Luciano [Import]

1. Sin Testigos

2. Una Noche de Amor

3. Quiero Que Te Quedes Comigo

4. Luz de Mis Ojos

5. Avisos Clasificados

6. Historia de Amor

7. Inevtiable

8. Desde Lejos

9. Perdoname

10. Apetitosa

11. Tu Nombrre

12. En Tus Manos

Luciano,Luciano Pereyra,EMI Int'l,Latin,Latin Pop,Latin Pop/Rock

Music

jazz

music

Tracks:

Carmen: Act 1: Prld - LPO/Sir Georg Solti
La Traviata: Brindisi: Libiamo, Ne'lieti Calici - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
La Boheme: Che Gelida Manina - Luciano Pavarotti
Lakme: Flower Duet: Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
Fedora: Amor Ti Vieta - Jussi Bjorling
Carmen: Habanera: L'amour Est Un Oiseau Rebelle - Tatiana Troyanos/John Alldis Chor/John Alldis
Nabucco: Chor Of The Hebrew Slaves: Va Pensiero - Chicago Sym Chor/Margaret Hills
Le Nozze Di Figaro: Dove Sono - Kiri Te Kanawa
Rigoletto: La Donna E Mobile - Luciano Pavarotti
Lohengrin: Bridal Chor: Treulich Gefuhrt Ziehet Dahin - Konzertvereinigung Wiener Staatsopernchor/Walter Hagen-Groll
Gianni Schicchi: O Mio Babbino Caro - Renata Tebaldi
Il Barbiere Di Siviglia: Largo Al Factotum - Leo Nucci
La Wally: Ebben?... Ne Andro Lontana - Angela Gheorghiu
Madama Butterfly: Humming Chor - Wiener Staatsopernchor/Norbert Balatsch
Carmen: Flower Song: La Fleur Que Tu M'avais Jetee - Placido Domingo
Les Contes D'Hoffmann: Barcarolle: Belle Nuit, O Nuit D'Amour - Joan Sutherland/Huguette Tourangeau/Chor De La Radio Suisse Romande, Pro Arte De Lausanne Et Du...
Tosca: E Lucevan Le Stelle - Placido Domingo
Madama Butterfly: Un Bel Di - Mirella Freni
Les Pecheurs De Perles: C'est Toi... Au Fond Du Temple Saint - Gregory Cross/Gino Quilico

Tracks:

Die Walkure: The Ride Of The Valkyries - Wiener Phil/Solti
Le Nozze Di Figaro: Voi Che Sapete - Cecilia Bartoli
Pagliacci: Recitar!... Vesti La Giubba - Luciano Pavarotti
La Boheme: O Soave Fanciulla - Mirella Freni/Luciano Pavarotti/Roland Panerai
Il Trovatore: Anvil Chor: Vedi! Le Fosche - Chicago Sym Chor/Margaret Hillis
Manon Lescaut: Donna Non Vidi Mai - Jose Carreras
Don Giovanni: La Ci Darem La Mano - Lucia Popp/Tom Krause
Mattinata - Andrea Bocelli
Faust: Soldiers' Chor - Ambrosian Opr Chor/John McCarthy
L'elisir D'amore: Una Furtiva Lagrima - Roberto Alagna
Turandot: Signore, Ascolta! - Montserrat Caballe
Don Giovanni: Champagne Aria: Finch'han Dal Vino - Bryn Terfel
Cosi Fan Tutte: Trio: Soave Sia Il Vento - Renee Fleming/Anne Sofie Von Otter/Michele Pertusi
Il Trovatore: Di Quella Pira - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
Tosca: Vissi D'arte - Kiri Te Kanawa
Carmen: Toreador Song - Jose Van Dam/Tatiana Troyanos/Norma Burrowes/Jane Berbie/Thomas Allen/Pierre Thau/John Alldis...
Madama Butterfly: Love Duet: Vogliatemi Bene - Mirella Freni/Luciano Pavarotti
Cavalleria Rusticana: Intermezzo - Nat PO/Gianandrea Gavazzeni
Rusalka: O Silver Moon - Renee Fleming
La Boheme: Si. Mi Chiamano Mimi - Angela Gheorghiu
Turandot: Nessun Dorma - Luciano Pavarotti/John Alldis Chor/John Alldis

Amazon.com

The labels that are now gathered under the Universal Classics umbrella have a pretty impressive scorecard in the area of classical compilations. We've seen The Greatest Opera Show on Earth, The Yellow Guide: Classical Music, Best of the Millennium, and now there's The No. 1 Opera Album. But that's no surprise, since Universal has some of the finest interpreters in its catalogue to draw from. This two-CD set (at the price of one), for example, brings together the likes of Cecilia Bartoli, Renée Fleming, Luciano Pavarotti, Kiri Te Kanawa, Sir Georg Solti, Herbert von Karajan, and many more. Yet the other key to a successful compilation is canny anthologizing, and here again, you have a nice selection to give you a smattering of opera's heavyweights from the Italian, German, and French repertory (there's even a step outside the standard framework with an aria from Dvorák's lovely Rusalka). Ranging from 1959 to 1997, the choices from back catalogue will doubtless be the entry ticket for many into this grandest of the arts. --Sarah Chin

Customer Reviews:

The beautiful gift of opera..........2007-07-17

This 2-CD set is absolutely wonderful! You can close your eyes and feel like you're actually at the opera, listening to those beautiful voices bringing tears to your eyes. Nessun Dorma still stirs up emotions in me, no matter how many times I hear it. Great examples of opera to give someone wanting to get interested in this style of music.

Pretty darn good.......2007-07-04

This CD set has a lot of familiar music on it, so if you're a newbie, you might want to try starting with this. There are some great pieces on the first CD. I usually don't even make it to the second.

The Opera #1 Opera Album.......2007-06-07

The music is wonderful. The production is terrible!! The sound fades in and out and is very scratchy in some places.

Excellent assortment.......2007-05-12

I'm not a big opera fan but I wanted to expose an assorted selection for my kids. This was perfect since it included several recognizable selections.

Great Selections.......2007-03-31

This Cd, has the very best of Opera
covering mainly from the classcal
to the to the romantic periods, a most
memorable selection here is Leo Nucci
in a lagendary performance of Rossini's
"Largo al Factotum" from "Il Barbiere di Seviglia"
also Andrea Bocelli in his performance of Leoncavallo's
memorable "Matinatta" here in an orchestrated version.
Indeed some of opera's most loved arias are in this recording
various conductors, orchestras, and soloists. All in their
very best. Indeed a five-star recording...

Carreras · Domingo · Pavarotti ~ the three tenors in concert / Mehta

Average customer rating:

delivery went ok
A knockout performance
The night that started it all!
Great singing from the three tenors
Excellent. Like summer sunshine. manna from heaven!

