Te Amo

1. Despues de la Señal

2. Fantasma

3. (Cancion Para Gritar) Te Amo

4. No Vuelvas (Yo Te Quiero)

5. Mas Que Sola

6. Cero en Amor

7. Hare de Cuenta

8. (Que la Noche Comience) Bailare Bailaras

9. Lo Que Las Mujered No Decimos

10. Para Este Amor

Te Amo,Andrea Del Boca,Wea Latina,Latin,Latin Continuum

Music

jazz

music

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:)

Average customer rating:

Mistaken Composer
Una Furtiva Lagrima
Juan Over
Florez Continues to Impress
A CD worth having

Una Furtiva Lagrima

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Rossini - Il Barbiere Di Siviglia / Juan Diego Florez, Maria Bayo, Pietro Spagnoli, Ruggero Raimondi, Bruno Pratico, Gianluigi Gelmetti, Madrid Opera

ASIN: B00008CLJK
Release Date: 2003-04-08

Tracks:

Allegro Io Son
Una Furtiva Lagrima
L'Elisir D'Amore
Povero Ernesto
Com E Gentil
Tutto E Sciolto
Ah Non Sogno
A Teo O Cara
La Fille Du Regiment

Amazon.com

Here again young Peruvian tenor Juan Diego Florez proves himself a pleasure to listen to. The music on this CD is not as florid as on his previous recital, but the manner in which he approaches this selection of scenes by Donizetti and Bellini is just as artful. The tone is beautiful and even from bottom to amazingly easy top; he gets "in" each character; his smooth, elegant delivery ("Una furtive lagrima" is simply and meltingly sung, as is Ernesto's aria from Don Pasquale) is as wondrous as his acrobatics--rarely have Tonio's nine high Cs from the Fille du Regiment aria sounded so natural, so part of the character's enthusiasm, and rarely has Arturo's abrupt rise to high C sharp in "A te o cara" sounded so effortless. Florez's basic sound is sweet, but he can exclaim excitingly, as he does in the scene from I Capuleti e i Montecchi. And wait until you hear the ditty from Donizetti's Rita! Rarely has singing sounded like so much fun. Conductor Riccardo Frizza leads the orchestra (and chorus) with knowing early 19th-century style. Don't miss this. --Robert Levine

Album Details

2003 Release from Peruvian Opera Singer who Won the "Premio Abbiati Della Critica" and "Rossini D'oro" Prizes for Best Singer. He Carried Out his First Music Studies at the Conservatorio Nacional De Lima and Later at the Curtis Institute of Music of Philadelphia. He was Invited by the Famous Peruvian Tenor Ernesto Palacio (With Whom He Has Been Preparing his Repertoire Since Then) to Take Part to Some Opera Productions in Italy and They Sang Together in the First Modern Performances of Zingarelli's Oratorio "le Tre Ore Di Agonia Di Cristo" and in Martin Y Soler's Opera "il Tutore Burlato". He Sang at the Sully-sur-loire Festival and at the International Festival of Gerace (Italy). Since Then He Has Been Appearing in all the Most Important Opera Houses in Europe: London, Meyerbeer, Rome, Verona, Pesaro, Milan, Nice, Florence, Barcelona, Seville, Las Palmas, Genua, Pesaro, Trieste, Hamburg, Munich, Turin, Toulouse and Vienna.

Customer Reviews:

Mistaken Composer.......2005-09-24

While it was a nice recording your listing is incorrect. The correct composer of "Una furtiva lagrima" is Donizetti, not Bellini. Please review your data.

Una Furtiva Lagrima.......2005-04-12

After hearing the first track ("Allegro io son") on our local station (www.allclassical.org), I immediately bought this album. I was a little nervous that there would only be one good track, but (after listening _many_ times) consider most of the tracks to be "keepers". The title track is very moving, but my personal favorite is "Com'e gentil", for the wonderful match of voice and instrument.

Some of the tracks are a little heavy on the recitative, but the album notes include the translation, which makes it more interesting to listen to.

Juan Over .......2004-09-15

When it comes to reviewing classical music, I feel a little bit like a hillbilly at the opera. I really like it, but I'm not all that sure what's going on. And like that hillbilly at the opera (there aren't any hillbillies out there, reading this are there -- Mammy? Pappy)? I love classical music, but I can't honestly say I know much about it.

