Bel Canto

Editorial Reviews
Amazon.com
Surely Renée Fleming's soprano must be one of the most beautiful voices before the public today. Though renowned for her interpretations of Mozart, Strauss, and Verdi, as well as for her commitment to contemporary music, she says that the bel canto repertoire has always been central to her career. On this recording, which features scenes and arias from operas by Bellini, Donizetti, and Rossini, she proves that she has achieved total, effortless technical mastery of the uniquely difficult vocal writing characteristic of the style. Every note is perfectly placed. Her runs, including scales over a huge range in both directions, are as clear and evenly paced as a chain of exquisite pearls. Her leaps always land in the center of the pitch. Her intonation is flawless.

Fleming also displays her emotional affinity for the drama, pathos, and lyricism of the music and her ability to identify with her larger-than-life heroines. Chosen from familiar and unfamiliar operas, the music is beguilingly beautiful, ranging from peacefully pastoral to darkly menacing. However, some listeners may feel that Fleming's tendency to overinflect, overphrase, make long pauses, and put swells on long notes, especially in the slow arias, undercuts the music's simplicity and the directness of her expressive communication. The performances are based on the latest scholarly research into the "bel canto" style regarding historically correct ornamentation (only in repeats) and the problems of balancing textual fidelity with imaginative freedom. The Orchestra of St. Luke's gives splendid support, with outstanding solos, especially from the winds. --Edith Eisler

Album Details
Bel Canto is Shrink Wrapped as a Strictly Limited Edition, with a Bonus Disc of Four Unreleased Tracks of Popular Favorites By: Bach, Handel, Mozart and Debussy

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:

Yes, she DOES sing a High G!
Intriguing and powerful voice
A beautiful voice, but the wrong stylistic approach...
The Voice God
A Bel Canto Cake: Enjoy

Renée Fleming: Bel Canto
Gioacchino Rossini , Patrick Summers , and Orchestra of St. Luke's
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006589U
Release Date: 2002-08-27

Tracks:

Bellini/La sonnambula: "Ah!..se una volta sola"
Bellini/La sonnambula: "Ah!..non credea mirarti"
Bellini/La sonnambula: "Ah! non giunge uman pensiero"
Donizetti/Maria Padilla: "Abbracciami"
Donizetti/Maria Padilla: "Il piu tenero suon d'arpa morende"
Donizetti/Maria Padilla: "Ah! non sai qual prestigio si cela"
Rossini/Semiramide: Introduzione
Rossini/Semiramide: "Bel raggio lusinghier"
Rossini/Semiramide: "Dolce pensiero di quell'istante"
Bellini/Il pirata: Introduzione
Bellini/Il pirata: "Ah! s'io potessi dissipar le nubi"
Bellini/Il pirata: "Col sorriso d'innocenza"
Bellini/Il pirata: "Oh sole! ti vela di tenebre oscure"
Rossini/Armida: "D'Amor al dolce impero"
Rossini/Armida: "Gli augei tra fronde e fronde"
Rossini/Armida: "La fresca eta sen fugge"
Rossini/Armida: "Ah! si, godete amanti"
Donizetti/Lucrezia Borgia:"M'odi, ah m'odi, io non t'imploro"
Donizetti/Lucrezia Borgia: "Figlio!...Figlio!...Ola, qualcuno!"
Donizetti/Lucrezia Borgia: "Era desso il figlio mio"

Amazon.com

Surely Renée Fleming's soprano must be one of the most beautiful voices before the public today. Though renowned for her interpretations of Mozart, Strauss, and Verdi, as well as for her commitment to contemporary music, she says that the bel canto repertoire has always been central to her career. On this recording, which features scenes and arias from operas by Bellini, Donizetti, and Rossini, she proves that she has achieved total, effortless technical mastery of the uniquely difficult vocal writing characteristic of the style. Every note is perfectly placed. Her runs, including scales over a huge range in both directions, are as clear and evenly paced as a chain of exquisite pearls. Her leaps always land in the center of the pitch. Her intonation is flawless.