Carreras · Domingo · Pavarotti ~ the three tenors in concert / Mehta
Francesco Cilea , Giacomo Meyerbeer , Giacomo Puccini , Franz Lehar , Vencenzo De Crescenzo , Salvatore Cardillo , Ernesto de Curtis , Agustin Lara , Pablo Sorozabal , Umberto Giordano , Leonard Bernstein , Vincenzo d' Annibale , Anonymous , Andrew Lloyd Webber , Alexander Sergeyevich Dargomizhsky , Juan De Dios Filiberto , Louis Louiguy , Ruggiero Leoncavallo , Rudolf Sieczynski , Joseph M. Lacalle , Eduardo di Capua , Zubin Mehta , Plácido Domingo , Luciano Pavarotti , and José Carreras
Manufacturer: Decca
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

Operettas | Opera & Vocal | Styles | Music

General | Latin Music | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

The 3 Tenors in Concert 1994
The Best of the Three Tenors
Three Tenors: In Concert
The Three Tenors Christmas
Romantica: The Very Best Of Luciano Pavarotti

ASIN: B0000041XX
Release Date: 1990-09-05

Tracks:

Il Lamento Di Federico
O Paradis
Recondita Armonia - Luciano Pavarotti
Dein ist Mein Ganzes Herz
Rondine Al Nido - Luciano Pavarotti
Core 'ngrato
Torna A Surriento - Luciano Pavarotti
Granada
No Puede Ser
L'impovviso
E Lucevan Le Stelle
Nessun Dorma
Finale Medley: Maria - Tonight, 'O paese d' 'o sole, Cielito lINDO
Memory, Ochi tchorniye, Caminito
Mattinata ; Wien, Wien, Nur Du Allein, Amapola, 'O sole mio
Encore: 'O sole mio
Encore: Nessun Dorma

Amazon.com

Magic was created one starlit night in July 1990, when Luciano Pavarotti, Placido Domingo and José Carreras met onstage at the Baths of Caracalla in Rome and became the Three Tenors. They eschewed competitive instincts and cooperated in the spirit of mutual admiration to create one of the greatest musical events ever. This concert is an awe-inspiring orgy of the greatest hits for the tenor voice. Domingo and Pavarotti sing perfectly. The audience wins as these vocal supermen compete to seduce the hearts of the audience. One moment Domingo brings thrilling fire and pain to "E lucevan le stelle" from Tosca; the next, Pavarotti rises to heavenly heights in an inspired rendition of "Nessun dorma" from Turandot. Carreras is the competent little brother, one step behind the greatness of the big brothers from opera's Ponderosa. His singing isn't as captivating as that of the big boys; but his enthusiasm and passion are unrivaled. Mehta exquisitely captures the largeness of this bonanza through the grandiose orchestra. --Barbara Eisner Bayer

Customer Reviews:

delivery went ok.......2006-11-14

the item was delivered to me on-time and with no problems. however,i was looking for a DVD and not a audio Cd. might be good to clearly differentiate when the product is being advertised or shown.

A knockout performance .......2006-05-28

Like so many of the reviewers here I am not an opera aficionado. But I sensed immediately the night I saw this concert on television that this was one of those 'remarkable' artistic events. Domingo and Pavarotti both have such strength and beauty in their voices that they overwhelm. Carreras adds flavor and enthusiasm.
One of the most remarkable music performances I have seen.

The night that started it all!.......2005-11-02

You can read the technical information about the contents of this CD above. That is not what this review is about. I became intrested in opera about 1 1/2 years ago because of happening upon Mario Lanza. Since then, I have experienced many great truly operatic voices, including the "King," Pavarotti.
If you are just discovering opera, suffice it to say; Buy this album!!! It was the concert that launched the 3 Tenors phenomenon. It is full of uplifting, heart- tugging favorites, and you will find yourself listening to it over and over. Buy the dvd as well. It imparts absolute electricity! I am a young pianist and vocalist, and this concert is truly inspiring to me! You won't regret one penny you spend on this!

Great singing from the three tenors.......2005-06-23

This cd is a must-have for anyone interested in opera - or beautiful singing. And when you're at it - why don't buy the dvd from the concert? It will make you appreciate the cd even more.

First of all I have to comment on the editorial review of this cd. I felt the reviewer is "belittling" José Carreras here by saying he's one step behind the big brothers and his singing isn't as captivating as that of the big boys.....?!?!? Of course I can only speak for myself, but I feel she's way out of line. And I'm starting to wonder if she's been listening to the cd at all? In my opinion you have to be dead not to be touched by his rendition of "Lamento di Federico" and "L'improvviso". If anybody can deliver a line it has to be Carreras. When it comes to his interpretation of "Granada" even conductor Zubin Mehta was gobsmacked. Watching the dvd you can see him putting down his baton and applauding. He even steps down from his podium to hug José.

I have to say I'm not too keen on the two other tenors, although I have to admit I loved Pavarotti's "Torna a Surriento" and "Rondine al nido". The thing about Pavarotti is that he has a great singing technique and he's also in possession of this "push-button" which make him sing a lot of high notes, but that alone isn't enough to stir emotion.

As for Domingo, even if he's giving it all in every song, and his "No puede ser" was great,I think he's a bit too much on the nasal side. He's okay when they all perform together, but his "E lucevan le stelle" is sending shivers down my spine - and not of delight. I'm practically unable to sit still and listen to his solos. If you really want "fire and pain" you should check out Carreras in the Tosca-recording from -80, or his recording from -76. It's really breathtaking and I promise you'll end up in tears!

At the end of this concert the three tenors perform a medley together. Their voices blend perfectly and it's powerful to listen to them giving it all. A lot of people are talking about their mis-pronounciations. I for one, think it only adds to the charm of the performers. Pavarotti has some problems with the English songs (okay, big problems..), Domingo stumbles in the words in the beginning of "Wien Wien nur du allein", and (this you'll see in the dvd) in the same song Carreras is actually reading the text from a piece of paper as he's singing and his facial expressions when getting his head around the German words are really hilarious. O sole mio as an encore is fabulous when Pavarotti pushes his button and shakes out all his high notes.... And I love it when the two other join forces and repeat his stunt to perfection.

All in all this is a wonderful album. And well worth 5 stars.... José alone gets 10 stars!!!

Excellent. Like summer sunshine. manna from heaven!.......2004-05-28

This CD is terrific on so many levels. In celebration of one of the world's great sporting events - the World Cup of football (soccer to us stateside), three great tenors and one masterful conductor (Zubin Mehta) were brought together in one of the world's great cities - Rome -- for a special evening that we are blessed to have been able to listen to again and again.

The concert was held during the World Cup in 1990 at the Baths of Caracella, which are ruins of the once great Roman baths. In this beautiful setting Luiciano Pavrotti, Jose Carreas and Placido Domingo came together for one of the best CD's ever made.

The singing is exquisite. The passion of the crowd in this live performance should equal the reaction of the listener. This is art at its highest level. It is a celebration of great music, not just of opera, but in my opinion, the soaring human spirit. What power to move the soul! You don't need to be an opera fan to enjoy this music. If you like any kind of music, you cannot help but be affected by the power of this special evening. And what an evening, those in attendance were lucky to have been there!!

The casual listener will already know some of these arias, as they are from some the great operas of all time. However, I believe even the most hardenend opera fan, unless he or she is a real stiff, cannot be helped to be but moved by this music.

Tracks:

'O sole mio
Funiculi, funicula
Libiamo ne' lieti calici (Brindisi)
Sous le ciel de Paris
Torero quiero ser
Parlami d'amore, Mariu
Manha de Carnaval
Lolita
Dicitencello vuie
Core 'ngrato
Because
You'll Never Walk Alone
Singin' In The Rain
Maria
Tonight
'O paese d' 'o sole
Cielito lindo
Ochi tchorniye
Caminito
La Vie en Rose
Mattinata
Wien, Wien, nur du allein
Amapola
Lippen schweigen
Brazil
Sous les ponts de Paris
Torna a Surriento
Nessun dorma
La donna e mobile

Amazon.com

Back in 1990, three of the world's most celebrated tenors--namely, José Carreras, Plácido Domingo, and Luciano Pavarotti--combined forces to create the Three Tenors, now celebrated on a best-of CD. They gave their first concert in Rome. The event was recorded and went on to become one of the best-selling classical titles of all time.

This latest release brings together tracks from that night in Rome (including "Nessun dorma" and a competitive rendition of "O sole mio") with music performed in a 1994 concert in Los Angeles and at the 1998 event in Paris where the Three Tenors sang to an audience of thousands with the Eiffel Tower as their backdrop.

The 22 tracks making up The Best of the Three Tenors range from operatic standards, such as the joyful "Brindisi" from La Traviata, to popular songs like "Singin' in the Rain" and "You'll Never Walk Alone" (from Carousel). There are no solos on this disc; each piece is performed by all three singers. And with plenty of applause and cheering to be heard, not to mention the sense of fun in the singers' voices, the disc captures the atmosphere of these extraordinary musical events. --Rebecca Agnew

Customer Reviews:

Not bad.......2006-03-18

This is a good recording. If you don't like the 3 tenors, then look else where. It's that simple. These are recordings from concerts where they WERE supposed to show off. This ain't opera. If you want opera, go out and attend one.