What I DO know is that to my untrained ear, Mr. Florez' voice is incredibly beautiful, a pleasure to revel in. Listening to his "Una furtiva lagrima" seems to transport me to another time and place. His voice is warm and tender and seems to soar effortlessly as he hits one high note after another and is worthy of appreciation by fans of any music style.

If you want an album filled with exquisite singing, this would certainly be a fine place to start.

Florez Continues to Impress.......2004-03-24

Too often singers arrive on the musical scene, make one recording, catch the glamour star, only to recede into the background once the initial flourish is made. Not so with Peruvian bel canto tenor Juan Diego Florez. The resounding success of his first album of ROSSINI ARIAS made us hold our breath; could this wonderful new true bel canto tenor hold his own on the stage and on further recordings? Well, yes, he can and has. Not only does he possess a clear, focused, high tenor voice seemingly capable of overcoming any hurdles of power or agility, Juan Diego Florez is a stunning stage presence of handsome bearing. AND he can act with both his body and his head and his voice. UNA FURTIVA LAGRIMA shows Florez in firm control of a broader spectrum of emotional material. True, this selection remains in the bel canto repertoire, but then that is also to his credit, as he is not trying to "sing it all". He has the intelligence to know where his vocal lines are most secure and does not give in to the tendency of foraging into repertoire that could damage his young voice. On this recording there is less distraction from his rather rapid vibrato and more emphasis on the total music line. This CD documents not only a fine tenor currently before the public: it also is a good indicator that he will be around for a long time. Excellent recording, well worth its place in your library.

A CD worth having.......2003-06-17

Keeping more in "tune" with his voice, Juan Diego has recorded an excellent album of great arias. His previous debut album was quite a feast for lovers of high Rossini. This new album gives a feast for just about everyone. It covers a nice range of arias from the beautiful title song to the show-stopping "Mes Amis". Definitely worth buying and enjoying.

Average customer rating:

Italian Renaissance Dances, Vol. 2

Manufacturer: Hmf Classical Exp.
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005UONH
Release Date: 2002-04-09

Women in Chant: Gregorian Chants for the Festal Celebrations of the Virgin Martyrs and Our Lady of Sorrows

Average customer rating:

A CRUCIAL COLLECTION OF HYMNS FROM VARIOUS VIRGIN FEASTS LIKE OUR LADY OF SORROWS; CROWNED BY THE ABBESS'S CHANT OF PATER NOSTER
Beautiful Benedictine Chant
Perfect for Meditation

Women in Chant: Gregorian Chants for the Festal Celebrations of the Virgin Martyrs and Our Lady of Sorrows
The Choir of Benedictine Nuns at the Abbey of Regina Laudis
Manufacturer: Sounds True Direct
ProductGroup: Music
Binding: Audio CD

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Chant II
Gregorian Chants: The Best of the Benedictine Monks of St. Michael's

ASIN: B00000379Y
Release Date: 1997-10-21

Tracks:

Bells of Jesu Fili Mariae
Orante Sancta Lucia
Jesu Corona Virginum
Columna Es Immobilis
Regem Virginum Dominum
Dilexisti
Annulo Suo
Matins Lesson
Amo Christum
Ecce Quod Concupivi
Me Exspectaverunt
Quinque Prudentes
Valerianus
Adjuvabit Eam
Virgo Gloriosa
Confundantur
Benedico Te
Virginis Proles
Paganorum
Gaudeamus
Stabat Mater
Nolite Me Considerare
Kyrie, Pater Noster, Collect, Blessing by the Abbess
Regina Caeli

Customer Reviews:

A CRUCIAL COLLECTION OF HYMNS FROM VARIOUS VIRGIN FEASTS LIKE OUR LADY OF SORROWS; CROWNED BY THE ABBESS'S CHANT OF PATER NOSTER.......2007-03-09

Opening with a rousing tolling from the new Abbatial bell tower, this exquisite collection of hymns and chant from the Feasts of Saint Lucy, Saint Agnes, Saint Cecilia, Saint Agatha, and Our Lady of Sorrows (including the well-known Stabat Mater) is crowned with a deeply moving solo chant by the Founder of this Abbey of Regina Laudis, the so recently deceased Lady Abbess Reverend Mother Benedict Duss, OSB, whose new biography we now expect soon in May of 2007 from Ignatian Press. To hear her once again in advanced age intone the Kyrie and chant completely and with great inner strength the Pater Noster as so often throughout the life of this monastic choir, as well as the Collect of Our Lady of Sorrows, is to unite heart and mind, body and soul, in a sacred moment within an eternal and a sacramental dimension, full of God's loving grace, and challenge, and a prophetic calling to continual conversion in Christ.

