date are Mana's ace drummer, Alex González, and Antonio Carmona from Ketama. The group receives expert production by Peter and Greg Walsh, who worked with Peter Gabriel and Simple Minds. Included in this set is the hip-hop friendly "Morenamia"; "El Hijo del Capitán Trueno," a reggaefied shout-out to his bullfighter father; the atmospheric "Mirarte"; and "Puede Que," a dedication to the daughter of Latin pop star Alejandro Sanz. The album title, which means Night Watchman in English, is tailor-made for the clubs, and the album itself received a 2002 Latin Grammy Award nomination for Album of the Year. --Eugene Holley Jr.

Customer Reviews:

Siempre Sereno Bosé.......2007-01-01

Al nombrar "Sereno" a este LP, Miguel Bosé una vez más acierta en la esencia de la música contenida en su disco. Ciertamente esta colaboración llena de nuevos sonidos electrónicos suaves, sentimiento y poesía característica del autor, combinados todos con su toque de música clásica modernizada hacen de la travesía a lo largo de sus canciones de una muy serena.

Empezando con "Puede que", la cual te lleva en un viaje suave y melodioso, el escucha empieza a transportarse a los mundos que Bosé quiso identificar con su música. Poeta incansable de la música popular de éstos últimos tiempos, Miguel se desborda en su primera canción, declarando todo y cuanto "puede que" sea él a cambio de un beso, de la noticia de saber que se es querido. La canción, sublime en el corazón, logra profundizar en uno, y parecería servir de antesala a su canción siguiente: "Gulliver".

Siguiendo su tonada tranquila, pero rítmica, "Gulliver" continúa el viaje, esta vez en uno de búsqueda interna, personal y de conocimiento propio. El encuentro de sí mismo lo lleva al grito de un "NO", de aquel "no" desesperado, perdido, solitario que a veces es tan necesario, aunque calle en el olvido o estalle en mil pedazos.
Manteniendo la línea de viaje nos sigue "Mirarte" que, a pesar de empezar muy melodioso y clásico, se vuelve un armonioso y rítmico reclamo de amor, junto a un coro de excelentes y elevadas voces que parecerían conformarse con sólo mirarte.

Si entendemos que ya nuestro viaje en este disco nos ha llevado a alta mar, entonces la canción cuarta muy a fin con ello nos trae la historia del "Hijo del Capitán Trueno". La mismo trata del recuento de nuestro personaje principal, muy fácilmente de entender que se entiende de Bosé mismo, y al que se le exigía o pedía ciertas normalidades y estereotipos sociales y acostumbrados, al parecer de su padre. Sin embargo, el hijo de capitán decidió ser todo aquello otro que pensó y sintió ser. Su preferencia por cantarle a las ballenas y a las sirenas en vez de convertirse en cazador de ellas y su decisión de respetar el océano en vez de querer ser navegante en él lo llevan al incumplimiento de las expectativas ajenas de marinero. De hecho, me parece fue muy acertado su decisión, ya que nos ha llevado a las melodías mas bellas que, al parecer en esta canción, hasta las ballenas parecerían aprobar.

"Te digo amor" nos recuerda el propósito de su disco: la expresión mas serena de un amor, de su amor, o el de cada cual, de amores que vienen y van, de los que se llevan la vida, junto a un coro muy movido y expresivo, esta canción nos brinda un Punto y Aparte a mitad de disco. De hecho, en esta canción como en casi todas las demás la palabra "amor" y "sereno" son mencionadas. Y si bien esta canción nos pareciera el romance de nuestra noche estrellada en medio del océano, la próxima número 6 nos regala la mañana del nuevo día con una tonada muy alegre en "Tic Tac". Esta vez mostrando los efectos del amor y sus consecuencias como productos del tiempo y su tic tac que no se detiene.
Quizás el punto culminante de este disco y su mensaje principal se lleva con su canción a mitad de viaje, "Mientras respire", y su promesa de amor y de amar mientras se respire. Se trata de una composición totalmente clásica, en donde Bosé trata de explicarlo en una sola canción. "Morenamía" consigue mantener el ritmo de romance, esta vez con un primer toque de sensualidad y picardía en su letra, al son de su ritmo de guitarras y percusión muy pegajoso y muy especial.

