| 1. Sabes |
| 2. Mi Destino |
| 3. Mi Ilusion |
| 4. Mi Cancion |
| 5. Algo Mio |
| 6. Capricho Mas |
| 7. Ven Corazon |
| 8. Together |
| 9. No Quiero Vivir Sin Ti |
| 10. No Me Dejes |
| 11. Perla Sifuentes |
| 12. Entregate a Mi |
| 13. One |
Editorial Reviews
Amazon.com
Tejano singer showcases his emotive vocals on this collection of polkas, cumbias, and rancheras. Highlights include the title track and "Algo Mio," where he adds passion and color to easy dance numbers. Perez began his career as lead singer for the orquesta Tejana group Latin Breed and the conjunto band David Lee Garza y Los Musicales. But his love for R&B has always shone through in his singing and especially in his spirited R&B covers on his subsequent solo CDs. Here he takes on Tierra's 1980 pop classic "Together," about a teenager's eternal dream. While he's a passable singer, Perez doesn't surpass the original. --Ramior Burr
Ms. Callas' voice goes beyond the normal concept of beauty.
(Some guy below is comparing Bjorling to DeStefano and Corelli and some others and was critical of Bjorling. The guy who wrote that must be suffering from hearing loss! ALL the tenors he mentioned are/were great artists. DON'T BELIEVE HIM...BELIEVE ME! :o) Email:boland7214@aol.
To me, NO other tenor I've ever heard matches Bjoerling. His voice is one of the few that reduce me to tears just trying to EXPLAIN it to people. I've loved classical music since childhood but was never able to get into opera until I heard Jussi ... all the tenors alive today - feh, sorry, but to me they just sound like guys taking deep breaths and singing loud, not like "the voice of God" ...
In the opening selection of this compilation; "Celeste Aida", this essentially lyric voice demonstrates for every heroic and dramatic tenor how to sing dramatic opera. It is a sheer singing lesson. In the strenuous recitative, he does not shout or use other non-musical effects, but shows that true dramatic expression is characterized by tonal intensiy and not by volume, although he had plenty enough of that. The beautiful and incredibly free flow of lyric tones in the Pearlfishers duet, the Faust cavatina and in the gorgeous "Che gelida manina" is absolutely exemplary. Yet, who could replicate the beauty of those effortless high C`s? I cannot think of anyone.
The only thing that could better this and give the set 5 stars in the book, is a compilation of the same selections, transferred from the original tapes and not excessively remastered as on this occasion. The sound is at times overly bright and the voice sounds thin and even sharp. But the singing is so far unmatched.
A total disappointment. I recommend Gigli and Del Monaco instead.
"Celeste Aida" from Verdi's opera is smoothly sung; his rich voice serves to good effect. As already noted, the little "cries" are unfortunate, but hardly an issue. His higher notes flow smoothly from lower ones, in a seamless fashion. It would have been nice to hear him try for the piano at the end, but he did not choose to do so. Any way you slice it, a nice version of a glorious aria.
"La donna e mobile" is taken at a rather slow pace. It is smoothly sung but does not really catch the spirit of the wretched Duke. He shows wonderful breath control. This is more a workmanlike than scintillating version. On the other hand, "Che gelida manina" is wonderful. Smooth, elegant singing. A very well done high note. An iconic version.
The twin arias from "Tosca," "Recondita armonia" and "E lucevan le stelle" are very well executed. His rendering of the final "la vita" in the latter aria is, again, noteworthy.
And now for something completely different. . . . "Funiculi funicula" is spritely sung, in good spirits, and it is a lot of fun! Most enjoyable. "O Sole mio," likewise, is well rendered. As previously noted, some "off putting" cries, but the warm, full voice more than makes up for such mannerisms. He does not overpower this song with operatic technique. The end result is most satisfying.
"La danza" befuddled the great Caruso (in his version, his breathing fell apart at one point). But not Gigli. Well sung, good breath control. Bravo Gigli!
Back to opera. . . . "Nessun dorma" is well sung. The vocalization is smooth. Gigli's voice soars over orchestra and other voices. The final "Vincero" rings out.
While this CD is not without some questions, as noted above, it is worth 5 stars for its full portrayal of the work of Gigli. As such, it can be recommended for anyone who wants a comprehensive introduction to this singer.
Besides listening to Gigli on Cd, you'd be doing yourself a favor to buy a movie in which Gigli appears and sings. The movie is called "Non Ti Scordar di Me". I'll try to find it on amazon or from "The Bel Canto Society" and give it a "review" also. It's an "old movie" but it has a VERY touching story, is well acted, and you get to see and hear Gigli which is a great treat since he has been gone for at least 50 years. He "comes alive" in this CD and in the movie. You will "thrill" to the sound of his voice. Enjoy! Email:boland7214@aol.
This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:
"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.
From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.
From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.
And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.
Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.
Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.
Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.
Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.
So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.
He is a great force in opera.
Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......
Lets face it; Bocelli is no Pavoratti, and perhaps it was not wise to choose some of the arias associated with tenors of his ilk, but Bocelli makes the best of his talents, which are considerable. And he has done a lot to create interest among young voice students,(male) and as a voice teacher I make use of his appearance and his youthfulness to engage their interest, and he does that!!!!I think his record sales tell the tale.
His tessitura is nowere near adequate for singing any of the arias from Rigoletto, "La donna è mobile" sounds much like a kid would sing it. "Celeste Aida" is one of the worst selections, and one of the most electronically enhanced, as it requires a precise voice placement (which Bocelli doesn't posses) since much of it lies very high in the register, and a heavier, rounder voice; if the role is not adequate for many REAL tenors, it is much less adequate for a pop singer. The "feeling" raving reviewers talk about is nothing more than a voice coming (incorrectly) from the throat, and the "beautiful" high D in "Possente amor" is a beautifully screamed falsetto, the same could be said about "Di quella pira"'s C; what's amazing about all this is the fact that electronic enhancement doesn't make his voice sound better. Some have ludicrously compared him to the likes of Vargas, Domingo, and Corelli, even saying he's better; this is nothing more than ignorance and bad taste.
Maybe his fans are tired of detractors bringing out the big names in their defense, so let's be honest: he's one of the WORST opera interpreters out there, I wish great singers like Mariusz Kwiecen, Matthew Polenzani, and René Pape received the publicity he gets, though it won't happen; at least some consolation lies in the fact that these people are true artists willingly and GLADLY offering their art to the people in order to make a living; I'm sure if Andrea didn't make so much $$$$ with his opera experiment, he would've dropped this travesty long ago.