The recording of the chant by this living Gregorian Choir of sacred women is perfect in every way, although on my small player I found some overtones in the upper registers. Certainly this was the fault of my inadequate player, and I shall try it again. The cassette tape copy which kept me company for thousands of my miles in my small truck finally separated, and its sound was full and deep until then, very present, in fact so much so I felt I must arise to bow while driving whenever the Gloria Patri et Filii came on.

As subtle and precise as is the chant itself, the extensive booklet informs and educates not only the initiate but all of us already familiar with these sacred tones. The full text of the hymns are presented in the 45 page well-illuminated booklet, along with English translation. The translation of scriptural verses is drawn "from the Confraternity Version of The Holy Bible: The Book of Psalms and the Canticles of the Roman Breviary, published by the St. Anthony Guild Press. This edition was chosen because of its reliability and because its numbering of the Psalms corresponds to that used in the Graduale Romanum, Antiphonale Monasticum, and Breviarium Monasticum. (p.39)" Therefore the anglophile yet Catholic listener should feel all confidence in the English translation employed in the accompanying text. Please note nevertheless the Nolite's English was drawn from the very well-regarded Jerusalem Bible.

What you might find most extraordinary about the English translations is that non-SCriptural yet very traditional hymns and sequence such as the Stabat Mater comes not only with a brief description of author. but also new English translations done at the Abbey in order to provide a fresh and simplified understanding of the profound meaning of these chants. As one who in my youth wished nothing more than to do precisely such sacred translations, I must restrain myself from contesting the words used, as any translation is treason, as they say. Rather I resolve to find what remains within my heart and mind to do as an exercise of prayerful contemplation the translation I might once have done, knowing full well this is now impossible. By this disk I may now view from a distance the Promised Land which might once have been attained.

Please purchase this disk and you will be greatly and overwhelmingly rewarded in so many dimensions. I find a profound homecoming in the stunning centerfold photo of the new Abbatial nave, a true and sturdy ship of our Faith. I weep once agian to view the beautiful bas-relief of the Holy Virgins here presented, and of Mother Placid's excellent Via Crucis. The photos of te two Abbesses are a strengthening and truly Ikonic joy (in the true sense of the word IKON, not the meaningless cliche it has now popularly and commercially become). The introduction includes brief biographies of Dr. Marier and of Tom P., the producer, but what follows is truly blessed, a one page biography of the Reverend Mother Benedict Duss, followed by an extensive interview with her regarding the essence of the Chant, concluding:

"When I hear the chant, I hear people at peace together (p. 9)"

A fine colleciton of hagiography follows, etc. Please give yourself the gift of this recording and its warmly embracing theological commentary.

Beautiful Benedictine Chant.......2002-11-16

Benedictine chant from the nuns of abbey of Regina Laudis. Really gives you the feeling of attending a beautiful service. The accompanying booklet gives the Latin text and English translation of each piece, the interesting history of the Abbey, and has some very nice photographs of the nuns. The album's production is very natural and has an ambient quality. The producer Tom Pomposello was interestingly enough a blues guitarist and Grammy award winning professor. Well worth having!

Perfect for Meditation.......2000-08-14

I was looking for music to use in my meditation and, since my path is women-spirituality based, I was pleased to come upon Women in Chant. What beautiful music. Although I am not Catholic, it hardly matters in terms of recognizing and appreciating the sacredness of these chants. I wonder at the dedication of the nuns of the Choir to perfect the intricacies of the songs. The accompanying informational booklet that describes the circumstances of the Virgin Martyrs and Our Lady of Sorrows was both interesting and poignant. If you love Gregorian Chant -- or if you would like to experience it ... if you have listened to choirs of women before -- or if you have never heard women's voices raised in chant ... whatever your past experience, I think you will enjoy and grow from this compilation.