La novena melodía, llamada "La noche me gusta" parecería empezar a mostrarnos el final de nuestro imaginario viaje, ofreciéndonos al llegar a puerto seguro de una noche que se avecina, y con ésta, lo bueno y lo malo de la misma. Al ritmo de su música, cada cual buscará qué es lo que precisamente le gusta y busca de la noche. De hecho, la continuidad de ello se vé en su próxima obra titulada "Millones de KM de aquí" y en donde precisamente el cantautor se preguntará durante la noche si es él o es su lejano amor quien los ha mantenido distanciados uno del otro a millones de kilómetros, razón quizás de haber zarpado en este viaje en primer lugar. Y será la noche misma testigo mudo de la respuesta a todo ello.

Finalmente, y como punto final, se explica todo y cuanto se había guardado y callado a través de todo el viaje: Sereno. Con ritmo "dance", muy pegajoso y muy movido, el autor aún ante la adversidad de tocar fondo se mantendrá firme, viviendo sereno...ahí a donde se acaba y ahí donde no empieza...

Sereno. Un cd que le llevará en un viaje para todos sus sentidos.

La madurez de un hombre.......2002-08-13

Ha cantado por mas de veinticinco años, así que no es dificil de encontrarse con un hombre lleno de experiencia y mucha soltura en el microfono. Su titulo no dice que es lo que pasa con el: esta sereno. Se siente en paz consigo mismo, no necesita de una produccion muy elaborada para que todos los chicos salten y vibren. Al contrario, nos da una serie de canciones muy amenas, y hasta autobiografica como 'El hijo del capitan trueno.' El disco es de un artista que todavia esta en desarrollo, a pesar de toda su experiencia. Un artista que siempre da de si lo que siente...
----------
He has sang for more than twenty-five years, so it is not difficult to find a man with experience and at ease with the microphone. If its title tells us what is going on inside him, we know that he is serene. He has inner peace, he does not need an overly elaborate production for all kids to bump and grind. On the contrary, he gives us a series of songs that are happy, and even autobiographical as 'El hijo del capitan trueno.' This record is from an artist that is still in development despite all his experience. An artist that always gives what he feels...

La primera y la última..........2002-07-04

Desde hacía unos años no escuchábamos a Bosé interpretando otra cosa que no fueran éxitos propios o versiones de canciones de gran popularidad (Once Maneras de Ponerse Un Sombrero), así que este álbum llegó enhorabuena.

Este álbum, muy en línea con previas producciones del artista español, ofrece temas sumamente variados, siendo las canciones iniciales ("Puede que") y la muy bailable canción que le da título al álbum ("Sereno") las dos producciones más destacadas. También los temas "Mirarte" y "El Hijo del Capitán Trueno," con la participación de otro grande de España, Alejandro Sanz, son excelentes. "Mientras Respire," por último, es una balada que le da una pausa y un espacio para el amor a los oyentes, de forma semejante a como lo hizo en su momento el tema "Te amaré." Como un todo, no llega a la altura del álbum "Laberinto" (el mejor de Bosé en largo rato), pero es un excelente trabajo que esperábamos hacía tiempo.

¡Excelente! Great!.......2002-05-22

Este álbum es defintiviamente extraordinario. Las letras, los arreglos, la voz de Miguel, todo es fantástico. También estuve en su concierto en Santiago de Chile y, créanme: es increíble. Me encantan todas las canciones, pero "El hijo del capitán trueno" es, defintivamente, una canción tremenda. Para qué hablar de la canción que interpreta junto a Alejandro Sanz... ¡Tremendos artistas! Lo mejor que se ha editado hasta ahora.

This is really an incredibly good CD! If you really like good music and you are looking for something more than simply a beautiful face, then go ahead for SERENO. It's really a masterpiece.