So, obviously, I'm not in the position to compare Bocelli's arias to those of the tenors considered the greats. I can hear that his voice lacks the robustness of the Pavarottis of this world. BUT - I like many of the famous arias, and to my ear, Bocelli's performances, electronically enhanced or not, are melodic and pleasant to the ear. As a result of listening to Bocelli, I've become familiar with some great music that I would otherwise be likely to ignore.
So I listen and enjoy and really don't care about all the criticism.
This CD features some of his "greatest hits," among which are his well reputed version of "Vesti la giubba" (from I Pagliacci, one of his signature operas); arias from Verdi's Rigoletto, including the bold "Questa o quella" and "La donna e mobile"; some of his most popular recordings from Puccini, including "E lucevan le stelle," "Recondita armonia," and "Che gelida manina." Nice additions to the CD are wonderful ensemble pieces, such as the sextet from Lucia di Lammermoor (including the voice of Luisa Tetrazzini) and the quartet from Rigoletto (with Amelita Galli-Curci).
Interesting tidbits include his first recording, from 1902, and his last, from 1920.
All in all, this is a very nice representation of his work. I'm not sure that it compares with the old LP (with him in clown outfit) that includes Rossini's nearly unsingable "La danza," among other items. But it is a terrific introduction to the art of Caruso. Anyone who has not listened to this tenor's works before would be well advised to use this as their entree to his oeuvre.
The reviewers below have given deserved praise to Caballe's abilities as diva. My onw opinion is that she was better on records than in the opera house. She wasn't gifted as an actress and cut a short, wide figure onstage. But as a vocal actress on disc she was very convincing, despite her over-reliance on pathos and delicacy. One longs at times, amid all the beauitful floated notes, for more spine and guts to her heroines. (I find her acclaimed Aida, for example, a one-note portrayal.) Lady Macbeth needs to be more sinister, Elisabetta more tragically enduring.
In all, this two-fer serves as a fine survey of her early career, and for listeners like me, who don't necessarily buy Caballe's complete opera sets, it may be all we need.
I never realized how much Bernstein's "Glitter and be gay" sounded like Delibes' "Bell Song" until I heard 35 seconds of one, followed 23 seconds of the other.
Maybe the TV show 'Jeopardy' could use this CD. 'What is "Hush little baby don't you..."??'
What a waste of beautiful voices and great music. 38 seconds of Enrico Caruso, followed by 31 seconds of Jussi Bjoerling, followed by 38 seconds of Dawn Upshaw.
My copy is going to go sailing into the wastebasket as soon as I finish this review.
Move on to something else... Amazon has a great selection... just not this one.
Freni was a Puccini specialist, and you get an embarrasment of Puccini riches on this CD. Of course, you get the arias "Si, mi chiamano Mimi" and "Addio...D'Onde lieta usci" from La Boheme. Those also feature the incredible Niccolai Gedda. I sure would have liked it if they threw in "O soave fanciulla" as well. You also get arias from Tosca, Madama Butterfly, La Rondine, Gianni Schicci, Suor Angelica, and Turandot.
But wait, there's more! I had not heard Freni sing Micaela until this CD. Wait until you hear the "Je dis que rien ne m'epouvant". It will set you free. Then she throws in "Comme autrefois" from Pearl Fishers. Donizetti, Cilea, Mascagni, Massenet, Bellini, Gounod, Mozart, even Verdi(!)...all here.
There was one thing I found unusual about this compilation, and that was the noticeable absence of "Dove sono" and/or "Porgi amor". I mean, those roles are clearly in the reach of any lyric soprano. I did a little research, and found that she really didn't sing the Countess role in Figaro, she sang Susanna! OK, so let's just say her voice was on the light end of the lyric fach. If that's the case, it makes selections from Tosca, Butterfly, Traviata, Turandot, and Forza kind of curious, doesn't it?
In the end, it doesn't matter. This is an awesome compilation from one of the greatest sopranos of all time. No one is like Freni, and no opera lover should be without this performance record.
Highly recommended.
Tejano singer showcases his emotive vocals on this collection of polkas, cumbias, and rancheras. Highlights include the title track and "Algo Mio," where he adds passion and color to easy dance numbers. Perez began his career as lead singer for the orquesta Tejana group Latin Breed and the conjunto band David Lee Garza y Los Musicales. But his love for R&B has always shone through in his singing and especially in his spirited R&B covers on his subsequent solo CDs. Here he takes on Tierra's 1980 pop classic "Together," about a teenager's eternal dream. While he's a passable singer, Perez doesn't surpass the original. --Ramior Burr
Mi Destino,Jay Perez,South Central Musica,Latin,Mexican,Tejano
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The Very Best Of Maria Callas
Maria Callas Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD  Bellini, Vincenzo
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ASIN: B00005Y1YQ Release Date: 2002-02-12 |
Tracks:
- Carmen: L'Amour Est Un Oiseau Rebelle
- Gianni Schicchi: O Mio Babbino Caro
- La Wally: Ebben? Ne Andro Lontana
- Samson Et Dalila: Mon Coeur S'ouvre A Ta Voix
- Tosca: Vissi D'arte, Vissi D'amore
- Andrea Chenier: La Mamma Morta
- Le Nozze Di Figaro: Porgi Amor
- Orphee Et Eurydice: J'ai Perdu Mon Eurydice
- Aida: Ritorna Vincitor!
- Adriana Lecouvreur: Respiro Appena... Lo So L'Umile Ancella
- Madama Butterfly: Un Bel Di Vedremo
- Norma: Casta Diva
- Turandot: Signore, Ascolta!
- Louise: Depuis Le Jour
- La Boheme: Si. Mi Chiamano Mimi
- La Gioconda: Suicidio
- La Forza Del Destino: Pace, Pace Mio Dio!