Average customer rating:

Solid, Inventive, and Beautiful...
Its the worst of his new album and its still 3.5-4 stars
Smooth, Romantic - Definitely Prince!!!!
Highly Effective as a Sleeping Aid
Beautiful

Te Amo Corazon
Prince
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

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3121
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ASIN: B000CR5ENY
Release Date: 2005-12-20

Tracks:

Te Amo Coraz

Customer Reviews:

Solid, Inventive, and Beautiful..........2006-07-07

Because I am a professional pianist (classical), I cannot help but analyze things on a different level which other musicians understand. I must say that the album as a whole was weak with very few interesting musical ideas, but this song is one of the best on the album. It is wonderfully crafted and beautifully detailed as most Prince tunes usually are. It not only is musically interesting, but has traditional beauty and elegance as well. Just another great song, as if Prince didn't have enough already. For all those who appreciate the musicianship of Prince, this is something you must have.

Its the worst of his new album and its still 3.5-4 stars.......2006-05-19

This song definitely the worst song on the album and it still receives 3.5-4 stars.
The remainder of his album is absolutely amazing.
"Incense & Candles" is his best song in 20 years. It ranks up there with Purple rain.
"Black Sweat" is also some of his best work.
His latest protégé "Tamar" is featured on the "Black Sweat" video. I saw her in concert with Prince and had FRONT ROW tickets. For most of the concert I forgot that Prince was even there. "Prince filled the seats, while Tamar and the Twins stole the show!"
Not that Prince's music of the last 3 years have been bad, its actually been quite good if you like jazz. Yet 3121 is more commercial. It has some sexual overtones and is very refined.

If you like old school prince, then you will love this Album. Just don't judge it based on "Te Amo Corazon."

Smooth, Romantic - Definitely Prince!!!!.......2006-03-24

I first heard this song on a jazz station. I wasnt sure who it was but it was familiar. I heard the next chorus and then I knew it was he. Definitely Prince. Definitely worth buying. I now have his CD 3121 and it is also a new classic. Every track is indisputably Prince. Buy them both!!!

Highly Effective as a Sleeping Aid.......2006-02-28

What happened, Senor No-Name? It's such a shame your talent had to end...

Honestly, this single is the current Prince standard. Decent, better than a lot of other stuff on the radio, but makes you long for even a hint of the edge and vitality of his earlier, vastly superior work. Hopefully the album it's on is better than the lackluster 2004 effort, Musicology, but don't expect it to be. The lower your expectations are with Prince these days, the more surprised you're likely to be.

Beautiful.......2006-02-27

This is something different for the purple prince. I find the song quite beautiful and moving. I hope he keeps making music like this in the future.

Average customer rating:

The Complete Caruso

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001TSWQO
Release Date: 2004-11-09

Average customer rating:

he was a wild one
Just a note!
Gesualdo at his finest!
Unexpected Treat

Gesualdo: Madrigaux (Madrigals)
Carlo Gesualdo , William Christie , Gérard Lesne , Jean-Paul Fouchécourt , and Les Arts Florissants
Manufacturer: Harmonia Mundi Fr.
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Binding: Audio CD

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Hildegard von Bingen: O Jerusalem

ASIN: B000027O0U
Release Date: 1992-02-12

Tracks:

Ahi, Disperata Vita
Sospirava Il Mio Core
O Malnati Messaggi
Non T'amo, O Voce Ingrata
Canzon Francese Del Principe
Luci Serene E Chiare
Sparge La Morte Al Mio Signor
Arde Il Mio Cor
Io Tacero-Invan Dunque
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Merce Grido Piangendo
Asciugate I Begli Occhi
Correte, Amanti
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Io Parto
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Ardo, Per Te, Mio Bene

Amazon.com

In music circles, the name Carlo Gesualdo is usually followed by a strange look, knowing smile, or whimsical comment. The 16th-century Italian composer was nothing if not colorful, and his startlingly unusual music reflects an avant-garde approach to just about all aspects of his craft. Apart from his music, Gesualdo, Prince of Verona, was famously known for murdering his adulterous wife. In his music, especially his madrigals, he seemed to pay no attention to convention, or even to accepted rules of harmony and melodic structure. As heard in the works on this disc, nothing is predictable, from sudden, surprising leaps, to disjointed melodies, jerky rhythms, and occasionally shocking harmonic shifts. Of course, music of this nature is difficult to sing, which is why you rarely hear these works in concert or on recordings. We are fortunate to have such skilled and imaginative interpreters as Les Arts Florissants, who present these marvelous pieces with real artistic flair and a true sense of fun. --David Vernier

Customer Reviews:

he was a wild one.......2002-05-19

Around the Baroque period in the 17th century, there was some unsurety whether music was tending from modality to tonality or atonality. Gesualdo was the chief atonal composer of the period. He once caught his wife & her lover in bed & responded by hacking them both to pieces with an ax. Afterwards, he felt such immense guilt that he spent the rest of his life having his servants torture him every morning before he would compose this weird music. For the unique, extreme eccentricity of his life & his art, 5 stars, but minus one because I don't think this cd offers quite the best selection. It's great, but see what else you can find first.