Album Details

Bel Canto is Shrink Wrapped as a Strictly Limited Edition, with a Bonus Disc of Four Unreleased Tracks of Popular Favorites By: Bach, Handel, Mozart and Debussy

Customer Reviews:

Yes, she DOES sing a High G!.......2007-03-21

When I was reading the other reviews of this album, I saw people talking about Renee Fleming going up to a High G (that is G above High C), and I was a bit skeptical...I was used to hearing her in the roles that climax on High B-Flat or High C. But now that I have the album, I can verify that she does indeed go that high! She just touches on it, but hey, that counts! My favorite selections from this album are "Ah! Non Giunge" when she sings a brilliant high E-flat, and because I just love that bouncy little aria. And "Era desso il figlio mio"... that's the one where she sails up to a High G...and She ends the piece with another glorious High E-Flat. Her melismas are delectable. And her high notes are not grating or shrill. Her tone quality is, as usual, plush and sumptuous...and the way she turns the musical phrases so poetically is just amazing. I'm SO glad she made this CD!

Intriguing and powerful voice.......2007-01-21

Renee Fleming has an interesting voice and is obviously an accomplished bel canto singer. Her voice seems to have a heavier, darker sound than many sopranos who essay the coloratura corpus. The sound is very rich. While I'm not sure that I would call her voice ravishing or beautiful, it is clearly up to the task of producing a compelling sound.

This CD begins with a scene from Bellini's "La Sonnambula." Her version of "Ah! Non giunge uman pensiero" is nicely done. She displays an agile voice. She hits the high notes well. Other versions feature trills; hers does not. However, later cuts on this CD surely show that her trill is one of the better ones today. I had never heard even small selections from Donizetti's "Maria Padilla" before. However, Fleming does a very good job. In the final part of the scene that she sings, "Ah, non sai qual prestigio si cela," she trills wonderfully. I have been acquiring CDs and listening to contemporary bel canto singers lately and, to this point of those to whom I have listened, she has one of the best trills around.

"Bel raggio lusinghier" from Rossini's "Semiramide" is nicely sung. Again, she is agile, can hit the high notes, and displays good coloratura technique. The high notes are wonderfully wrought; appoggiaturas well crafted. A number of other reviewers comment on her high note to conclude the cut from Donizetti's "Lucrezia Borgia." She nailed it pretty well, as those others noted.

And so on. No need to go through each cut one by one. All in all, a very good CD. Her darker, heavier voice combined with her vocal agility and coloratura technique make for a very interesting work. She clearly has some of the better coloratura technique among sopranos working in the vineyards of opera today.

A beautiful voice, but the wrong stylistic approach..........2005-11-16

I remember hearing Renee Fleming's first CD - I was instantly struck by the extremely beautiful lyric sound, and the ease with which Ms Fleming sang repertoire that required a high tessitura. I was reminded very much of Kiri Te Kanawa's tone, atlhough at the time, of course, Ms Fleming didn't have the polish of Te Kanawa.

The voice itself is a miracle. It is one of the beautiful voices of this age. But increasingly, I have become disenchanted with the WAY in which Renee Fleming uses her voice. Endowed with such a lovely voice, with a rich and even legato quality throughout, one would think that bel canto repertoire would suit Ms Fleming perfectly. And I think potentially it does... If you do not already possess the full opera recordings of Rosmonda d'Inghilterra (Donizetti) and Armida (Rossini), with Fleming in the title roles, I would like to recommend that you purchase them. They are very beautiful - stunningly so.

A small digression... My CD collection, I should mention (just casually), is nearly 3000 CDs strong, all of which are classical, and the majority of which are vocal (opera, oratorio, Lieder, operetta, early music, French chansons, etc.). The bel canto portion of my collection is substantial. I am also a bel canto singer myself. I speak, thus, with a knowledge of bel canto style, with particular reference to the ways in which the composers would have expected singers to handle their works.

So I hope readers will understand that when I say that Ms Fleming isn't performing on this CD with appropriate bel canto style, I am not speaking out of ignorance, malice, or uninformed opinion. The liner notes shed light on Renee Fleming's approach: she mentions that "like the great singers who premiered these works, we must use our own musical intelligence and imagination to make this music come alive. For someone like myself, trained as a jazz singer, this comes as a liberating reveltion."