Customer Reviews:
Audio beauty and magnificence, Maria Callas.......2007-03-31
Ms. Callas' voice goes beyond the normal concept of beauty.
sublime.......2007-02-14
Good "Best Of".......2007-02-09
The Very Best of Maria Callas.......2006-08-20
Classic Callas.......2006-07-11
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Artists Of The Century - Jussi Bjorling, The Ultimate Collection
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ASIN: B00000J911 Release Date: 1999-05-25 |
Tracks:
- Aida: Se quel guerriero io fossi; Celete Aida
- Manon Lescaut - Donna non vida mai
- Rigoletto - La Donna ? mobile
- Rigoletto - Ella mi fu rapita; Parmi veder le lagrime
- Cavalleria Rusticana - Siciliana: O Lola - Frederick Schauwecker
- Faust - Salut, demeure chaste et pure - Robert Merrill
- Pagliacci - Vesti la guibba
- La Boh?me - Che gelida manini - Licia Albanese
- Prince Igor - Vladimir's Recitative and Cavatina
- Andrea Cher - Come un bel di di maggio
- Martha - M'apparutt'amor
- L'elisir d'amore - Una furtiva lagrima
- Eugene Onegin - F, f (Lensky's aria)
- Turandot - Nessun Dorma
- Tosca - Recondita armonia
- Tosca - E lucevan le stelle
- Tosca - O dolci mani
- The Trout (Die Forelle)
- An Silvia: Was ist Silvia?
- Stchen D. 957/4
Tracks:
- The Pearl Fishers - Au fond du temple saint
- Tosca - Mario, Mario, Mario!
- Don Carlo - lo l'ho perduta!; Dio, che nell'alma infondere
- Manon Lescaut - Oh, sar pila!; Tu, tu, amore? Tu?
- La Boh - In un coup Mimtu pitorni
- La Forza Del Destina - Solenne in quest'ora
- Aida - La fatal pietra; O terra addio
- Turandot - Signore, escaolta!; Non piangere, Li
- Otello - Oh! monstruosa colpa!; Si, pel ciel marmorea giuro!
- A Dream
- Turandot - Nessun Dorma
- Zeignung, Op 10, No. 1/Dedica
Amazon.com
Surely Björling was one of the greatest tenors of his or any other time, not only for the clarion ring, the purity, and the melting lyricism of his voice, but for his effortless lightness, impeccable intonation, endless breath control, and natural phrasing and line, enhanced by old-fashioned but wonderfully expressive scoops and slides. On this generous two-disc set, he is heard in a huge selection of arias and some duets with distinguished colleagues; most of them were recorded separately, and a few are excerpted from complete opera recordings--unfortunately not very skillfully, stopping abruptly in mid-phrase if not mid-note. No matter; the miraculous thing is that Björling, whether singing an entire role or a single aria, can instantly create a character and bring him to vibrant life. He sings everything in the original keys--his high B-flats, B's, and C's are thrilling--and almost everything in the original language, including a few songs by Schubert, Strauss, and Grieg. Recorded live in recital, they are delightful--only one is too operatic. Among his partners, soprano Zinka Milanov and baritone Robert Merrill stand out. This recording presents an incomparable artist at his incomparable best. --Edith EislerCustomer Reviews:
Excellent older music.......2007-04-05
A Golden Voice!.......2006-07-31
(Some guy below is comparing Bjorling to DeStefano and Corelli and some others and was critical of Bjorling. The guy who wrote that must be suffering from hearing loss! ALL the tenors he mentioned are/were great artists. DON'T BELIEVE HIM...BELIEVE ME! :o) Email:boland7214@aol.
Heaven.......2004-12-13
To me, NO other tenor I've ever heard matches Bjoerling. His voice is one of the few that reduce me to tears just trying to EXPLAIN it to people. I've loved classical music since childhood but was never able to get into opera until I heard Jussi ... all the tenors alive today - feh, sorry, but to me they just sound like guys taking deep breaths and singing loud, not like "the voice of God" ...
The Ultimate Tenor Anthology.......2003-10-26
In the opening selection of this compilation; "Celeste Aida", this essentially lyric voice demonstrates for every heroic and dramatic tenor how to sing dramatic opera. It is a sheer singing lesson. In the strenuous recitative, he does not shout or use other non-musical effects, but shows that true dramatic expression is characterized by tonal intensiy and not by volume, although he had plenty enough of that. The beautiful and incredibly free flow of lyric tones in the Pearlfishers duet, the Faust cavatina and in the gorgeous "Che gelida manina" is absolutely exemplary. Yet, who could replicate the beauty of those effortless high C`s? I cannot think of anyone.
The only thing that could better this and give the set 5 stars in the book, is a compilation of the same selections, transferred from the original tapes and not excessively remastered as on this occasion. The sound is at times overly bright and the voice sounds thin and even sharp. But the singing is so far unmatched.
The biggest hype I've ever seen or heard.......2003-07-27
A total disappointment. I recommend Gigli and Del Monaco instead.
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The Very Best of Beniamino Gigli
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Donizetti
| Donizetti, Gaetano
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ASIN: B0000A5BXR Release Date: 2003-09-02 |
Tracks:
- Se Quel Guerrier Io Fossi...Celeste Aida
- La Donna E Mobile
- Una Furtiva Lagrima
- Qual Turbamento...Salve Dimora
- O Dolce Incanto...Chiuder Gli Occhi
- Che Gelida Manina
- Recondita Armonia
- E Lucevan Le Stelle
- Dovunque Al Mondo
- Recitar!...Vesti La Giubba
- Intanto Amici, Qua...Viva Il Vino Spumeggiante
- Mamma, Quel Vino E Generoso
- Non Colombelle!...Ah! Tu Ch'Odi Lo Mio Grido
- Che Avvien?...Ah! Non V'Avvicinate...No! Pazzo Son!
- Cujus Animam
- Panis Angelicus
- Ingemisco
- Ave Maria
- Core 'Ngrato
- Funiculi, Funicula - Chorus
Tracks:
- 'O Sole Mio
- La Serenata
- La Danza
- Aprile
- Mattinata
- Torna A Surriento
- L'Ultima Canzone
- La Vita E Inferno...O Tu Che In Seno
- E La Solita Storia Del Pastor
- Un Di All'Azzurro Spazio
- Andrea Chenier...Corragio!...Si, Fui Soldato
- Come Un Bel Di Di Maggio
- Di' Tu Se Fedele
- Forse La Soglia Attinse...Ma Se M' E Forza Perderti
- Rachel, Quand Du Seigneur
- Puisqu'on Ne Peut Flechir...Vainement, Ma Bien-Aimee
- Io Son Sol...Ah! Dispar, Vision
- Ah! Non Mi Ridestar
- Quanto E Bella - Chorus
- Nessun Dorma - Chorus
Customer Reviews:
The Art of Gigli.......2007-03-09
"Celeste Aida" from Verdi's opera is smoothly sung; his rich voice serves to good effect. As already noted, the little "cries" are unfortunate, but hardly an issue. His higher notes flow smoothly from lower ones, in a seamless fashion. It would have been nice to hear him try for the piano at the end, but he did not choose to do so. Any way you slice it, a nice version of a glorious aria.