Just a note!.......2002-02-14

I can't imagine how one of the reviewers could describe this music as "This is grand and very comfortable music. We easily converse or work while it plays, as charming as a court musician in the next room. It is an unexpected treat" Noone that knows Gesulado's musiccould ever describe it in such terms.

Gesualdo at his finest!.......2002-02-14

In Renaissance music, the madrigals of Gesualdo are a universe unto themselves. As a form, the madrigal represents a huge body of literature, much of which is rather light and entertaining. Not Gesualdo, if there was ever a dramatic madrigal-opera style, this is it. Every nuance of emotion is conveyed with beautifully startling and sudden expressionistic harmonic changes. The music seems to want to break out of itself as it reaches across centuries to find resonance in our hearts. The chromaticisms are exquisitely beautiful. You just have to let your ear adjust to it. Think expressionistic romanticism and you might get close to the feeling of this music.

Gesualdo's music is fiendishly difficult to sing. The harmonies and chromaticisms offer little for the singer to hang on to. In most cases, one is just satisfied with getting through this stuff and compared with what this group does, that is all you get from other ensembles. Here you have the play of dissonant suspensions, the sudden dynamic changes on a single note, the startling break-away rhythms and tempos and overall elasticity that is vitally necessary to make this music sound.

Forget about the fact that Gesualdo is the only composer in history to have been a nurder. The true story of the murder of his beautiful but faithless young wife and her lover while they were making love in bed. A crime which in Renaissance Italy, at those times, was excusable. Forget that Gesualdo is often depicted and characerized as spending the rest of his life in a dark castle cell, doing penitance and writing his twisted almost unsingable madrigals. Yes you will hear a full share of anguish and "morire's" symbolising his yearning to die for love.

What this superb ensemble delivers is a Gesualdo who in the end is not simply interesting, anguished or penitential but exquisitely beautiful as a fine Carravagio painting or michelangelo sculpture of the four 'prigione' (prisoners).

Unexpected Treat.......2000-08-13

Aaron Copland, in his "What to Listen For in Music", recommended that we hear Gesualdo's "Madrigaux", and so I bought it. The performance and the recording are technically flawless. The music itself has diverse tempos and styles, such as the lamenting "Non t'amo..." and the harp instrumental "Canzon francese...". This is grand and very comfortable music. We easily converse or work while it plays, as charming as a court musician in the next room. It is an unexpected treat.

Average customer rating:

Adorei!
Modern Beats, French Vocals

Neguinha Te Amo
Daúde
Manufacturer: Real World
ProductGroup: Music
Binding: Audio CD

Brazil | South & Central America | International | Styles | Music

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Daude

ASIN: B0000C8X5W
Release Date: 2003-09-30

Tracks:

Muito Quente
Ala-La-
Uma Neguinha
Sans Dire Adieu
Crioula
Canto De Ossanha
IlyQue Bloco E Esse?)
E Foi MamQue Me Disse
Naja
Dora
J'ai R

Amazon.com

Brazil will always be associated with bossa nova and samba music, but the country's musical landscape also includes rock, pop, hip-hop, funk, and other modern forms. On Neguinha Te Amo, Daude (pronounced Dah-oo-jee) offers her own unique perspective on the modern Brazilian pop music genre (known as musica popular Brasileira or simply MPB) by drawing on her experiences as a black female and celebrating both Brazil's culture of tolerance and her own very positive sense of sisterhood. Her soothing voice sounds almost effortless, making the message resonate all the more righteously. Urban pop arrangements and excellent production values from producer and collaborator Will Mowat leave no doubt that Daude is living in the here and now even when she draws upon her African roots to bring in traditional African drumming. She also touches on a few shimmying sambas, such as Baden Powell and Vinicius De Moraes's classic "Canto de Ossanha." This is an excellent outing from an artist who deserves more attention. --Tad Hendrickson