The best from the three greatest..........2005-08-11

The first thing we must establish here is that this is not meant to be opera. This is three exceptionally talented tenors enjoying themselves and giving tremendous joy to those listening by singing mostly popular "evergreens" and also some operatic arias. The beauty in music lies in the diversity, in my opinion. One can better appreciate one type of music when one knows about the others. And why should we limit ourselves to listen to just one genre in music. It would be the same as having steak for dinner every day for the rest of your life, wouldn't it? So why should we limit three wonderful tenors to only sing operatic arias for the rest of their lives? If so we wouldn't have "Maria", "You'll never walk alone", "Singing in the rain" or any of the evergreens on this recording and that would be a shame.

There are no solos on the cd. I think I've read somewhere that they felt there had been enough "three tenors cd's" and if they were to release yet another one it would be one containing what the audience demands, the three of them joining forces and performing together in the songs.
The result, in my opinion is highly recommendable. The three voices blend perfectly together. I have to admit that I have a personal favourite among the tenors and that I would never buy an entire recording featuring only one of the two others, but I recognize their talents and -as stupid as it may sound- since they are performing together I can also appreciate the other two. (I like them too, but in smaller doses....)Some people have commented on their problems with mastering the english language. If anything, I think it just adds to their charm. By the way, who is perfect??

The songs on this cd is a mixture of beautiful songs, heartwrenching songs, toe-tapping songs and powerful songs. It's wonderful to just listen to the beauty in the three voices. It's fun hearing Pavarotti pushing his "high-note-button" in "O sole mio" and Carreras and Domingo copying his stunt. I have no idea what they're singing about in "Manha de Carnaval", but boy does it sound romantic...... And "Dicitencello vuie" brings tears to my eyes (even if I'm still left in the dark when it comes to understanding the meaning of the words...) In "Because" Carreras takes my breath away when singing "because God made thee mine, I'll cherish thee...through light and darkness, through all time to be, and pray his love may make our love divine...." (What woman wouldn't like to hear those words..??!?) Their rendition of "You'll never walk alone" should satisfy some of the soccer-fans since it's the anthem of a European football-club and "Nessun Dorma" will probably satisfy the rest of the soccer-fans, being the antheme of the 1998 world soccer championship. In short, there should be something for every taste on this cd.

It's a very "versatile" cd. You can play it almost everywhere. You can sing along to it in the car, you can dance around the house to it while doing your chores, you can put your feet up and unwind after a hectic week. Or you can write an Amazon review while listening to it.... (Feel free to add suggestions of your own here.....)

To make a long story short - a very enjoyable cd!

Just Like the Real Thing!.......2005-07-14

A few years ago I was lucky enough to actually see a Three Tenors concert. The experience was amazing. Later I bought this CD. I was so happy when I listened to it because the CD captures the mood of being present at the concert. I like the variety and every time I play it, I am taken back to my personal experience at the concert. Hearing the audiences on the CD really gets you excited about hearing this amazing trio.

Powerful and moving!.......2004-10-21

I got this CD as a gift and it changed my life! I was always a rocker and liked classical music, but never was much into this genre of music. This album changed all of that. Since getting the three tenors I've found a whole new world out there. Thank you guys!

Great Compilation.......2003-07-16

Definitely worth purchasing. It is not an opera CD - it is a concert CD with 3 superb tenor voices that blend together so nicely. A wonderfully entertaining music CD with lots of variety and an opportunity for opera to grow on non-opera lovers. What else can you expect from the BEST. A DVD version would be wonderful.

Average customer rating:

Correction to the entry by "sergiocqh"
Fantastic!
HATE OPERA? THIS ONE WILL CHANGE YOUR MIND
"Ultimate" only if you like your opera "al fresco"!
Wonderful Performance but Average Recording Quality

The Ultimate Puccini Collection
Giacomo Puccini , Herbert von Karajan , Riccardo Chailly , Stephen Barlow , Tullio Serafin , Lorin Maazel , Sir Edward Downes , Giuseppe Patane , Zubin Mehta , Alberto Erede , John Mauceri , Plácido Domingo , José Carreras , Kiri Te Kanawa , John Alldis Choir , Luciano Pavarotti , London Philharmonic Orchestra , Bologna Community Theater Orchestra , Ettore Bastianini , Carlo Bergonzi , Renato Cesari , Fernando Corena , Cesare Siepi , Renata Tebaldi , Gianna D'Angelo , Saint Cecilia Academy Orchestra , Franco Corelli , Alfredo Mariotti , Regine Crespin , Royal Opera House Orchestra Covent Garden , London Symphony Orchestra , Maggio Musicale Fiorentino Orchestra , Rome Opera House Orchestra , Pilar Lorengar , Berlin Philharmonic Brass Ensemble , Mirella Freni , Rolando Panerai , Jussi Bjorling , Leontyne Price , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Italian | Languages | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Crespin, Regine | Divas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

Gheorghiu, Angela | Divas | Opera & Vocal | Styles | Music

Nilsson, Birgit | Divas | Opera & Vocal | Styles | Music

Price, Leontyne | Divas | Opera & Vocal | Styles | Music

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music

Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Essential Verdi
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
Puccini Without Words
Puccini: Great Opera Arias
The #1 Opera Album

ASIN: B000007OU1
Release Date: 1998-06-09

Tracks:

Turnadot: Nessun Dorma!
Gianni Schicchi: O Mio Babbino Caro
Manon Lescaut: Donna Non Vidi Mai
La Boheme: Musetta's Waltz Song
Tosca: Recondita Armonia
Madame Butterfly: Un Bel Di
TOSCA: E Lucevan Le Stelle
La rondine: Il Sogno Di Doretta
La Boheme: Che Gelida Manina
La Boheme: Si, Mi Chiamano Mini
La Boheme: O Soave Fanciulla - Love Duet, Act I
Ch'ella mi creda libero
TOSCA: Ah, Quegli Occhi...Qual'occhio Al Mondo - Love Duet, Act I
TOSCA: Vissi D'Arte
Madame Butterfly: Vogliatemi Bene - Love Duet, Act I
La Boheme: Donde Lieta Usci
Turandot: Signore, Ascolta!
Turandot: In Questa Reggia

Amazon.com essential recording

Ordinarily, it pays to be wary of collections such as these, which often promise a lot but deliver a mishmash of disconnected excerpts. This disc, however, is something of an exception: you really do get just about all of Puccini's best arias, which is possible, because he didn't write so many operas that choosing the best moments becomes a matter of the producer's personal taste. Also, Puccini's operas are so popular that every major label has excellent complete recordings of all of them, so in making this compilation it was possible to cast from strength: all the singers here are fine. In fact, the only proviso that needs to be made before you rush out and add this disc to your collection is that it's wrong to assume that all of Puccini's best tunes lie in his arias. The opening 10 minutes of any one of his operas will tell you that's not true. So by all means enjoy this disc--then start sampling the operas complete. --David Hurwitz

Customer Reviews:

Correction to the entry by "sergiocqh".......2005-11-08

"Quando m'en vo" is not omitted from this CD; it is just called "Musetta's waltz song." It is the same aria.

Fantastic!.......2003-10-14

This is one of the first opera CDs I ever got. It's wonderful for just about any body;from the newbies like me or the opera fanatics. I especially like 'In Questa Reggia'. Buy it now!!

HATE OPERA? THIS ONE WILL CHANGE YOUR MIND.......2003-09-04

The Ultimate Puccini Collection features some of Puccini's most arias and will appeal to even the most ardent operaphobes.

A great listening experience featuring some of the greatest opera performers of all time.

"Ultimate" only if you like your opera "al fresco"!.......2002-06-13

The music is without question, among the most beautiful ever written. But the quality of the fidelity tells me that many of the selections were recorded live in concert in outdoor venues. I wish that was clear to me before I bought the disc. So, is the music the ultimate? YES! Is the recording the ultimate? NO!