"La donna e mobile" is taken at a rather slow pace. It is smoothly sung but does not really catch the spirit of the wretched Duke. He shows wonderful breath control. This is more a workmanlike than scintillating version. On the other hand, "Che gelida manina" is wonderful. Smooth, elegant singing. A very well done high note. An iconic version.
The twin arias from "Tosca," "Recondita armonia" and "E lucevan le stelle" are very well executed. His rendering of the final "la vita" in the latter aria is, again, noteworthy.
And now for something completely different. . . . "Funiculi funicula" is spritely sung, in good spirits, and it is a lot of fun! Most enjoyable. "O Sole mio," likewise, is well rendered. As previously noted, some "off putting" cries, but the warm, full voice more than makes up for such mannerisms. He does not overpower this song with operatic technique. The end result is most satisfying.
"La danza" befuddled the great Caruso (in his version, his breathing fell apart at one point). But not Gigli. Well sung, good breath control. Bravo Gigli!
Back to opera. . . . "Nessun dorma" is well sung. The vocalization is smooth. Gigli's voice soars over orchestra and other voices. The final "Vincero" rings out.
While this CD is not without some questions, as noted above, it is worth 5 stars for its full portrayal of the work of Gigli. As such, it can be recommended for anyone who wants a comprehensive introduction to this singer.
Gigli Is A Wonderful Singer!.......2006-07-31
Besides listening to Gigli on Cd, you'd be doing yourself a favor to buy a movie in which Gigli appears and sings. The movie is called "Non Ti Scordar di Me". I'll try to find it on amazon or from "The Bel Canto Society" and give it a "review" also. It's an "old movie" but it has a VERY touching story, is well acted, and you get to see and hear Gigli which is a great treat since he has been gone for at least 50 years. He "comes alive" in this CD and in the movie. You will "thrill" to the sound of his voice. Enjoy! Email:boland7214@aol.
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Very Best of
Placido Domingo Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General
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ASIN: B000083GOJ Release Date: 2003-04-22 |
Tracks:
- Ill Mio Tesoro
- Un'aura Amorosa
- Dies Bildnis Ist Bezaubernd Schon
- La Ci Darem La Mano
- Vani Sono I Lamenti...Svegliatevi Nel Core
- Pays Merveilleux...O Paradis
- Quel Trouble Inconnu Me Penetre...Salut ! Demeure Chaste Et Pure (Faust, Act III)
- Ah! Tout Est Bien Fini... O Souverain, O Juge, O Pere (Le Cid, Act III)
- None But The Lonley Heart
- Lensky's Aria
- Donna, Non Vidi Mai (Manon Lescauy Act, II)
- Ah, Manon, Mi Tradisce
- Dammi I Colori...Recondita Armonia
- E Lucevan Le Stelle (Tosca, Act III)
- Ch'ella Mi Creda (La Fanciulla Del West, Act III)
- Dai Campi, Dai Prati (Mefistofele, Act I)
- Virgini Muse...Quando Al Soave Anelito
- O Sink Hernieder, Nacht Der Liebe
- Was Am Besten Er Kann...Hoho! Hohei!
Tracks:
- Se Quel Guerrier Io Fossi!...Celeste Aida
- Su, Profetessa...Di Tu Se Fedele
- Forse La Soglia Attinse...Ma Se M'e Forza Perderti
- O Tu Che In Seno Agli Angeli
- Su, Cacciator...Fontainebleau!...
- Niun Mi Tema
- Ach, Wie So Herrlich Zu Schau'n
- Sckenkt Man Sich Rosen In Tirol
- Gern Hab'ich Die Frau'n Gekusst
- O Vaterland...Da Geh'ich Zu Maxim
- Dein Ist Mein Ganzes Herz
- Mi Aldea
- Cancion Del Sembrador
- No Puede Ser
- Serenata
- Copillas De Belen
- Coplas Del Pastor Enamorado
- En Aranjues Con Tu Amor
- Jealousy Tango
- La Golondina
Amazon.com
Placido Domingo is a phenomenon, and every aspect of his artistry is on display in this 2-CD compilation, which includes arias from his signature roles in Italian, French, German, and Russian operas, and songs from Viennese and Spanish operettas. The original recordings range from the early 1970s to the present and show that though over the years his bright golden voice has taken on a darker, more burnished glow, it has retained the melting lyricism, the heroic ring, the thrilling top notes, and the focused intensity that make it instantly recognizable. (Comparing the Verdi arias included here with their counterparts of later vintage in the all-Verdi set The Tenor Arias bears this out.) The program demonstrates his stylistic and expressive versatility and his ability to instantly establish character and mood, from Lenski's sorrow (in Eugene Onegin), Cavaradossi's heart-rending despair (in Tosca), Otello's shattering agony, to Tristan's passion, Siegfried's exuberance, Faust's ardor (first in French by Gounod, then in Italian by Boito). In three Mozart arias, Domingo spins endless, perfectly shaped phrases with incredible breath control, then adds an oddity: the famous duet between Zerlina and Don Giovanni, a role he has not performed. Five Viennese operetta songs, one of which he also conducts, are delightful; there is a smile of pleasure in his voice, but not a hint of kitsch. By contrast, Tchaikovsky's "None but the Lonely Heart" is spoiled by an orchestration that is pure Hollywood. In the final Spanish group, he is on home ground and incomparable. This is a glorious record, a must for all lovers of great singing. --Edith EislerCustomer Reviews:
A great introduction to the art of Placido Domingo.......2007-07-04
This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:
"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.
From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.
From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.
And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.
Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.
Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.
Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.
Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.
So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.
This is really the best........2007-05-16
If you like Placido at all, you must have this CD........2005-04-06
Rare And Great Domingo Classics.......2005-03-08
He is a great force in opera.
Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......