Customer Reviews:

Adorei!.......2004-12-23

What a pleasant surprise Daude's most recent work is. Of course, this new CD features her unique voice filled with her usual contagious exuberance, but the beats and arrangements are very forward-thinking, indeed. It's a shame that Daude hasn't achieved megastar success in nosso querido Brasil as yet, but her fans in the North (America and Europe) will be sure to appreciate this disc both for its good rhythms and not-so-subtle social messages. This album is black, black, black (in the good sense) and in the songs Uma Neguinha, Crioula and Ile Aiye, she speaks directly to black pride and against prejudice and is 100% effective in her roles as singer and social commentator. Ah, if only North America's songstresses could produce work like this. Parabens nega!

Modern Beats, French Vocals.......2004-11-17

Surprise: a modern beat and French vocals in a slick production contrast sharply with the usual Brazilian recording, so if you were expecting forro or some other ethnically rooted Brazilian folk tradition in Daude's NEGUINHA TE AMO, you won't find them here.
Instead you'll find such songs as 'Muito Quente', an almost hiphop beat with French vocals; or 'Ala-La-O', a sparse dance beat profiling Daude's smooth and lovely French voice.

The Complete Recordings, 1902-1920 (Box Set)

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Get It While You Can
Essential edition for opera lovers

The Complete Recordings, 1902-1920 (Box Set)

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | 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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Ladino | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

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

ASIN: B00030B92K
Release Date: 2004-11-23

Album Description

The Complete Caruso: Volumes 1 - 12

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

Todd Kosovich

Average customer rating:

Good "Elixir of Love" with Bergonzi at his blazing best
Great recording, but it's now available on video
Sparkling and romantic as the Elixir of Love must be!
Bergonzi is great
Scotto and Bergonzi=Heaven

Donizetti: L'elisir d'Amore

Manufacturer: Opera D'oro
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

Scotto, Renata | Divas | Opera & Vocal | Styles | Music
Similar Items:

Mascagni: Cavalleria Rusticana
Donizetti: L'elisir d'amore
Bellini - Norma / Sutherland, Tourangeau, Bonynge
Donizetti - L'Elisir d'Amore (The Elixir of Love) / Pido, Alagna, Gheorghiu, Opera National de Lyon
Eugene Onegin

ASIN: B000000UO9
Release Date: 1997-09-16

Tracks:

L'Elisir d'Amore: Act 1: Preludio e coro d'introduzione
L'Elisir d'Amore: Act 1: Quanto e bella, quanto e cara!
L'Elisir d'Amore: Act 1: Benedette queste carte!
L'Elisir d'Amore: Act 1: Come Paride vezzoso
L'Elisir d'Amore: Act 1: Or se m'ami, com'io t'amo...
L'Elisir d'Amore: Act 1: Intanto, o mia ragazza, occupero la piazza
L'Elisir d'Amore: Act 1: Una parola, o Adina
L'Elisir d'Amore: Act 1: Che vuol dire codesta sonata?
L'Elisir d'Amore: Act 1: Udite, udite, o rustici
L'Elisir d'Amore: Act 1: Ardir! Ha forse il cielo...
L'Elisir d'Amore: Act 1: Caro eliser! sei mio!
L'Elisir d'Amore: Act 1: Lallarallara la la la
L'Elisir d'Amore: Act 1: Tran tran... In guerra ed in amore...
L'Elisir d'Amore: Act 1: Signor sargente, signor sargente
L'Elisir d'Amore: Act 1: Adina, credimi, te ne scongiuro...
L'Elisir d'Amore: Act 1: Andiam, Belcore, si avverta il notaro

Tracks:

L'Elisir d'Amore: Act 2: Cantiamo, facciaam brindisi
L'Elisir d'Amore: Act 2: Poiche cantar vi alletta...
L'Elisir d'Amore: Act 2: La Nina Gondoliera, e il Senator Tredenti
L'Elisir d'Amore: Act 2: Silenzio! E qua il notaro
L'Elisir d'Amore: Act 2: La feste nuziali...
L'Elisir d'Amore: Act 2: La donna e un animale...
L'Elisir d'Amore: Act 2: Saria possibile?
L'Elisir d'Amore: Act 2: Dell'elisir mirabile...
L'Elisir d'Amore: Act 2: Come sen va contento!... Quanto amore!...
L'Elisir d'Amore: Act 2: Una furtiva lacrima
L'Elisir d'Amore: Act 2: Prendi; per me sei libero...
L'Elisir d'Amore: Act 2: Alto!... Fronte!...
L'Elisir d'Amore: Act 2: Ei corregge ogni difetto...