Sereno como Bosé.......2002-05-18

Un discazo!! Lo recomiendo ampliamente, excelentes letras y preciosas melodías!!

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A Worthy Trovatore
Strangely fascinating!

Verdi: Il Trovatore

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Verdi: La Forza del Destino
Mascagni: Cavalleria Rusticana
Puccini: La fanciulla del West
Puccini: La Bohème (Tebaldi, Prandelli, Erede)

ASIN: B00006LENP
Release Date: 2003-02-11

Tracks:

All'erta! All'erta! - Giorgio Tozzi
Di Due Figli Vivea Padre Beato - Giorgio Tozzi
Che Piu T'arresti?
Tacea La Notte Placida E Bella In Ciel Sereno
Di Tale Amor, Che Dirsi Mal Puo Dalla Parola
Tace La Notte! ... Il Trovator! - Ugo Savarese
Deserto Sulla Terra ... Anima Mia!
Infida!...- Qual Voce! ... Di Geloso Amor Sprezzato ... Un Istante Almen Dia Loco il Tuo Sdegno Alla Ragione
Vedi! Le Fosche Notturne Spoglie ... Chi Del Gitano I Giorni Abbella? (Anvil Chorus) - Coro Del Maggio Musicale Fiorentino
Stride La Vampa! ... Mesta E La Tua Canzon - Mario Del Monaco
Soli Or Siamo; Deh, Narra Quella Storia Funesta ... Condotta Ell'era In Ceppi - Mario Del Monaco
Non Son Tuo Figlio? - Mario Del Monaco
Mal Reggendo All'aspro Assalto ... L'usato Messo Ruiz Invia! - Mario Del Monaco
Perigliarti Ancor Languente Per Cammin Selvaggio Ed Ermo! - Mario Del Monaco
Tutto E Deserto - Giorgio Tozzi
Il Balen Del Suo Sorriso ... Quel Suono! ... Ardir!... Andiam ... Per Me, Ora Fatale, I Tuoi Momenti Affretta - Giorgio Tozzi
Ah!... Se L'erro T'ingombra, O Figlia D'Eva, I Rai ... Perche Piangete?
E Deggio... E Posso Crederlo? ... Urgel Viva!

Tracks:

Or Co' Dadi, Ma Fra Poco Giocherem Ben Altro Gioco - Giorgio Tozzi
Squilli, Echeggi La Tromba Guerriera - Giorgio Tozzi
In Braccio Al Mio Rival! ... Che Fu? ... Innanzi, O Strega - Giulietta Simionato
Giorni Poveri Vivea ... Tu Vedi Chi L'infame, Orribil Opra Commettea ... Deh, Rallentate, O Barbari, Le Acerbe Mie Ritorte - Giulietta Simionato
Quale D'armi Fragor Poc'anzi Intesi?
Ah! Si, Ben Mio; Coll'essere Io Tuo, Tu Mia Consorte - Mario Del Monaco
L'onda De' Suoni Mistici ... La Zingara, Vieni, Tra Ceppi Mira
Di Quella Pira L'orrendo Foco ... All'armi! All'armi!
Siam Giunti: Ecco La Torre
D'amor Sull'ali Rosee Vanne, Sospir Dolente
Miserere ... Quel Suon, Quelle Preci Solenni ... Ah, Che La Morte Ognora E Tarda Nel Venir
Tu Vedrai Che Amore In Terra Mai Del Mio Non Fu Piu Forte
Udiste? Come Albeggi, La Scure Al Figlio, Ed Alla Madre Il Rogo - Ugo Savarese
A Te Davanti. - Qual Voce!
Mira, Di Acerbe Lagrime Spargo Al Tuo Piede Un Rio
(Vivra!... Contende Il Giubilo I Detti A Me, Signore...)
Madre?... Non Dormi? ... Vedi?... Le Sue Fosche Impronte - Mario Del Monaco
Si; La Stanchezza M'opprime, O Figlio - Mario Del Monaco
Che!... Non M'inganna Quel Fioco Lume?
Parlar Non Vuoi?
Ti Scosta... - Non Respingermi
Prima Che D'altri Vivere... Io Volli Tua Morir! ... Sia Tratto Al Ceppo!