A real Bobby Dazzler.......2004-02-19
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Andrea Bocelli: Verdi
Zubin Mehta , Israel Philharmonic Orchestra , and Zubin Mehta Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Verdi
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ASIN: B00004X16D Release Date: 2000-09-12 |
Tracks:
- Il Trovatore: Di quella pira (Il Trovatore)
- Il Trovatore: Ah si, ben mio (Il trovatore)
- Rigoletto: La donna e mobile (Rigoletto)
- Un Ballo in Maschera: Di'tu se fedele (Un ballo in maschera)
- Un Ballo in Maschera: Ma se m'e forza perditi (Un ballo in maschera)
- Rigoletto: Ella mi fu rapita (Rigoletto)
- Rigoletto: Possente amor mi chiama (Rigoletto)
- Aida: Celeste Aida (Aida)
- La Traviata: De' miei bollenti spiriti (La traviata)
- La Traviata: oh mio rimorso (La traviata)
- I lombardi: La mia letizia infondere vorrei (I lombardi)
- Ernani: Merce, diletti amici (Ernani)
- Don Carlo: Io la vidi e il suo sorriso (Don Carlo)
- Luisa Miller: Quando le sere al placido (Luisa Miller)
- La forza del destino: La vita e inferno all'infelice (La forza del destino)
Amazon.com Classical Music Reviews
With this CD devoted solely to operatic arias--by none less than Giuseppe Verdi, the greatest Italian opera composer of all time--pop crossover phenomenon Andrea Bocelli throws his hat into the operatic ring with the big boys. The hat occasionally fits, and occasionally it doesn't. The beauty of the voice is undeniable, as is the relative ease in all registers. But, regardless of what the engineers do, it is clearly a small voice. For "Celeste Aïda"--Radames's great aria from Aïda--Bocelli opens with fine, as-big-as-possible exclamation and sounds confident; the long diminuendo on the aria's final high B-flat is stunning (whether or not the engineers were twiddling with the knobs, we'll never know). The tenor is more at home with Alfredo's Act Two music from La Traviata; he sings with grace and charm, ending the rarely performed cabaletta (a brief and showy piece that usually follows an aria) with one of the longest, most solid high Cs ever recorded. Elsewhere, there are mixed results: "Di' tu se fedele" from Un ballo in maschera is so free of feeling that it seems digitally produced. A big, unnecessary high D at the close of the Duke's cabaletta "Possente amor" from Rigoletto is screamed, and Bocelli sounds at times as if he's about to collapse from exhaustion during a heavy aria from Ernani. But "Ah si, ben mio" from Il Trovatore is beautiful, as is the Luisa Miller aria; Don Carlo also seems to fit Bocelli well. Needless to say, the singer's fans will certainly want to have this--and it might encourage them to try other recordings of music by Verdi. Newcomers and the curious will find plenty to admire, too. The sound itself remains alluring, and Bocelli has taken steps also towards improving his technique. In short, some nice surprises for the opera lover, and many for the Bocelli fan. --Robert LevineCustomer Reviews:
Not as good as Amore.......2007-03-24
a voice teacher and early music fan.......2007-02-14
Lets face it; Bocelli is no Pavoratti, and perhaps it was not wise to choose some of the arias associated with tenors of his ilk, but Bocelli makes the best of his talents, which are considerable. And he has done a lot to create interest among young voice students,(male) and as a voice teacher I make use of his appearance and his youthfulness to engage their interest, and he does that!!!!I think his record sales tell the tale.
Verdi.......2007-01-03
The triumph of mediocrity.......2006-02-04
His tessitura is nowere near adequate for singing any of the arias from Rigoletto, "La donna è mobile" sounds much like a kid would sing it. "Celeste Aida" is one of the worst selections, and one of the most electronically enhanced, as it requires a precise voice placement (which Bocelli doesn't posses) since much of it lies very high in the register, and a heavier, rounder voice; if the role is not adequate for many REAL tenors, it is much less adequate for a pop singer. The "feeling" raving reviewers talk about is nothing more than a voice coming (incorrectly) from the throat, and the "beautiful" high D in "Possente amor" is a beautifully screamed falsetto, the same could be said about "Di quella pira"'s C; what's amazing about all this is the fact that electronic enhancement doesn't make his voice sound better. Some have ludicrously compared him to the likes of Vargas, Domingo, and Corelli, even saying he's better; this is nothing more than ignorance and bad taste.
Maybe his fans are tired of detractors bringing out the big names in their defense, so let's be honest: he's one of the WORST opera interpreters out there, I wish great singers like Mariusz Kwiecen, Matthew Polenzani, and René Pape received the publicity he gets, though it won't happen; at least some consolation lies in the fact that these people are true artists willingly and GLADLY offering their art to the people in order to make a living; I'm sure if Andrea didn't make so much $$$$ with his opera experiment, he would've dropped this travesty long ago.
no expert.......2005-12-17
So, obviously, I'm not in the position to compare Bocelli's arias to those of the tenors considered the greats. I can hear that his voice lacks the robustness of the Pavarottis of this world. BUT - I like many of the famous arias, and to my ear, Bocelli's performances, electronically enhanced or not, are melodic and pleasant to the ear. As a result of listening to Bocelli, I've become familiar with some great music that I would otherwise be likely to ignore.
So I listen and enjoy and really don't care about all the criticism.
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Artists Of The Century - Caruso, The Greatest Tenor In The World
Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Donizetti
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ASIN: B00000J913 Release Date: 1999-05-25 |
Tracks:
- Act II: Amor Ti Vieta
- Act II: Che Gelinda Manina
- Act III: Salut Demeure Chaste Et Pure
- Act III: Di Quella Pira
- Act IV: Spirto Gentil, Ne' Sogni Miei (Romanza)
- Act III: Solenne In Quest'Ora
- Act IV: Mi Batte Il Cor...O Paradiso!
- Act I: Un Di All'Azzurro Spazio (Improvviso)
- Recitar!... Vesti La Giubba
- Act I: Questa O Quella
- Act IV: La Donna E Mobile
- Act III: Ah Si, Ben Mio
- Act I: Celeste Aida
- Act I: Recondita Armonia
- Act III: E Lucevan Le Stelle
- Act III: Della Natal Sua Terra Il Padre... O Tu Che In Seno Agl' Angeli
- Act II: Magiche Note
- Act II: La Fleur Que Tu M'Avais Jetee
- Act I: Ah, Qual Soave Vision...Bianca Al Par Di Neve
- Act II: Cielo E Mar
- Act II: Nell'Ore Arcane Della Sua Lussuria... Ora E Per Sempre Addio
- Un Ballo In Maschera: Act I: Di' Tu Se Fedele
- Act II: Una Furtiva Lagrima
Tracks:
- Act III: Je Suis Seul... Ah, Uyez, Douce Image
- Act II: Chi Mi Frena In Tal Momento? (Sextett)
- Act I: O Soave Fanciulla
- Act III: Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
- Act I: Donna Non Vidi Mai
- Cujus Animam
- Act II: Oh! Mostruosa Colpa!... Si, Pel Ciel
- Act I: Libiamo, Libiamo (Brindisi)
- Ingemisco
- Act II: Faiblesse De La Race Humaine!... Inspirez-Moi, Race Divine
- Act III: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere!