Customer Reviews:

Good "Elixir of Love" with Bergonzi at his blazing best.......2006-11-21

SOURCE: Live 1967 performance from the May Festival in Florence.

SOUND: Overall the sound is generally satisfactory. No-one will confuse it with a digital studio recording or even a live recording from Bayreuth, but not bad at all for a live performance. Stage noises are minimal and the audience is better behaved than many Italian audiences.

CAST: Adina, a prosperous country landowner inclined to be flirtatious and flighty - Renata Scotto (soprano); Nemorino, country bumpkin and prize chump hopelessly in love with Adina - Carlo Bergonzi (tenor); Belcore, a sergeant in a regiment encamped near Adina's farm, hopelessly in love with Belcore but also inclined to marry Adina - Giuseppe Taddei (baritone); Doctor Dulcamara, a traveling quack, purveyor of bogus nostrums and love potions, in love with money and his next meal - Carlo Cava (bass-baritone); Gianetta, a country girl who is not entirely averse to snagging a wealthy husband - Renza Jotti (mezzo-soprano). CONDUCTOR: Gianandrea Gavazzeni with the Florence May Festival Orchestra and Chorus.

DOCUMENTATION: No libretto. Brief history of the opera and short summary of the plot. Track list which identifies some but by no means all the singers on each track, and omits timings. Nothing on the performers and little more on the circumstances of this recording.

TEXT: This recording includes the performance cuts that were traditional for more than a century. Some earlier reviewers are clearly appalled by that fact and are quite evidently suffering the vapors because of it. I do not adhere to the cult of recording every note ever written and re-affirming every preliminary draft and bad idea. The simple fact is that original intentions sometimes do not survive encounters with real audiences. Opera is theater at its very largest and not every academic restorer understands that. If you have any doubts on the matter, just consider the cataclysmic effect on "The Tales of Hoffmann" when "restored" to Wagnerian length, as it is on some recent recordings.

COMMENTARY: "L'elisir d'amore" is yet another opera that can be traced back to that ubiquitous hack of all seasons, Eugene Scribe. Scribe's original libretto, "Le philtre," had been set to music by Auber in 1831, to no particular effect. In 1832, Donizetti needed a libretto on fairly short notice. His hack librettist, Felice Romani, knew a good thing when he could steal it. "Le philtre" was quickly paraphrased into Italian doggerel as "L'elisir d'amore" Donizetti devoted a long time--a full month!--to setting it. "L'elisir d'amore" opened to triumph in Milan in May 1832. One hundred and thirty five years later, the Florence May Festival offered this fine performance.

There are three international stars among the singers, but the performance really belongs to Carlo Bergonzi. The always acute and knowledgeable Amazon reviewer Armindo was so impressed that he was moved to utter these exclamations: "Bergonzi is the most characterful and romantic Nemorino ever! It's really unbelievable how much feeling and spirit he infuses in his singing without ever reducing its musical quality! I know no other singer--male or female--who ever achieved such level of musicality. He truly sounds like the young bumpkin! The most idiomatic and tender Una furtiva lagrima you will ever hear, is only one highlight of his performance." I am not quite as bowled over as Armindo. I think Ferruccio Tagliavini might have been as good or better about 1948 and so, too, might Tito Schipa have been around 1930 and maybe even Alessandro Bonci in, say 1910. But, of course, Tagliavini, Schipa and Bonci are not available in their best voices on (more or less) complete recordings of "L'elisir" while Bergonzi is-right here! He is as good as we're ever likely to hear in this lifetime.

Renata Scotto sings very well here. Her many fans may rest assured that Scotto does everything that they might wish from her and does it very impressively, too. I am not one of her fans and the fault is probably much more mine than hers. To me, she is like one of T. S. Elliot's mermaids. I hear them singing each to each but I do not think they will sing to me.