Yes. That puts the finger on the major difficulty here. Of course the arias and scenas need to give interpretation and wonderful ornamentation in the repeats of cabalettas, etc. - but NOT, please God, with jazz in mind. The two fields are completely different. This explains to me why Ms Fleming's later recordings fail to satisfy me as much as her earlier ones. I was surprisingly enchanted by her Schubert album, in which I thought a lot of careful interpretative work had gone, and those two earlier full recordings of bel canto operas were superb. How had that wonderful bel canto technique gone astray in this recording? I think - I may be wrong - but I think that Renee Fleming is now relying almost entirely upon her own idea of how bel canto should be sung, rather than being given detailed guidance from an experienced conductor who's both au fait with the requirements and not intimidated by Ms Fleming's very beautiful voice and star billing.

I did buy this CD with great anticipatory pleasure, and I was disappointed because I had such high hopes. I am sorry, because I adore Ms Fleming's voice, but the swoops and the bathos of the interpretations are not moving to me. I so much want Ms Fleming to record bel canto in the future with a great conductor guiding her to avoid the mannerisms that may seem very expressive to Ms Fleming, but strike many listeners as only detracting from the creamy and lovely tone.

Three stars from me, because the voice is unquestionably beautiful.

I do hope that Renee Fleming decides to follow the guidance of some bel canto specialists.

For more authentic bel canto soprano singing, I recommend the peerless Edita Gruberova (still singing wonderfully), the beautiful Sumi Jo, and the great classic recordings of Callas, the young Caballe, and the young Joan Sutherland.

The Voice God.......2005-09-08

I've been a lover of opera for the past 5 years, and I'm 20 now. Never have I been so utterly blown away from a recording, and I have many. After purchasing this CD, I quickly bought 4 of her other recordings, as well as her film. After listening to "Bel Canto" I am sure that you will be convinced, as I am that Renee Fleming is hands down this generation's greatest soprano. Every selection on the CD is amazing, especially the scene from Lucrezia Borgia where she hits a high G above high C. You can feel the passion and drama through her voice, it pierces your heart it's so beautiful! For me, this CD was truly an epiphany. I did not realize that the human voice could be so beautiful, and now singing is all that I want to do! I highly recommend this CD for anyone who wants to hear unbelievable singing.

A Bel Canto Cake: Enjoy.......2005-07-27

Renee Fleming is today's leading American opera diva and her many albums attest to her versatility and superb musicianship. Among these albums, the recent jazz album Haunted Heart, (Fleming originally intende to sing jazz)Strauss- Der Rosenkavalier, Arabella and Cappricio as well as Four Last Songs, Mozart Don Giovanni (in the role of Dona Ana) Nozze Di Figaro (Countess)Cosi Fan Tutte (Fiordiligi)The Schubert Album, and such successful roles as Violetta in Traviata, Massenet's Manon and Dvorak's Rusalka. Not to mention she sang for such films as Lord of the Rings (in Elvish) and Bride of the Wind about the composer Gustav Mahler's ambitious composer wife Alma. Fleming has established herself as the most beautiful voice of recent years in the opera scene. I didn't know of her until she rose to prominence in the late 90's (she is also credited in the Mass In C by Beethoven in the movie Immortal Beloved). Fleming is primarily a lyric voice, whose purity and focus on tone is more important to her than dramatic effect. In this way, she is only following the tradition of the techniques of such sopranos as Elisabeth Schwartkopff, Leontyne Price, Montserrat Caballe and Joan Sutherland. She does have an ethereal beautiful voice, and this album - bel canto - is a showcase for gorgeous legato, pianissimi and coloratura trills and roulade fireworks.