- Act IV: O Figli, O Figli Miei... Ah, La Paterna Mano
- Act II: Pour Moi Ce Jour Est Tout Mystere
- Act I: A Cette Voix Quel Trouble...Je Crois Entendre Encore
- Act IV: Bella Figlia Dell'Amore (Quartett) - Giuseppe De Luca
- Act II: Chi Mi Frena In Tal Momento? (Sextett) - Amelita Galli-Curci
- Act I: Frondi Tenere E Belle...Ombra Mai Fu (Largo)
- Act I: Studenti! Udite!
- Crucifixus
Customer Reviews:
A nice overview of Caruso's legacy.......2007-01-04
This CD features some of his "greatest hits," among which are his well reputed version of "Vesti la giubba" (from I Pagliacci, one of his signature operas); arias from Verdi's Rigoletto, including the bold "Questa o quella" and "La donna e mobile"; some of his most popular recordings from Puccini, including "E lucevan le stelle," "Recondita armonia," and "Che gelida manina." Nice additions to the CD are wonderful ensemble pieces, such as the sextet from Lucia di Lammermoor (including the voice of Luisa Tetrazzini) and the quartet from Rigoletto (with Amelita Galli-Curci).
Interesting tidbits include his first recording, from 1902, and his last, from 1920.
All in all, this is a very nice representation of his work. I'm not sure that it compares with the old LP (with him in clown outfit) that includes Rossini's nearly unsingable "La danza," among other items. But it is a terrific introduction to the art of Caruso. Anyone who has not listened to this tenor's works before would be well advised to use this as their entree to his oeuvre.
Unearthly.......2002-12-23
If You Only Buy One Caruso . . ........2001-01-03
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Very Best of
Montserrat Caballe Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Allen, Thomas
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ASIN: B000083GOF Release Date: 2003-04-22 |
Tracks:
- Ritorna Vincitor
- Qui Radames Verra... O Patria Mia
- Pace, Pace Mio Dio
- Una Macchia E Qui Tutt'ora
- Tu Che Le Vanita
- Ave Maria
- L'altra Notte In Fondo Al Mare
- Voi Lo Sapete, O Mamma
- Ils S'Eloignent Enfin... Sombre Foret
- Las Fuentecitas De Parque
- Cuba Dentro De Un Piano
- Chevre
- Punto De Habanera
- Cancion De Cuna Para Dormir A Un Negrito
- Canto Negro
Tracks:
- In Quelle Trine Morbide
- Si. Mi Chiamano Mimi
- Donde Lieta Usci
- Vissi D'Arte
- Un Bel Di Vedremo
- Tu, Tu, Piccolo Iddio!
- Signore, Ascolta
- In Questa Reggia
- Tu Che Di Gel Sei Cinta
- O Mio Babbino Caro
- Chi Il Bel Sogno Di Doretta
- Son Vergin Vezzosa
- O Rendetemi La Speme... Qui La Voce Sua Soave...
- Torno Il Riso Sul Suo Aspetto... Vien Diletto
- Oh! S'io Potessi Dissipar Le Nubi...
- Col Sorriso D'Innocenza...
- Qual Suono...Oh, Sole! Ti Vela Di Tenebre Oscure
Customer Reviews:
Early Caballe, covering the range of her opera roles.......2006-09-20
The reviewers below have given deserved praise to Caballe's abilities as diva. My onw opinion is that she was better on records than in the opera house. She wasn't gifted as an actress and cut a short, wide figure onstage. But as a vocal actress on disc she was very convincing, despite her over-reliance on pathos and delicacy. One longs at times, amid all the beauitful floated notes, for more spine and guts to her heroines. (I find her acclaimed Aida, for example, a one-note portrayal.) Lady Macbeth needs to be more sinister, Elisabetta more tragically enduring.
In all, this two-fer serves as a fine survey of her early career, and for listeners like me, who don't necessarily buy Caballe's complete opera sets, it may be all we need.
A great collection of diva Caballe's best singing!!!!!!!!!!!!!!!!!!!.......2005-12-26
REALLY GOOD !.......2004-02-19
Cut-and-Paste Caballe.......2003-05-17
For Caballe fans that already own the backlist of her recitals, there is not enough here to entice you to buy this new recital, unless you like the unique combination of arias. Tracks 1-5 on disc one are wonderful interpretations by Caballe of Verdian arias. I especially like the one from Macbeth- perfectly executed, with the pianissimi in all the right places. Equally as thrilling is her Tu Che Le Vanita, a dramatic, long aria that shows off the interpretive power she was capable of, when she wasn't in a lazy mood. As for the Ave Maria, I find it curious that they chose to cut the preceding Willow Song. In my mind, you can have a Willow Song on a soprano's recital disc without the Ave Maria, but it seems inappropriate for the reverse to be the case. Personally, I don't think that Caballe has anything on Mirella Freni, who is perhaps the most perfect Desdemona of her era.
I must admit to not having heard Caballe's interpretations of L'Altra Notte and Voi Lo Sapete. To imagine Caballe singing Santuzza really seems like a stretch to me. My favorite Santuzzas are Callas, Bumbry, and Verrett (in that order). Of course, Caballe did sing a lot of roles, and it isn't impossible that she could do justice to the aria, but I just can't imagine it, try as I might. A final selection worth mentioning is the aria from William Tell, from a supreme bel canto recording of Rossini's masterpiece.
Tracks 1-11 on the second disc are culled from her famous Puccini Arias recording, with the exception of In Questa Reggia from Turandot (a role that she would sing very late in her career, as opposed to the more familiar and suitable-for-her-voice role of Liu). What is notable is what didn't make the cut. Listeners will be deprived of her heart-wrenching, powerful interpretation of Sola, Perduta, Abbandonata, with its sinister clarinet obligato. They will also miss out on an enchanting aria from Puccini's little known and rarely staged Le Villi. This is a shame, since the original Puccini Aria disc is currently out of circulation.