The third big name in the cast is Giuseppe Taddei. The Italians like to say they gave Gobbi to the world but kept Taddei for themselves. He did, in fact, sing outside Italy. He made his debut at the Metropolitan Opera at the age of 67. On this recording, the 51 year-old baritone offers a good, solid performance as Sergeant Belcore. I have no criticism of him in the role of Belcore except that he should not be singing it. Taddei was an excellent Leporello and a tremendous Falstaff. If I had been the producer of the May Festival I would have moved heaven and earth to have him sing Doctor Dulcamara. Any good baritone can be Belcore. Taddei would have been fabulous as the quack doctor and perhaps only Salvatore Baccaloni at his prime might have been better. I can only guess that Taddei took Belcore because he did not wish to be typecast in the buffo parts.

Carlo Cava was a reliable singer of lower-voiced parts. His recording career, to the best of my admittedly limited knowledge, was pretty much confined to short supporting parts. I'd not be at all surprised if this Dulcamara is his most significant appearance on disk. Cava is all right as the snake oil-peddling quack. He's looser than some in the role, but still generally staid in a part that practically cries out for a larger-than-life buffo baritone who delights in chewing the scenery and anything else that comes to hand.

Gianetta is a relatively small part which, nevertheless, offers some nice bits. Renza Jotti is an admirable Gianetta.

Gavazzeni conducts a fairly rapid-moving, Italianate performance in which everything keeps moving forward, unlike, say, Richard Bonynge who distorts the overall shape of the opera for the benefit of his singers. The orchestra and chorus are fine.

This is a good performance with a blazing tenor in a barebones package, all at low price. I think it's worth five stars.

Great recording, but it's now available on video.......2006-02-08

This 1967 performance from Florence is a wonderful recording, with Carlo Bergonzi, Renata Scotto, and Giuseppe Taddei all at their very best. Bergonzi has some pitch problems, but overall he sings with great beauty and musicianship. However ... this performance is now available on video, on the label Hardy Classics. The video is somewhat expensive, but it's worth it, as Carlo Bergonzi on the video is an endearingly naive country boy. Renata Scotto despite not having a conventionally beautiful face convinces us that she's the town flirt through her excellent acting. The sets are simple and the film is B&W, but as I said, I think if you liked this performance on cd, the DVD is worth getting.

Sparkling and romantic as the Elixir of Love must be!.......2004-06-15

This is one of the greatest Florence May Festival performances and should be in every opera collection. The experienced Gavazzeni, a maestro of the traditional Italian school of conducting, leads a superb cast and creates an amusing yet warm Elisir.

Bergonzi is the most characterful and romantic Nemorino ever! It's really unbelievable how much feeling and spirit he infuses in his singing without ever reducing its musical quality! I know no other singer - male or female - who ever achieved such level of musicality. He truly sounds like the young bumpkin! The most idiomatic and tender Una furtiva lagrima you will ever hear, is only one highlight of his performance.

Equally inspired is Renata Scotto's Adina and though I have never warmed up to her slightly metallic sound, I recognise her greatness. You won't find a more capricious Adina! Scotto moreover has all the abilities to shine and excite in the coloratura parts. Her big aria is a showstopper! Taddei's strong and suave Belcore is one of the best on records while Cava's funny Duclamara gets better and better as the show goes on. Even Giannetta is wonderfully performed by Renza Jotti.

It's not only the individual performances that are perfect but there is so much chemistry between the artists in the duets, the recitatives and ensembles. This is what truly makes this Elisir stand out as the best ever! A definite, intoxicating recommendation!

Bergonzi is great.......2001-08-27

What a wonderful live performance of this opera. Bergonzi is great as Nemorino. I can't recall ever hearing a more impassioned rendition of "una furtiva lagrima". Bergonzi is just perfect in this role. Scotto is no slouch either. If you like this opera, you should not be without the CD. The price is a steal. Buy it and enjoy!

Scotto and Bergonzi=Heaven.......2001-04-03

First of all, the sound quality of this recording is very acceptable and you could do far worse with some digital versions (Pavarotti/Battle or Carreras/Ricciarelli). As for the performance itself, well, it's vintage Italian singing. The important thing about this recording is that neither Carlo Bergonzi nor Renata Scotto recorded this opera commercially, so for their performances alone this set is priceless. Bergonzi sings a youthful, passionate Nemorino surpassed on records only by Giuseppe Di Stefano. Renata Scotto invariably gives a masterclass on true belcanto style, no other soprano of her generation was a better Adina, so we are very grateful indeed for this recording. If you want a digital version I can only recommend the Alagna/Devia version on ERATO.

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