Bel canto literally means "beautiful singing" and Renee Fleming brings that meaning back. Because of the illustrious efforts of such singers as Beverly Sills, Shirley Verrett, Leyla Gencers and inevitably Maria Callas, bel canto has now been a vehicle for dramatic intensity. Callas was never afraid to sound ugly or gritty to bring out the dramatic portions in the opera. But Renee Fleming knows she has a miraculous voice of sheer beauty of sound and she pleasures our ears with the sound of it. But one also sees her own efforts to sound as dramatic as she can sound. In La Sonnambula, Bellini created a vehicle for beautiful lyric sopranos with coloratura prowess. Singers like Anna Moffo made it sound gorgeous but Callas sang it and unearthed its dramatic power. Fleming attempts the Callas effect and even at times sounds like Montserrat Caballe, especially in such arias from Il Pirata (an opera Caballe recorded and performed on stage). She sounds creamy, golden, full-voiced, with gleaming high tops and rich chest registers, effectively colorizing all the melodic lines. I have not heard singing like this in a long time, and again Montserrat Caballe comes to mind. Just listen to how she sings Lucrezia Borgia, especially in the outburst "E sperto! " (He's dead!) the dramatic moment when Lucrezia discovers she has poisoned her own son. Fleming is also exceptional in Rossini's Semiramide. This is not her first experience singing Rossini. She has sung Il Vaggio A Reims, a rare Rossini opera. Bel canto is truly challenging, and it was for her, but she stepped up to the challenge and came out on top.

What's in the future for Fleming ? I would love for her to take on heavier roles, but she is herself very cautious about ruining her voice. Lyric sopranos like her can easily break if not properly trained. While she has sung Handel well and modern operas like "Ghosts of Versailles" I fear she will never take on the roles I long for her to sing - Tosca, Norma, not even Madame Butterfly. Mirella Freni, a voice quite like Fleming's managed to transition to heavier repertoire well- she sang Butterfly and Tosca with flying colors. Perhaps Fleming will continue to sing purely lyric roles- more Desdemonas, more Tatianas in Eugene Onegin or perhaps the heroine in Queen of Spades. But perhaps she can step outside herself and sing Elisabeth Valois in Don Carlo, or perhaps Lucia Di Lammermoor (why hasn't she sung that ? It's tailor made for her)Who knows what she has in mind but whatever it is, she will sound brilliant.

Average customer rating:

Early Caballe, covering the range of her opera roles
A great collection of diva Caballe's best singing!!!!!!!!!!!!!!!!!!!
REALLY GOOD !
Cut-and-Paste Caballe

Very Best of
Montserrat Caballe
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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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

Leaving the hype aside, EMI would have been more accurate to entitle this 2-CD ssurvey "Opera Arias by the Young Caballe." In the whole generous 151 min. there are only 6 songs to represent her extensive recital repertoire, and no Zarzuela. For those items you have to go to rCA. Here we get Caballe mostly from the Seventies (1971-79) with bits form the early Eighties.

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

This is a great collection of caballe's eternal art.All the songs here have been remastered and sound wonderful.The very best of, contains a nice selection of caballe's greatest verdi singing.Her rendition,heard here,of la vergine degli'angeli from the forza del destino is the best one in recorded history.She sings it with such feeling and the most glorious soft notes in history.All of the arias on this disc aptly demonstrates her mastery of bel canto, and italian opera for that matter.In signore,ascolta from turandot,another memorable performance from Caballe,she sculpts this aria beautifully like a master craftsman;ending this piece with a ultra high pianissimo bflat,which she holds out all the way to the final bars of the music ,for an astounishing 15 seconds.One of the most beautiful notes ever produced from the human throat.Other noticable mentions would be her pace pace mio dio,her ave maria from othello,col sorriso d'innocenza from il pirata,as well as an entire spanish recital(recorded in 1979,in good voice)are all include here;and much more besides.There is also a nice picture of a young, beautiful, and thin Montserrat Caballe on the cover.The cd booklet includes exstensive linear notes and five rare photes of this divine soprano,who has both a heart and voice of pure gold.