Wonderful Performance but Average Recording Quality.......2002-02-18

I love opera! I love Puccini! Not only is the vocalism important to me, but the quality of the recording as well. I enjoy my hi-tech sound system. I like to feel as if I am sitting in the front row of the first balcony when I listen to opera. This CD is excellent! The vocalists were well chosen. The technical performances are eloquent and emotional, as Puccini should be. However, the quality of the recording is not very good. No matter how you adjust your sound system, the recording is a bit tinny and as a result, the emotional high points of the arias are not as vibrant as they could be if the recording were of better quality. I would recommend this CD to anyone who loves Puccini and who is not as finicky as I!

Luciano Pavrotti: The Best (Farewell Tour)

Average customer rating:

Luciano Pavrotti: The Best (Farewell Tour)
Luciano Pavorotti
Luciano is the best!

Luciano Pavrotti: The Best (Farewell Tour)

Manufacturer: Decca
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

The Decca Records Store | Specialty Stores | Music
Similar Items:

The Best of the Three Tenors
Romantica: The Very Best Of Luciano Pavarotti
Pavarotti: Greatest Hits
Amore: Romantic Italian Love Songs
The Best of Luciano Pavarotti: 20th Century Masters/The Millennium Collection

ASIN: B0007V5WB4
Release Date: 2005-09-13

Tracks:

La donna obile
Una furtiva lagrima
"Libiamo ne'lieti calici (Brindisi)
Donna non vidi mai
Che gelida manina
O soave fanciulla
Mi batte il cor...O Paradiso!
M'appari
Quando le sere al placido chiaror d'un ciel stellato
Se quel guerrier io fossi!..Celeste Aida
Forse la soglia attinse
Recitar! - "Vesti la giubba"
Come un bel di maggio
Ah mes amis - Pour mon
Di quella pira
Nessun dorma!

Tracks:

Torna a Surriento
Santa Lucia luntana
La Danza
L'ultima canzone
Non t'amo pi
Mattinata
'O sole mio
'A vucchella
Core 'ngrato
Nel blu, dipinto di blu
Vivere
Il Canto
Caruso
Buongiorno a te
Ti adoro
E lucevan le stelle
Questa o quella (Ballata)
Parmi veder le lagrime

Customer Reviews:

Luciano Pavrotti: The Best (Farewell Tour).......2007-06-27

Wonderful Pavarotti sings the best of the best. His voice never ceases to amaze me. Listening pleasure at it's finest.

Luciano Pavorotti.......2007-02-17

All the songs are wonderful, can never become tired of listening to his songs. Excellent.

Luciano is the best!.......2007-01-20

I can't speak more highly of this collection of Pavrotti's songs. I keep this two CD pack in my car so I can enjoy it on my way to and from work. Even after I have arrived, I find myself sitting in my car waiting for a song to end. Walking out on a song seems sacriligious. While I grew up listening to Caruso and Lanza, there is no question that Pavrotti is the Master! Although, I do have to admit Pavrotti has the greater advantage of modern recording technology to better present his talent than Caruso and Lanza had. However, Lanza definitely didn't have the power that Pavrotti has. With Caruso, we will never know... I highly recommend this collection of Pavrotti's, if you are a Pavrotti fan. If you aren't, buy it anyway and become one:)

Puccini - Turandot / Sutherland · Pavarotti · Caballé · Ghiaurov · Krause · Pears · LPO · Mehta

Average customer rating:

This is not to be missed
One of the Great Recordings of the 20th Century
Barbaric AND Beautiful
Why you should get this recording..............
Good except for Sutherland

Puccini - Turandot / Sutherland · Pavarotti · Caballé · Ghiaurov · Krause · Pears · LPO · Mehta
Giacomo Puccini , Zubin Mehta , Luciano Pavarotti , Joan Sutherland , London Philharmonic Orchestra , John Alldis Choir , Montserrat Caballé , Tom Krause , Nicolai Ghiaurov , Peter Pears , and Wandsworth School Boys' Choir
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Sopranos | Voices | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge
Verdi - Aida / Caballé · Domingo · Cossotto · Ghiaurov · Cappuccilli · Roni · NPO · Muti
Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan

ASIN: B0000041Q3
Release Date: 1990-10-25

Tracks:

Turandot: Act I: 'Popolo di Pekino!' (Un Mandarino) - Act I: 'Indietro, cani!' (La folla - People - La foule - Die Menge)184276 - Puccini
Turandot: Act I: 'Gira la cote!' (La folla - People - La foule - Die Menge) - Act I: 'Perche tarda la luna?' (La folla - People - La foule - Die Menge) - Puccini
Turandot: Act I: 'O giovinetto! Grazia, grazia!' (La folla - People - La foule - Die Menge) - Puccini
Turandot: Act I: 'Figlio, che fai?' (Timur, Calaf) - Puccini
Turandot: Act I: 'Fermo! Che Fai? T'arresta' (Ping, Pang, Pong) - Act I: 'Non indugiare!' (Le ombre dei morte - Phantoms - Les ombres des morts - Die Schatten der Toten) - Puccini
Turandot: Act I: 'Signore, ascolta!' (Liu) - Puccini
Turandot: Act I: 'Non piangere, Liu!' (Calaf) - Puccini
Turandot: Act II, Scene 1: 'Ola, Pang! Ola Pong!' (Ping) - Puccini
Turandot: Act II, Scene 1: 'Ho una casa nell 'Honan' (Ping) - Puccini
Turandot: Act II, Scene 1: 'O mondo, o mondo...' (Ping, Pang, Pong) - Act II, Scene 1: 'O tigre! O tigre!' (Ping, Pang, Pong) - Puccini
Turandot: Act II, Scene 2: Introduzione - Puccini
Turandot: Act II, Scene 2: 'Gravi, enorme ed imponenti' (La folla - People - La foule - Die Menge) - Puccini
Turandot: Act II, Scene 2: 'Un giruamento atroce mi costringe' (L'Imperatore) - Puccini
Turandot: Act II, Scene 2: 'Popolo di Pekino' (Il Mandarino) - Puccini

Tracks:

Turandot: Act II, Scene 2: 'In questa Reggia' (Turandot) - G. Puccini
Turandot: Act II, Scene 2: 'Straniero, ascolta' (Turandot) - G. Puccini
Turandot: Act II, Scene 2: 'Gloria, gloria, o vincitore!' (La folla - People - La foule - Die Menge) - Act II, Scene 2: 'Figlio del cielo! Padre augusto!' (Turandot) - G. Puccini
Turandot: Act II, Scene 2: 'Tre enigmi m'hai proposto' (Calaf) - G. Puccini
Turandot: Act III, Scene 1: Introduzione: 'Cosi comanda Turandot' (Gli araldi - Heralds - Les Herauts - Die Herolde) - G. Puccini
Turandot: Act III, Scene 1: 'Nessun dorma!' (Calaf) - Act III, Scene 1: 'Tu che guardi le stelle' (Ping, Pang, Pong) - G. Puccini
Turandot: Act III, Scene 1: 'Principessa divina!' (Ping) - Act III, Scene 1: 'Tanto amore segreto' (Liu) - G. Puccini
Turandot: Act III, Scene1: 'Tu che di gel sei cinta' (Liu) - G. Puccini
Turandot: Act III, Scene 1: 'Liu! Liu! Sorgi!' (Timur) - G. Puccini
Turandot: Act III, Scene 1: 'Principessa di morte' (Calaf) - G. Puccini
Turandot: Act III, Scene 1: 'Che e mai di me?' ( Turandot, Calaf) - G. Puccini
Turandot: Act III, Scene 1: 'Del primo pianto' (Turandot) - G. Puccini
Turandot: Act III, Scene 1: 'So il tuo nome!' (Turandot) - G. Puccini
Turandot: Act III, Scene 2: 'Diecimila anni al nosotro Imperatore!' (La folla - People - La foule - Die Menge) - G. Puccini