The rest of disc two focuses on Bellini, in the form of I Puritani and Il Pirata. Listeners will be treated to both the polacca and the mad scene from Bellini' final opera. Caballe, of course, cannot hold a candle to Joan Sutherland, who was a true coloratura soprano (Caballe was more lyrical), but she isn't bad, either, as Elvira. The Bellini role that would garner her more acclaim was Imogene from Il Pirata. This two-disc recital draws to a close with her divine reading of Imogene's mad scene. This is the stuff of operatic legend.
All in all, minor quibbles aside, this is a great introduction to those not familiar with Caballe's grand art.
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Only Opera CD You'll Ever Need
Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Barber
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ASIN: B000003GA0 Release Date: 1997-10-14 |
Tracks:
- Antony & Cleopatra: 'Give Me My Robe' - Leontyne Price
- Fidelio: 'In des Lebens Fruhlingstagen...' - Ben Heppner
- Fidelio: Act II Quartet: 'Ach, du bist gerettet...' - Deborah Voigt
- Norma: 'Casta Diva' - Rosa Ponselle
- Candide: 'Glitter And Be Gay' - Harolyn Blackwell
- Candide: 'Make Our Garden Grow' - Jerry Hadley
- Carmen: Flower Song - Placido Domingo
- Carmen: Habanera - Rise Stevens
- Carmen: Toreador Song - Robert Merrill
- Les pecheurs de perles: Duet: 'Oui, c'est elle, c'est la deesse...' - Robert Merrill
- Mefistofele: 'Ecco il mondo' - Samuel Ramey
- La Wally: 'Eben, ne andro lontana' - ONLY OPERA CD YOU'LL EVER NEED
- Lakme: Bell Song - Lily Pons
- L'Elisir d'Amore: 'Una furtiva lagrima' - Tito Schipa
- Lucia di Lammermoor: 'Chi mi frena in tal momento...' - Carlo Bergonzi
- Lucia di Lammermoor: 'Spargi d'amaro pianto' - Anna Moffo
- Martha: 'M'appari tutto amor' - Jussi Bjoerling
- Porgy & Bess: 'Summertime' - Leontyne Price
- Porgy & Bess: 'Bess, You Is My Woman' - William Warfield
- Andrea Chenier: 'Come un bel di di maggio' - Ben Heppner
- Romeo et Juliette: Juliette's Waltz; 'Je veux vivre' - Ruth Ann Swenson
- Salammbo: Aria - Kiri Te Kanawa
- Hansel & Gretel: 'Suuse, liebe Susse - Helen Donath
- I Pagliacci: 'Vesti la giubba' - Enrico Caruso
- Cavalleria Rusticana: 'Viva il vino' - Jussi Bjoerling
- Cherubin: 'Lorsque vous n'aurez rien' - Dawn Upshaw
- Manon: 'Ah! Fuyez, douce image' - Richard Crooks
- Cosi fan tutte: 'Come scoglio immoto resta' - Leontyne Price
- Don Giovanni: 'La ci darem la mano' - Edith Mathis
- Don Giovanni: 'Deh! vieni alla finestra' - Ezio Pinza
- Don Giovanni: 'Non mi dir' - Carol Vaness
- Le nozze di Figaro: 'Non piu andrai...' - Alan Titus
- Le nozze di Figaro: 'Porgi, amor' - Carol Vaness
- Le nozze di Figaro: 'Deh vieni, non tardar' - Bidu Sayao
- Die Zauberflote: 'Dies Bildnis ist bezaubernd schon' - Fritz Wunderlich
- Die Zauberflote: Der Holle Rache - Zdislawa Donat
- Die Zauberflote: Papageno - Papageno Duet - Christian Boesch
- Boris Godunov: 'I v ljutomgore, nisposlannom Bogom...' - Alexander Kipnis
- Tales Of Hoffmann: Barcarolle - Montserrat Caballe
- La Gioconda: 'Cielo e mar' - Beniamino Gigli
- La Boheme: 'Che gelida manina' - Giuseppe Di Stefano
- La Boheme: 'Mi piaccion quelle cose...' - Licia Albanese
- La Boheme: 'Fremon gia nell'anima' - Luciano Pavarotti
- La Boheme: Musetta's Waltz Song - Judith Blegen
- Gianni Schicchi: 'O mio babbino caro' - Angela Gheorghiu
- Madama Butterfly: 'Ah, ti serro palpitante' - Placido Domingo
- Madama Butterfly: 'Un bel di' - Leontyne Price
- Manon Lescaut: 'Donna non vidi mai' - Jussi Bjoerling
- La rondine: 'Chi il bel sogno di Doretta - Anna Moffo
- TOSCA: 'Recondita armonia' - Placido Domingo
- TOSCA: 'Vissi d'arte' - Irina Oudalova
- TOSCA: 'E avanti a lui...' - Zinka Milanov
- TOSCA: 'E lucevan le stelle' - Mario Lanza
- Turandot: 'Signore, ascolta' - Renata Tebaldi
- Turandot: 'In questa reggia' - Birgit Nilsson
- Turandot: 'Nessun dorma' - Jussi Bjoerling
- Dido & Aeneas: 'When I Am Laid In Earth' - Leontyne Price
- Il Barbiere di Siviglia: 'Largo al factotum' - Robert Merrill
- Il Barbiere di Siviglia: 'Una voce poco fa' - Roberta Peters
- Samson et Dalila: 'Mon coeur s'ouvre' - Christa Ludwig
- The Bartered Bride: 'Wenn ich das einmal erfahre' - Teresa Stratas
- Elektra: 'Agamemnon' - Inge Borkh
- Der Rosenkavalier: 'Ist ein Traum' - Erna Berger
- Salome: 'Nicht in der Welt...' - Inge Borkh
- Eugene Onegin: Lenski's Aria - Placido Domingo
- Eugene Onegin: Tatiana's Letter Scene - Leontyne Price
- Aida: 'Celeste Aida' - Jussi Bjoerling
- Aida: 'Ritorna vincitor!' - Leontyne Price
- Aida: 'Gloria all'Egitto' - John Alldis Choir
- Aida: 'O patria mia' - Leontyne Price
- Un Ballo in Maschera: 'O docezze perdute! O memorie...' - Robert Merrill
- Don Carlo: 'Dio, che nell'anima infondere' - Placido Domingo
- Ernani: 'Emani, involami' - Leontyne Price
- La forza del destino: 'Or muoio tranquillo...' - Robert Merrill
- La forza del destino: 'Pace, pace mio dio' - Zinka Milanov
- Nabucco: 'Va, pensiero' - Oleg Reshetkin
- Otello: 'Credo' - Tito Gobbi
- Otello: Willow Song - Leonie Rysanek
- Otello: 'Niun mi tema' - Jon Vickers
- Rigoletto: 'Qesta o quella' - Alfredo Kraus
- Rigoletto: 'Caro nome' - Anna Moffo
- Rigoletto: 'La donna e mobile' - Jan Peerce
- Rigoletto: 'Bella figlia dell'amore' - Alfredo Kraus
- La Traviata: Brindisi - Montserrat Caballe
- La Traviata: 'Di provenza' - Sherrill Milnes