REALLY GOOD !.......2004-02-19

I`VE BEEN LOOKING FOR SO LONG THE "PUCCINI ARIAS" ALBUM AND IT`S ALMOST COMPLETE IN THIS COMPILATION. ENJOY THE PURE VOICE OF MONTSERRAT WITH THIS GREAT COLLECTION OF GREAT ARIAS BY VERDI,PUCCINI,BELLINI,ROSSINI,ETC. YOU`LL NEVER REGRET.CLEAR SOUND DIGITALLY REMASTERED.

Cut-and-Paste Caballe.......2003-05-17

This two-disc recital draws heavily upon two Caballe recital discs (a Bellini/Verdi recital, and a recital of Puccini arias), with some extra material thrown in. At the end of disc one, there are also some Spanish songs thrown in, a good choice, since Caballe sang these songs extensively in her many recitals.

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.

Tracks:

Vieni sul mar
'O sole mio
Tu can nun chiagne
Santa Lucia
Pecche?
L'Alba separa dalla luce l'ombra
Fenesta che lucive
Mamma mia che vo' sape
Musica proibita
Core 'ngrato
Luna d'estate
Ideale
'A vucchella
Vaghissima sembianza
Tarantella sincera
Senza nisciuno
L'addio a Napoli

Amazon.com

As a follow-up to its Caruso 2000 release, RCA here offers us a remastered, implemented selection of Neapolitan songs recorded by Enrico Caruso between 1906 and 1920. The gimmick is again that the old recordings have been digitally stripped of their oompah, blaring instruments. In their place, the Vienna Radio Symphony Orchestra has provided modern accompaniment. It's still anachronistic--the voice remains in another acoustical era from the orchestra--but this time, the balance is a little better, and conductor Gottfried Rabl is amazingly sensitive to Caruso's style and phrasing. Moreover, of course, the pops and clicks of the old pre-electrical shellacs are gone. The voice retains its timbre and quality, thank goodness, and one can still marvel at the way the sound grew over the 14 years recorded here. It's always magnificent, but it became more baritonal and muscular with age, without losing any of its thrills. The "Ideale" from 1906 remains an exquisitely tender piece of singing; elsewhere, the sheer visceral excitement of the voice dazzles. Purists may not approve. Those unfamiliar with the Caruso phenomenon should hear him under any circumstances, and this is as good a chance as any. --Robert Levine

Customer Reviews:

An interesting abomination................2007-07-22

This recording is a technical marvel...the producers have taken the acoustic recordings of the greatest tenor that ever lived, digitalized them, "cleaned them up", whatever that means, and added a modern orchestra for background. God help us.

In Caruso's day, the performer sang into a large horn of the type shown in the old RCA ads, the microphone not being invented till 1925, four years after Caruso died. The sound was recorded on a wax disk, which was then used as a master. All of our attempts to listen to ancient records are, to some degree, artificial...I haven't seen a hand crank Victrola since I was a small child, well over 50 years ago. But this?!?....

I admit that this isn't like painting over an old master...the original recordings still exist. And I've already admitted that this is well done, in a technical sense. And about the voice of The Great Caruso there can, of course, be no question. Maybe I'm a traditionalist; I prefer to watch "It's a Wonderful Life" in black & white, I think pretty girls look prettier in dresses, and I'd rather see baseball played on grass. This isn't even like Richard Harwell abridging the works of Douglas Southall Freeman; that at least allows the reader with limited time and money to learn from the master. The original versions of these recordings are readily available, and take the same time to listen to.

We can play "what if" forever...could a modern doctor have cured George Washington? Of course. What would Bobby Jones do with modern golf equipment?? Sorry, Tiger. The originals of these landmark recordings represent the way listeners of Caruso's day heard him. It was state-of-the-art AT THE TIME.

Look, we live in America; the producer of this recording has an absolute right to make it, and you have an absolute right to buy it, enjoy it, and write a five star review of it, stating that I'm a stupid fool. That's the glory of America. Buy, and like, this record if you wish, but know what you are buying.