Amazon.com essential recording

Joan Sutherland is not usually considered a Puccini singer, and in fact she sang the role of Turandot only in the recording studio. But for that assignment she had exactly what was needed: a voice that seemed to have no upper limits and a personality that concealed vulnerability under an air of icy detachment. She also had an ideal set of colleagues, notably Luciano Pavarotti, whose "Nessun dorma" has become practically his signature tune. --Joe McLellan

Customer Reviews:

This is not to be missed.......2007-07-11

It is no exaggeration to consider this 1973 recording of Giacomo Puccini's swan song the most sublime interpretation available. It is barely an exaggeration to consider it one of the finest operatic recordings ever produced, ranking with Sir Georg Solti's praised 1963 reading of Wagner's Siegfried, with Wolfgang Windgassen, Birgit Nilsson, Hans Hotter, and Gerhard Stolze; Herbert von Karajan's 1970 rendition of Mussorgsky's Boris Godunov, with Nicolai Ghiaurov, Galina Vishnevskaya, and Ludovic Spiess; Riccardo Muti's heavenly 1974 Aida, with Montserrat Caballé, Plácido Domingo, and Fiorenza Cossotto; Claudio Abbado's 1977 undertaking of Verdi's Simon Boccanegra with Piero Cappuccilli, Mirella Freni, and José Carreras; and Karajan's indescribable 1979 production of Debussy's Pélleas et Mélisande, with Frederica von Stade, Richard Stilwell, and José van Dam. Only the 1982 Turandot with Karajan leading the Wiener Philharmoniker can compare; the cast boasted Domingo, Barbara Hendricks, Ruggero Raimondi, Heinz Zednik, and Francisco Araiza, but the work was hampered by incompetent lyric soprano Katia Ricciarelli at the title helm.

Zubin Mehta leads the London Philharmonic Orchestra in a jarring, exotic production of Turandot which tends to run at a faster tempo than other noted recordings and attacks the listener with a rampaging tapestry of wondrous sound. From the opening bars, the listener is plunged into a swirling, gory China of antiquity, with a maroon sky articulating the chaos within the forbidding fortress that is Turandot's palace, lined with the decapitated heads of her luckless suitors impaled on spikes. The John Alldis Choir is triumphant (as it is in most of its endeavors) in the opera's frequent choral sectors, especially "Gira la cote, gira, gira!" (the bloodthirsty ranting of the incensed Peking populace, a great requiem of death); "Perchè tarda la luna?" (a hauntingly gorgeous, sumptuous chorus in which the populace invokes the appearance of the moon, the signal for the execution to take place); "O giovinetto! Grazia, grazia!" (in which the furor of the populace melts into a bitter pity as the handsome, understandably petrified principe di Persia emerges with Pu-Tin-Pao, the executioner); "Non indugiare!"(the unsettling and misty chorus of the ghosts of Turandot's suitors; one can almost envision the eerie specters floating in the air amidst the perfume of their beloved mistress); and "Così comanda Turandot" in Act III (the cruel, anagogic chorus of the heralds; one can only imagine the subterranean torture chambers and dungeons in which Turandot's furies were realized and inflicted upon the ignorant populace of Peking). The Wandsworth School Boys' Choir is charming and atmospheric during their Act I incantations to Turandot's beauty ("Là sui monti dell'Est").

Dame Joan Sutherland is not a soprano one might immediately place in the role of the Chinese pythoness, for she never performed the daunting part on stage and made only this single noted recording in the role. She possessed a flittering, melodic coloratura voice, much unlike the Wagnerian mortars of Birgit Nilsson and Eva Marton. However, she is thrilling at the title helm; she sings with such furor, such madness, such indescribable revulsion, that it is nearly impossible to accept her as the same soprano who so sweetly and genially floated through the effervescent persons of Violetta Valéry, Gilda, and Donna Anna. "In questa reggia" rolls out like blood-spattered embroidery as she recounts the tawdry tale of her doomed ancestress; her cry of "Straniero, ascolta!" is like a lightening rod of dread. She is thrilling as her psychology is revealed after the answering of the three riddles ("Figlio del Cielo! Padre augusto!"); for the first time in her lonely, imperious existence, she is afraid, for she is no longer in complete control of her destiny.

Luciano Pavarotti breathes such ineffable fire, youth, and passion into the bright-eyed prince Calaf that one can only wonder how some could prefer Franco Corelli's rather ornery interpretation. During "Nessun dorma," the greatest aria Puccini ever composed for the male voice and one of the finest in all opera, he is wondrous, beguiling, and awe-inspiring as the enamored, barding Tartar prince. However, the finale of the opera is where the two vocal masters truly shine. (It was penned, of course, by Franco Alfano, after the death of Puccini.) Their duet ("Principessa di morte!" ... "Che è mai di me?" ... "Del primo pianto") is a glorious, almost Shakespearean exchange; the intense chemistry between the two is apparent and it is obvious why they made so many recordings together. Sutherland is absolutely horrifying in her cry of "So il tuo nome." For a blood-curdling instant, the old Turandot returns, even after the passionate kiss from Calaf and the tearful confession of her innermost fears. For an instant, she is the murderess again, vengeful and sanguinary as ever.

Montserrat Caballé may have seemed, at first, to be an indulgence as the noble little Puccinian heroine, Liù; however, her performance of the signature pleading, searching aria ("Signore, ascolta!") would force even the most caustic cynic to sympathize with the pathetic little slave girl. Only Mirella Freni and Galina Vishnevskaya (though she is recognized more infrequently for doing so) have provided comparable performances. Her Act III confession ("Tanto amore segreto, e inconfessato ... Tu che di gel sei cinta") allow the listener to peer into the purely invincible but paradoxically fragile heart of the veritable Puccinian angel, a descendent of Mimì and Madama Butterfly. Her suicide is the culmination of one of the grandest cruelties in all opera: she lived a life in the pursuit of a single love which could only be truly realized and acknowledged through her supreme sacrifice.

Nicolai Ghiaurov makes a Chinese Boris Godunov out of the deposed Tartar king Timur. Sir Peter Pears, the inimitable British tenor, provides his commanding, mystical voice to the role of the venerable Emperor Altoum in his brief Act II introduction ("Un giuramento atroce mi costringe"). Sabin Markov is imposing as the law-giving Mandarin in the opening lines of Act I ("Popolo di Pekino!").

Tom Krause, Piero de Palma, and Pier Francesco Poli are the three masks, the not entirely convincing but altogether charming ministers: Ping, Pang, and Pong. The average listener may not consider the first scene of Act II to be a highlight of the opera. It possesses not a single line from Calaf, Liù, or Turandot; it is, in actuality, only a long, capricious trio for the aforementioned three. However, it is a treasure trove of delightful Puccinian melodies that are often overlooked because of a lack of star power. "Olà Pang! Olà Pong!" (in which the three ministers prepare for either a marriage or a funeral, then contemplate the tragic recent years of China's history under the Stalinesque grasp of Turandot), provides a strong, numinous introduction; "Ho una casa nell'Honan" (in which the ministers contemplate their peaceful, happier lives outside Peking, "all surrounded by bamboo") allows the three singers to shine individually, each sculpting the personality of his own mask; "O mondo...O mondo" (in which the ministers remember chidingly the colorful personalities of Turandot's failed suitors and other madmen in love) is a masterpiece in Oriental charisma and melody; and "Addio, amore, addio, razza!" (in which the ministers bid farewell to the divine lineage and honor of China) and "O tigre! O tigre!" (in which the ministers fantasize about conducting a marriage for Turandot [rather than the impending funeral] and she and her husband making love in the gardens of the palace), provide a musing, coy finalization to the scene.