Customer Reviews:

A Worthy Trovatore.......2006-05-13

I decided to buy a used copy of this half century old Trovatore on the strength of the earlier review posting. I'm certainly glad I did.

First, there is the pleasure of hearing Tebaldi in a role that wasn't central to her repertory. Having heard her Violetta on an early '50s Decca recording of Traviata I was not expecting much in the way of florid singing. I was pleasantly surprised. True, some of the runs are sketchy and the tone isn't always ideally equalized when she goes for the high notes, but Tebaldi isn't far behind the fabled Milanov, a favorite in this role. Tebaldi's italianate timbre is a decided plus. A few days ago I played the first act aria and cabaletta for some friends without any identification. After some puzzled looks, someone commented that whoever it was, she was great and though she sounded like Tebaldi, the florid singing was too good for it to be her. Needless to say, they were all pleasantly surprised.

I think Simionato is simply the finest Azucena on disc - whether here or in the legendary Salzburg broadcast of a few years later.

Del Monaco isn't an intellectual tenor by any stretch of the imagination, but this is elemental, viscerally exciting singing. I'll give up the subtle nuances for a vital, heroic Manrico like this.

Savarese is a competant Di Luna. He's certainly not offensive, but there's not much here to convince the listener he belongs in the company of the great exponents of the role. I have to admit that I think the role's showpiece, "Il balen" is a problem for any interpreter. I think organ grinder every time I hear it.

It's always a pleasure to hear the young Tozzi's richly overtoned voice as Ferrando.

Erede is no Karajan (or Mehta) but he gives us a well routined reading of the score. Finally, the sonics of this 1956 recording are very impressive early vintage stereo. Despite its occasional flaws, I quickly have become very attached to this venerable Trovatore.

Strangely fascinating!.......2004-01-01

This old Trovatore recording has aspects that would normally make one avoid it. However, I find myself listening to it more and more and actually enjoying it more than other, more popular recordings of this opera.

Mario Del Monaco is, as expected, a heroic Manrico. He rarely sings piano and knows little about elegant phrasing but the sheer vigour and ring of his voice strikes in magnificiently! Only F. Corelli equals Mario in force and exciting high notes. Musically, Corelli is certainly more creative but I've always found Del Monaco's voice more handsome. Tastes differ, though. Del Monaco is particularly thrilling in "mal reggendo, all'aspro assalto", "ah! Si, ben mio" and "Di quella pira" even if he could hold the last note longer in the cabaletta.

The casting of Renata Tebaldi as Leonora is for most opera fans controversial. She is a spinto with little agilty; it's interesting to see what such a voice can offer. Indeed, she barely manages the florid parts and the highest notes sound effortfull. In this part she's nowhere near Caballe, Milanov, Callas or even Price. However, there are other moments that no other soprano in my experience has ever sung so idiomatically. In "mira, di acerbe lagrime" for example, the way she sings those long phrases using her glorious spinto instrument is unique. She firmly grasps each note and the result is intoxicating! Same with Miserere and the proceeding Manrico - Leonora encounter. Dramatically her outbreaks are few. However, Tebaldi was THE FIRST who made me realise that Leonora is a woman in love!

If one can argue about the performances of Tebaldi and Del Monaco, little can be said about Simionato's Acuzena. Along with Barbieri and Cossotto she's one of the best interpreters of this wonderful role, probably Verdi's greatest mezzo part. The weakest link of the cast is Ugo Savarese's routine Conte di Luna. If only Bastianini had joined this recording instead. Tozzi does an OK job as Ferrando. Erede conducts well but nothing really memorable. Decca's early stereo sound certainly impresses; pity that EMI and RCA didn't adopt stereo so early as well.

On the whole, this set won't beat famous Trovatores like Karajan's live performance but it will always attract my attention!

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