Caruso....re-emerged...or....re-submerged.......2007-02-15

I have been listening to Caruso recordings, necessarily periodically, for close on sixty years, though I didn't learn anything about music until in my mid twenties. Whilst thrilling hysterically to those top notes one couldn't help being more than a little aware, even as a child, that the trumpet-like noises, as Caruso himself once described it on hearing someone playing one of his records, emanating from the playback equipment, hardly represented a human being. Thanks to the digital restorative efforts of Thomas G Stockham we can appreciate the real art that conceals art, as C again put it, on the twelve CD edition previously published by RCA; since much of the artificial peakiness [ distortions ] has been alleviated - a tribute to the success of these may be concluded from the fact that some notes that previously sounded like he had a throatful of phlegm are simply revealed as record wear; as well as the more important sense of straining for effect being eliminated; far from it as we then appreciate how (apparently) effortlessly he puts those spectacular phrases across. As far as I can discern they have used these registrations here; so far so good. For the sake of this review attempt I listened again to this CD, for the first time since I bought it, probably well over a year ago. My humble opinion is that the orchestrations are too loud, tending to drown him out. Well done no doubt, if crass at times then, but providing little advantage over the Stockham 'recreations'. Maybe that's due to me being one of that army of Caruso lovers, or of any of a myriad of great artists' recordings for that matter, to whom the singing is paramount; the orchestra is merely lucky to be there. Is all that fuss regarding the minutiae of recent orchestral arrangements not just a bit patronising and condescending, with more accent on their problems rather than giving tribute to the singer who had no benefits of any post editing whatsoever; never mind the terribly restrictive recording environment and session period in which to do it ? I guess, like all hero worshippers, I'm possibly waxing unnecessarily defensive at this juncture. What if we could hear Caruso recorded now, as a contemporary of, say, Andrea Bocelli; would we be at his feet ? Maybe that's where this compilation really comes in, reaffirming the legend, dressed up to the nines. Does giving a monochrome phantom flash clothes, like those colourised photos, really make him more visible ?

On a personal note; it would have been an improvement had they NOT included "Vieni sul mar"; "L'Alba separa dalla luce l'ombra" and "Luna d'estate". "A Dream" would have been nice; also "I' m'arricordo e Napule" or, what I think is one of the best recordings of Caruso - Denza's "Si vous l'aviez compris" [ also Massenet's "Elegie" ], albeit they have piano/violin accompaniment, which would have presented a challenge to the engineers.

amazing technology.......2005-05-20

The Italian songs of Caruso have been a longtime favorite of mine -to hear this amazing voice - backed with a wonderful modern orchestra is just something else -I believe it is bringing 90 -100 year old recordings back to life - the voice is always clear and strong with no distortions one would expext from vintage recordings .The Vienna orchestra is wonderfully sensitive providing a lush sound behing this wonderful voice - my partner came in to see what I was playing, she said the voice was moving her to tears ," with a voice like honey" and I guess this was what the great Caruso was doing in his day to sell so many records

An Unexpected Pleasure.......2004-12-19

I have been an avid fan of Enrico Caruso for over forty years. I have heard just about every gimmicky process that has ever been attempted to make his recordings more modern sounding (read "electrical"). Each has its own virtues and inadequacies. I had not planned on purchasing this disc because, quite frankly, Caruso 2000 had been a disappointment. Caruso's voice almost always seemed to have a lid on it.

A certain fact has to be faced here. Caruso never made an electrical recording. No amount of filtering and doctoring can change that. The only way I can imagine that this barrier could ever be overcome is perhaps by computerized extrapolation of the frequencies his voice produced. A computer might some day be programmed to "figure out" from the original recordings the sound frequencies Caruso's voice produced but that the recording horn was too insensitive to record. Those frequencies could then be dubbed into the existing recording. However, it doesn't appear that technology is that advanced yet; perhaps it never will be. In my opinion, it doesn't need to be. All one really needs is a schooled ear to be deeply moved by the gifts, art, and technique Caruso exhibited on his original acoustical recordings.

Incidentally, I am both amused and appalled by individuals who doubt that he was the greatest male singer in the history of recording, perhaps of all time. Anyone who would suggest Mario Lanza's, John McCormack's, or anyone else's singing as more satisfactory isn't listening. Lanza wanted to be the next Caruso, but he was not Caruso, not even a pale imitation. Even Pavarotti willingly acknowledges that he idolizes Caruso. And McCormack was a completely different kind of singer.