The brilliance of this recording, in short, can be heard plainly in Act I, during the visual, mimed entrance of Turandot to the thumping and plucking of the strings. This was truly a brilliant move by Puccini; the frigid princess remains wrapped in her icy mystery and virginal lonesomeness and disappears as abruptly as she appeared, like an arcane shade, until the middle of Act II. The same magic can be heard in the electrifying finale of the first act; Pavarotti's three cries of "Turandot!" are accentuated by three volcanic eruptions from the gong. While the scene closes with an oppressive theme, one can almost see the leering face of Turandot, viewing the man she believes will be her next victim.

One of the Great Recordings of the 20th Century.......2007-05-06

This recording exemplifies the limitless possibilities of the recording medium. Sutherland never sang the role of Turandot live. She certainly could have but the focus of most of her international career was the music of the 18th century. This performance came as a huge surprise to the public when it was first issued on LPs in the 1970s. She's nothing less than a phenomenal Turandot. Her singing is flawless. Perfect.

For me, bad habits and self conscious effects plagued much of Caballe's singing. Her voice was never a beautiful instrument but she used her voice beautifully. Sometimes the famous pianissimo singing she was famous for sounded overly luxuriant and outside the meaning of the words and music. There are times on the recording where vowels and consonants become sounds. Her performance here is good but I much prefer Tebaldi whose incredibly beautifully voice is used for full expression. Caballe's voice is more calculated. Effective yes, but I can still hear the wheels turning.

The main attraction of this recording for many is the youthful Calaf of Luciano Pavarotti. By the time of this recording, Pavarotti was perhaps the most famous opera singer in the world and here he is caught in full youthful bloom. The tone rivals the great tenors of the century. His singing is fully expressive with an irresistible lushness and expansive quality. The high notes have ping and in general, he gives a gorgeously sung and dramatic portrayal.

I have never warmed up to Mehta's bombastic approach to everything he conducts but here it works extremely well and the playing of the New Philharmonia Orchestra and John Aldiss Choir is superb.

Is this recording better than RCA's famous living stereo edition? No, but it clearly is equal to that recording. In fact, this is one of the best opera recordings of the century.

Barbaric AND Beautiful.......2006-12-05

For many years, my "Turandot" of choice was the old RCA set with Nilsson, Bjorling, and Tebaldi. Loud, brash, garish, colorful, the score is the epitome of Grand Opera, and the power of Nilsson's performances as the "Ice Princess" is still regarded by most opera fans as "the only one," to quote Eva Marton.

This recording taught me that the opera is also beautiful.

Turandot is a fantastic change for Dame Joan, and she sings it with passion, vehemence, warmth, and exquisitely easy high notes. The voice in the theater was indeed quite large, especially in the middle range, with a top that slimmed down to a silvery sheen above the staff. But for this recording, you get the overall sense that Sutherland was holding something back all these years - until now. Pavarotti is simply as great as he ever was - the voice in the theater was exactly like his recordings. His Calaf is thrilling from beginning to end. Caballe's Liu outshines Tebaldi by virtue of the most sublime pianissimi ever recorded: the final note of "Signore ascolta" goes on forever. Ghiaurov and Pears are luxury casting, but the rest of the cast are no slouches either. Even Piero de Palma, the most recorded character tenor in history, is on hand to sing Pong, a solid experienced veteran, and a real artist. Zubin Mehta manages to integrate the brash colors of this score and refine them to glowing effect, without loss of grandeur.

This recording should be placed in the hall of fame as one of the best studio performances of all time.

Why you should get this recording.....................2006-06-27

Sutherland would never sing Turandot in the theatre and personally, I don't think she cracks it here in this recording. However, vocally she seems to have no limits, especially when singing the taxing high passages and for Turandot, this is enough. My preference is more along the lines of Nilsson, Marton and maybe Eaglen. Likewise, Pavarotti does not come close to Bjoerling, Heppner or Corelli with his interpretation of Calaf, but he sings well. Caballe and Mehta are the real reason to get this recording; Caballe sings superbly and Mehta conducts a fine reading of Puccini's lush score.

Good except for Sutherland.......2006-05-26

I bought this a long time ago, and I'm scandalized by the plethora of positive reviews.

I was surprised by how whiny and pathetic Sutherland sounds. Perhaps it is the lack of runs and turns. Her Italian diction is horrible. Plus I hate how she attacks her notes, as if they are preceded by acciaccatura. She is evidently miscast. Nilsson spent her career defining Turandot. The verity and constancy of her notes are such a delight, and Sutherland's recording only serves to underscore this.

On the other hand, Caballe was excellent. She is the best Liu I've ever heard. Her singing was particularly rousing. I wish she could make her breathing less audible though.

The rest is OK. The audio quality is excellent.

Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan

Average customer rating:

Nice version of a classic opera
Pavarotti and Freni at their very best
Buy, listen, treasure
Cat's Meow
Beautiful

Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
Giacomo Puccini , Mirella Freni , Luciano Pavarotti , Berlin Philharmonic Orchestra , Herbert von Karajan , Elizabeth Harwood , Rolando Panerai , and Nicolai Ghiaurov
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Puccini - Turandot / Sutherland · Pavarotti · Caballé · Ghiaurov · Krause · Pears · LPO · Mehta
Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan
Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

Accessories:

GPX C3948BI Ultra-Slim CD Player with 40-Second Anti-Shock Protection and Car Kit

ASIN: B0000041TD
Release Date: 1990-10-25

Tracks:

La Boheme: Act One - Questo mar rosso
La Boheme: Act One - Pensier profundo!
La Boheme: Act One - Legna!
La Boheme: Act One - Si pu
La Boheme: Act One - Lo resto
La Boheme: Act One - Chi a?
La Boheme: Act One - Si sente meglio?
La Boheme: Act One - Che gelida manina
La Boheme: Act One - SMi chiamano Mim
La Boheme: Act One - O soave fanciulla
La Boheme: Act Two - Aranci, ninnoli! Caldi i marroni e
La Boheme: Act Two - Chi guardi?
La Boheme: Act Two - Viva Parpignol! Parpignol! Parpignol!
La Boheme: Act Two - Oh! ... Essa! ... Musetta!
La Boheme: Act Two - Quando men vo
La Boheme: Act Two - Chi l'ha richiesto?

Tracks:

La Boheme: Act Three - Ohle guardie! Aprite!
La Boheme: Act Three - Sa dirmi, scusi, qual''osteria
La Boheme: Act Three - Mim
La Boheme: Act Three - Marcello. Finalmente!
La Boheme: Act Three - Mim una civetta
La Boheme: Act Three - Mim tanto malata!
La Boheme: Act Three - Donde lieta uscl tuo grido
La Boheme: Act Three - Dunque roprio finita!
La Boheme: Act Four - In un coup
La Boheme: Act Four - O Mim tu pi torni
La Boheme: Act Four - Si sgombrino le sale!
La Boheme: Act Four - C'im.. c'imhe mi segue
La Boheme: Act Four - Vecchia zimarra, senti
La Boheme: Act Four - Sono andati? Fingevo di dormire
La Boheme: Act Four - Che avvien?

Amazon.com essential recording

The score for La Bohème comes to glowing life under Herbert von Karajan's baton, and Mirella Freni and Luciano Pavarotti make beautiful music together as the ill-fated lovers. The smaller parts are wonderfully sung, the comedy sharply profiled, and the pathos contained in such a way that the opera's ending proves remarkably gripping. London's sound is excellent. --Ted Libbey

Customer Reviews:

Nice version of a classic opera.......2007-03-02

This is a worthwhile and strong version of a great opera, Puccini's "La Boheme." For the most part, the cast is nicely up to the task of making such a familiar opera interesting to attend to. Elizabeth Harwood is not up to the same standards as some of the other singers, such as the redoubtable Luciano Pavarotti, the wonderful soprano Mirella Freni, and the steady Rolando Panerai. Von Karajan does a fine job conducting his Berlin Philharmonic Orchestra.