- La Traviata: 'Sempre libera' - Eleanor Steber
- La Traviata: 'Addio del passato' - Anna Moffo
- Il Trovatore: Anvil Chorus - Moscow Classical Chorus & Ensemble
- Il Trovatore: 'Di quella pira' - Placido Domingo
- Il Trovatore: 'Tacea la notte placido - Leontyne Price
- Die Meistersinger von Nurnberg: 'Morgenlicht leuchtend' - Set Svanholm
- Die Walkure: Ride Of The Valkyries - Staatskapelle Dresden
- Die Walkure: Wotan's Farewell - Lawrence Tibbett
- Siegfried: Song Of The Forest Bird - Norma Sharp
- Gotterdammerung: 'Starke Scheite schichtet mir dort' - Kirsten Flagstad
- Lohengrin: Bridal Chorus - Robert Shaw Chorale
- Lohengrin: 'In fernem Land' - Lauritz Melchior
- Tannhauser: 'Dich teure Halle' - Waltraud Meler
Customer Reviews:
Not worth buying!.......2007-05-29
Don't waste your money.......2007-01-18
Perfect for "drop the needle" style tests.......2006-11-19
A CD with Attention Deficit Disorder.......2006-10-02
I never realized how much Bernstein's "Glitter and be gay" sounded like Delibes' "Bell Song" until I heard 35 seconds of one, followed 23 seconds of the other.
Maybe the TV show 'Jeopardy' could use this CD. 'What is "Hush little baby don't you..."??'
What a waste of beautiful voices and great music. 38 seconds of Enrico Caruso, followed by 31 seconds of Jussi Bjoerling, followed by 38 seconds of Dawn Upshaw.
My copy is going to go sailing into the wastebasket as soon as I finish this review.
This sucks..........2006-03-31
Move on to something else... Amazon has a great selection... just not this one.
Average customer rating:
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Very Best of
Mirella Freni Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Berlin Philharmonic Orchestra
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ASIN: B000083GOK Release Date: 2003-04-22 |
Tracks:
- Quel Guardo Il Cavalier...So Ancho'io
- Si. Mi Chiamano Mimi - Nicolai Gedda
- Addio...D' Onde Lieta Usci - Nicolai Gedda
- Vissi D'arte
- Un Bel Di Vedremo
- Son Pochi Fiori
- Ecco! Respiro Appena...Lo Son L'umile Ancella
- Poveri Fiori
- C'est Des Contrebandiers...Je Dis Que Rien Ne M'epouvent
- Me Voila Seul...Comme Autrefois
- Allons!...Adieu, Notre Petite Table
- Je Voudrais Bien Savoir...Il Etait Un Roi De Thule...Ah ! Je Ris (Jewel Song)
- Voyons, Nourrice...Je Veux Vivre
- O Nuit Divine ! - Franco Corelli
Tracks:
- Vedrai, Carino
- O Rendetemi La Speme...Qui La Voce Sua Soave...Vien Diletto
- E' Stano...Ah! Fors' E Lui...Sempre Libera
- Chi Il Bel Sogno Di Doretta
- O Mio Babbino Caro
- Senza Mamma
- Signore, Ascolta
- Tu, Che Di Gel Sei Cinta
- Son Giunta!...Madre, Pietosa Vergine
- Pace, Pace Mio Dio!
- Ritorna Vincitor!
- Qui Radames Verra...O Patria Mia
- Mia Madre Avea Una Povera Ancella...Piangea Cantando... - Stefania Malagu
- Ave Maria
Customer Reviews:
A Superstar To Remember.......2007-01-10
Freni was a Puccini specialist, and you get an embarrasment of Puccini riches on this CD. Of course, you get the arias "Si, mi chiamano Mimi" and "Addio...D'Onde lieta usci" from La Boheme. Those also feature the incredible Niccolai Gedda. I sure would have liked it if they threw in "O soave fanciulla" as well. You also get arias from Tosca, Madama Butterfly, La Rondine, Gianni Schicci, Suor Angelica, and Turandot.
But wait, there's more! I had not heard Freni sing Micaela until this CD. Wait until you hear the "Je dis que rien ne m'epouvant". It will set you free. Then she throws in "Comme autrefois" from Pearl Fishers. Donizetti, Cilea, Mascagni, Massenet, Bellini, Gounod, Mozart, even Verdi(!)...all here.
There was one thing I found unusual about this compilation, and that was the noticeable absence of "Dove sono" and/or "Porgi amor". I mean, those roles are clearly in the reach of any lyric soprano. I did a little research, and found that she really didn't sing the Countess role in Figaro, she sang Susanna! OK, so let's just say her voice was on the light end of the lyric fach. If that's the case, it makes selections from Tosca, Butterfly, Traviata, Turandot, and Forza kind of curious, doesn't it?
In the end, it doesn't matter. This is an awesome compilation from one of the greatest sopranos of all time. No one is like Freni, and no opera lover should be without this performance record.
Highly recommended.
I'm am so glad I found this CD!.......2004-07-17
My growing affection.......2004-05-25
This new release is a great introduction to her big recording legacy. She didn't possess the largest instrument but her technique and wise choices allowed her to expand her repertoire in many areas. The lyrical roles such as Zerlina, Mimi, Liu suit her the best but notice how a more florid part like Norina in Don Pasquale or even the more demanding Puritani Elvira benefits from her firm lyric sound. She avoids the highest notes and if needed sings them carefully but everything is so charmingly sung that a single note cannot ruin the whole. Sincere classical singing does not lie in a single note. Even without the large voice these roles need, she handles the heavy Verdi parts impressively. "O patria mia" and especially Desdemona's scene are magnificient.
This collection has increased my admiration for this wonderful artist. If all the sopranos were flowers in a garden, Freni would be a lovely daisy.
A great voice and a great lady!.......2004-02-07
A Bible of Soprano Singing.......2003-04-30