Act I is exceedingly well done. It begins with the Bohemians fooling around. The singing is nicely in character, as Rodolfo, Marcello, Colline, and Schaunard cavort. There follows the trio of works, "Che gelida manina" (sung by Pavarotti as Rodolfo), "Si, mi chiamano Mimi" (sung by Mimi), and the passionate duet "O soave fanciulla" (Rodolfo and Mimi). The final high notes are normally sung offstage, but in this version, they seem a bit more muted than in some other versions. Nonetheless, Mimi and Rodolfo are glorious in this set of arias.

The second scene is at the Cafe Momus. It begins with a lively, energetic street scene. Well sung by the ensemble. The high point is "Quando men vo" (Musetta's waltz), sung in this instance by Harwood. Her singing is a bit harsh; the pace is a bit lugubrious. Not a high point. The ensemble singing after that among Mimi, Rodolfo, Marcello, Musetta, and the other Bohemians is nicely done.

Act III is most poignant. Marcello and Mimi share a scene, and their singing is well done; a bit later, Mimi hides while Rodolfo joins Marcello. Rodolfo sings of his fears of Mimi's precarious health; as he pours out his fears, of course, Mimi overhears. She and Rodolfo join in, to overuse the term, a poignant scene. Meanwhile Marcello and Musetta share insults, in a wickedly sung duet, over the latter's flirting with other men.

Finally, Act IV. This is one of opera's most touching moments. Suffice it to say that the Bohemians and Mimi sing well and bring this opera to a melodic and affecting conclusion.

This is one of the best versions of "La Boheme." Pavarotti is in his prime; Freni is still singing well (although I thought that her and Nicolai Gedda's version of this opera was even better). Well worth listening to. . . .

Pavarotti and Freni at their very best.......2007-02-24

Karajan always provided a musical featherbed for his singers when he conducted opera, and here he takes La Boheme carefully, with measured tempos to wring every last tear. If you love the opera, this is a wonderful approach (at the very opposite of Beecham's famed mono account with Bjorling and de los Angeles, which is brisk and unsentimental. Well, as unsentimental as one can be with Boheme). On the twentieth hearing I am as moved by this performance as the first time I heard it. Pavarotti in prime voice and Freni as a Mimi to tear your heart out make an unmatched pair--how amazing that they both come from the small north Italian town of Modena.

The orchestra and Decca's sonics are vast for such an intimate opera, but that only adds to the emotional excess--a compliment in this case. Harwood isn't the Musetta of my dreams, but she was a Karajan favorite and does well here, far beter than her embarrassing Merry Widow under him. The La Scala veteran Rolando Panerai couldn't be bettered as Marcello, and he can stand up to Pavarotti's overwhelming presence.

In sum, I wouldn't change a thing, but canny buyers might anticipate that Decca will release a remastered version someday in their Originals line. The sound is fine already, but sonic updating never hurts. Highly recommended.

Buy, listen, treasure.......2006-11-04

A long time ago, my father was driving my teenaged self somewhere as he listened to a cassette of "Pavarotti's Greatest Hits" on the car stereo. During "Che gelida manina", he tried to enlighten my ignorance as to what was special about it. "This is one of the great moments in opera," he explained. "The man sings this beautiful aria. Then the woman sings something even more beautiful. Then the two of them sing together and it's even more beautiful than that." I grunted in assent that it must be a whole lot of beautifulness and then returned my attention to whatever science fiction novel I was reading at the time.

Many years have passed since then. My father is dead, and I probably know more about opera now than he did. But, perhaps because of that conversation, the end of Act I still defines "La Boheme" for me. [Moral of the story for parents of teens: Keep sharing yourself with your kids, no matter how much they grunt at you. There's no telling what will stick.] If a performance doesn't convey Dad's Guinness-Book sense that opera really doesn't get any more powerful or moving than this, I have to consign it to the "Not Quite" file. Sorry Tebaldi/Bergonzi and Callas/di Stefano.

All of which is to set up my claim that Freni/Pavarotti are the ones who truly deliver the goods in this virtually impossible-to-sing scene. While di Stefano's voice has a marvelous bronze gleam and crisp pronunciation, he simply doesn't have the sheer tone power to compete with the strength of Puccini's melodies. When Rodolfo sings "In te ravviso / Il sogno ch'io vorrei sempre sognar!", the heroic notes demand that the tenor produce a sound that you would follow into battle. Here Pav unforgettably brings da noise - and "Yes, Giorgio" is forgiven all over again.

Freni is equally virtuosic in the soprano's milieu, somehow managing to convey a waifish bohemian as she robustly full-lungs her way through some of the most cruelly exposed high notes in the music. And how euphoniously their two instruments mesh in the duets! How confidently they surf the surging waves of Karajan's conducting!

I don't know what else to say except that it's all here. Every component of the recorded operatic experience - composer, conductor, musicians, and singers - exercising mastery at world-class levels. There is nothing to impede the plucking of your heartstrings until they fray and snap. If you can listen to the final offstage "Amor!" with dry eyes, there is something dead inside you - I'm sorry to say. I'm verklempt now just thinking about it.

So, yes - all the raves here are true. This is not just the best "Boheme", but one of the best opera recordings ever made. You know what to do.

Cat's Meow.......2006-08-15

This is the one, especially if you are a Pavarotti fan. In this recording everyone acquits themselves with style. Pavarotti is magnificent, Freni is gorgeous, as is Harwood, Ghiaurov...well the whole gang is great.

Beautiful.......2005-05-03

I own two recordings of Puccini's La Boheme, and this one is my favorite. I love this set, the recording is excellent. Pavorotti and Freni are magnificent in this version. This is just an excellent opera. It is so beautiful and touching. It is one of my all time favorite opera's.

Average customer rating:

A Triumph!
Lucid and Dazzling
Not original? Ha!
Upshaw is a true artist
Review of 'Ayre'

Osvaldo Golijov: Ayre
Osvaldo Golijov , Dawn Upshaw , Luciano Berio , and Folk Songs
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Osvaldo Golijov: Ainadamar
Golijov: Yiddishbbuk
The Dreams and Prayers of Isaac the Blind
La Pasion Segun San Marcos (St. Mark Passion)
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ASIN: B000ASDG9E
Release Date: 2005-09-27

Tracks:

Dawn, St. John's Day - Dawn Upshaw
A Mother Roasted Her Child - Dawn Upshaw
Walls Are Encircling The Land - Dawn Upshaw
Moon - Dawn Upshaw
Nani - Dawn Upshaw
My Love - Dawn Upshaw
My Eyes Weep - Dawn Upshaw
Be A String, Water, To My Guitar - Dawn Upshaw
Untie Your Ribbons - Dawn Upshaw
O God, Where Shall I Find You? - Dawn Upshaw
Ariadna In Her Labyrinth - Dawn Upshaw
Black Is The Color - Gordon Gottlieb
I Wonder As I Wander - Gordon Gottlieb
Loosin Yelav - Gordon Gottlieb
Rossignolet Du Bois - Gordon Gottlieb
A La Femminisca - Gordon Gottlieb
La Donna Ideale - Gordon Gottlieb
Ballo - Gordon Gottlieb
Motettu De Tristura - Gordon Gottlieb
Malurous Qu'o Uno Fenno - Gordon Gottlieb
Lo Fiolaire - Gordon Gottlieb
Azerbaijan Love Song - Gordon Gottlieb

Amazon.com

This is a fascinating CD, containing two song cycles--one brand new, by Osvaldo Golijov, and one dating from 1964, by Luciano Berio. Berios's is a setting of folk songs from several countries, including France, Italy, America, and Sardinia. Golijov's songs are in Spanish, but they cross Christian, Jewish, and Arab cultures. The Berio arrangements contain nicely odd harmonic cadences in the accompaniments. Dawn Upshaw sings them simply and directly, albeit in what might be called a traditional operatic, if low-keyed, fashion. Golijov's songs are strange, daring, and magnificent, in composition, accompaniment, rhythm, and vocal delivery. To be sure, Upshaw uses an operatic sound for much of the cycle, but she lets loose with some of the most remarkable yelps, hoots, and bellows to express the texts and situations as well. The songs vary: some are prayers, some folk songs, some lullabies. Golijov orchestrates with accordion, horn, laptop computer (electronica), flute, violin, viola, and more--and the sounds fit the words. He doesn't seem to care whether he's making music classical or popular: as a result he has created something unique. Fans of pop music will be as entranced by this as will those specializing in classical music. Try this--it's remarkable. --Robert Levine

Customer Reviews:

A Triumph!.......2007-06-24

On June 4 2007 I went to a meeting at the Chicago Symphony Orchestra. Chicago Public Schools teachers were invited to brainstorm ideas to have our students working in the production of 'Ainadamar', an opera by Osvaldo Golijov, in cooperation with Albany Park Theatre Project (APTP). Osvaldo Golijov attended that meeting. Afterwards we were invited to stay to see Ayre. This is how I discovered Golijov.
By the second song I was completely blown away and almost in tears ... The music was so powerful, and the singing completely energetic and mesmerizing at the same time. Jewish music melted with Muslim influences and with a Spanish traditional touch here and there. The soprano Dawn Upshaw was brilliant, and so was the whole orchestra. I've never seen before a laptop computer mixed with an orchestra. And the orchestra itself was nothing conventional (Spanish guitar, accordion, flutes, oboes, violins, etc.). The composer himself presented the songs like a tribute to friendship. Also, he said it was a 'story on how the opressed became the opressors'. A very remarkable music experience that I strongly recommend. Not an easy listening, but definetely worth it!
The album contains two different pieces. Tracks 1-11 'Ayre' (2004) by Osvaldo Golijov (1960), which is the world premiere recording. Tracks 12-22 'Folk Songs' (1964) by Luciano Berio (1925-2003). The soprano Dawn Upshaw sings both of the pieces. I bought this CD because of 'Ayre' and this is what this is review is about. However, I also liked the folk songs by Berio and I give this CD 4 stars overall (4,5 for Ayre).

Lucid and Dazzling.......2006-09-28

Lucid and Dazzling. That's all there is to say. Lucid and dazzling.

Golijov takes a good hard long look at Berio's 'Folk Songs,' thinks about what he'd do differently, and does it. Ayre is one of the most creative collections of multi-lingual, international, inter-faith, inter-cultural mosaic to enter the musical word. It is motley and mixed. It has dark humor with wicked grins, sentimental sighs and long winding melodies that stay in your head for a day or two.

On seeing a live show of this about two weeks after the CD came out I cried and cried - because not only do we have such amazing and moving music in this piece, it is music that - in its mediterranean hodge-podge - gives us a reminder of how beautiful the world would be if we'd all sing with, instead of shoot at, each other.

And the Berio - well, I thought Berberian's recording from the 70's was it. But Dawn, well, she just gets certain subtleties and colors that Cathy couldn't. And Ms. Upshaw can growl, scream, laugh, mock, and dream just as good as Cathy could.

A good CD for fall. A great gift for those of extra-ecclectic taste. An even better musical intro for those that want to see/hear where (I hope) classical music is heading.

Not original? Ha!.......2006-06-22

So, I ended up buying this album not for the main piece, Golijov's Ayre but for Upshaw's version of Berio's Folksongs. In fact, in the length of time I've had this disc, which has been a couple of months, at least, I never even once attempted listening to Golijov's piece. The truth of the matter was, I kept telling myself I didn't like Goljov - which was silly and contradictory of me since I've always enjoyed Golijov's The Dreams and Prayers of Isaac the Blind. In fact, because I knew I enjoyed Isaac The Blind, I investigated whether or not I'd enjoy Golijov's newly released opera, Ainadamar. After listening to some 30 second samples from Amazon.com, I must admit that I wasn't impressed with what I heard. I also investigated his La Pasion Segun San Marcos only to arrive at the opinion that it, too, was lacking in very many ways. I immediately figured that aside from Isaac the Blind, Golijov's other material seemed bland, unempathetic and largely undeveloped - almost as if he were in a hurry to be prolific!

Well, needless to say, my opinion of him immediately changed when I finally decided to listen to Ayre. From the very first note, I realized it was Golijov from my familiarity with Isaac the Blind and I was instantaneously drawn in. The rhythm was exotic, casual, and yet refined, and the harmony transported me away from 21st century America into a wholly other multi-cultural dimension. The introduction holds you in suspense, awaiting what's next, and then gradually shifts into mode encompassed by Jewish and Arabesque tones and colors. Upshaw's singing is so evocative and pronounced that, just like in her performance of Gorecki's "Symphony No. 3," she doesn't spare any emotion in her performance. Her voice alone adds so much texture to these songs!

The song cycle ranges from the beautiful to the absurd, at times, with Upshaw's singing leading the way. And while the music itself often appears to move from place to place, never seeming to touch the same place twice, there is actually so much cohsiveness between each song that it's impossible not to realize these songs rely upon each other for their strength and viability just like any other architectural composition.

Some people harangue Golijov for being a popular living composer, often berating him with fallible characterizations. Some even claim he isn't original and is only recycling what's come before in order to put himself among the ranks of Mozart, Mahler, and Shostakovich. As one reviewer belows states, Golijov is considered the Brittany Spears of classical. Far from it, as I see it! Golijov's music is no less original than many other composers, including Mozart himself. In fact, it's truly quite difficult to find any composer, living or dead, who was not inspired or did not find their cue from music that preceded them. Golijov may take certain themes borrowed from previous composers (such as composing a song cycle based on Berio's Folksongs) and incorporate those themes into the larger scheme, but such inspiration is no different than the countless composed renditions of "Variations on a Theme by Paganini."

Don't let overly traditionalist music-lovers stray you away from this release! It's truly what your heart, soul, and ears have been searching for!

Upshaw is a true artist.......2006-04-23

I must first say that I have the highest admiration for Dawn Upshaw. Here is an artist, a wonderful singer, who is willing to explore music as varied as can be imagined. From Bach to Schubert to Debussy to Golijov and Saariaho, she illuminates it all with her beautiful voice. She is a true artist and a courageous one, (witness the hostility in some of the reviews here.)

I feel that Golijov is a very important contemporary composer, and this work, with its varied ethnicity and moods is a fascinating journey. To me the second half of the album, folk songs of Luciano Berio, while interesting, is nowhere near as powerful as Golijov piece.

The instrumental group Andalucian Dogs are superb. They accompany Upshaw with boundless energy and virtuosity.

Review of 'Ayre'.......2006-03-07

Some of the selections were interesting. One or two, very interesting but overall, so-so. Upshaw is wasted on this one.
Occasionally 'atmospheric'.

The Best of Luciano Pavarotti: 20th Century Masters/The Millennium Collection

Average customer rating:

uplifting

The Best of Luciano Pavarotti: 20th Century Masters/The Millennium Collection

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002KQOB2
Release Date: 2004-08-03

Tracks:

Santa Lucia
Vieni Sul Mar'
La Danza
La Donna E Mobile
M'appari
Libiamo Ne'lieti Calici
Caro Mio Ben
Lunge De Lei - De' Miei Bollenti Spiriti
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Torna A Surriento
Funiculi, Funicula
O Paradiso
Amor Ti Vieta
Una Furtiva Lagrima
Core 'Ngrato
Ave Maria
Nessun Dorma!

Customer Reviews:

uplifting.......2007-02-15

Pavarotti's voice will lift your spirit and fill your home with rich sound. He is the best.

Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

Average customer rating:

Great performance
Awesome!
Almost the best
The Definitive Rigoletto
Awed

Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge
Giuseppe Verdi , Richard Bonynge , Luciano Pavarotti , Joan Sutherland , London Symphony Orchestra , Sherrill Milnes , Joseph Clement , John Gibbs , Clifford Grant , Kiri Te Kanawa , Gillian Knight , Ricardo Cassinelli , and Ambrosian Opera Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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