The best way to enjoy Caruso, Italian Songs and even Caruso 2000 is to set them aside as seperate works of art, rather than expect them to be improvements over the original recordings. They're not. Caruso's voice is not reproduced as accurately as it is on original recordings played on the proper equipment in the proper environment, especially on Caruso 2000. But the beauty of his art and technique remains intact. It seems the recording engineers did less manipulation of the voice on this new CD; the voice is more faithful to the originals, but still not the same. It occurs to me that perhaps these recordings are best for those who cannot tolerate surface noise and Victor's almost exclsive use of wind instruments for the orchestra.

That said, the digital accompaniment added unexpected emotion, power, and drama to every piece. I was caught completely off-guard. The music on this disc had me in tears. Music is about emotions, and this disc overpowered mine. If the degree of emotion induced by a performance is the standard for its evaluation, then this disc rates five stars without question. And if this is the way more modern ears than mine must be introduced to the artistry of this great singer, let it be! The instrumentation and arrangements fit every selection, and the synchronization with Caruso's stylizing is nearly always perfect. I highly recommend this disc to budding opera and classical voice lovers as a worthy introduction to Caruso's artistry. And for the seasoned aficionado of classical voice, it is a refreshing, yet emotionally moving collection of great singing in its own right. Neither type of listener would be disappointed.

I was floored.......2004-02-14

This was a vast improvement over the last effort. When you listen to it on a regular stereo, as background music, you could swear you are listening to something that was recorded altogether, as if the singer was there. I also like the folk approach that was put forth by it. It is not Caruso trying to be the character of the song that comes from the opera, but Caruso being Caruso, without all the operatic techniques. It sounded like he was just having fun with the recordings, and the jovial personality that he had shows through clearly. I would be interested in seeing if RCA would consider doing more.

Marcelo Álvarez - Bel Canto / Y. Huang, WNO, Rizzi

Average customer rating:

Good voice for his repertoire
Bravo, Bravo, Bravissimo!
Early Marcelo Alvarez Revisited
A great voice used well.
What is it with the numbers?

Marcelo Álvarez - Bel Canto / Y. Huang, WNO, Rizzi
Gaetano Donizetti , Vincenzo Bellini , Welsh National Opera Orchestra & Chorus , Carlo Rizzi , Marcelo Álvarez , and Ying Huang
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Tenor's Passion
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Marcelo Álvarez - French Arias
Duetto
Marcelo Alvarez Sings Gardel

ASIN: B00000D9Y1
Release Date: 1998-10-20

Tracks:

Rigoletto: Questa O Quella
Rigoletto: Ella mi fu rapita!...Parmi veder le lagrime...Possente amor me chiama
Rigoletto: La danna e mobile
L'Elisir d'Amore: Una furtiva lagrima
Il Duca d'Alba: Inosservato penetrava...Angelo casto e bel
I Puritani: Opening Scene From Act III
Lucia di Lammermoor: Tombe degli avi miei...Fra poco a me ricovero
Linda di Chamounix: Linda! si retiro...Se tanto in ira agli unomini
La Traviata: Lunge da lei... De' miei bollenti spiriti...o mio rimorso
La Favorita: Favorita de Re!...Spirto gentil

Amazon.com

Though he came to professional singing comparatively late and began to attract the attention of the operatic world only fairly recently, Argentinian tenor Marcelo Alvarez already seems launched on a successful career. On this debut recording of Italian arias, he displays a light, sweet voice; a ringing, easy top; a basically lyrical temperament; and honestly felt, natural expressiveness--only the three familiar arias from Verdi's Rigoletto are a bit fussy and exaggerated. Though the mixed program does not give him much opportunity for sustained characterization, he does match the color and intensity of his voice to the situation. Among the highlights are a beautiful extended scene from Bellini's I puritani with soprano Ying Huang; arias from Donizetti's Linda di Chamonix and La favorita, the latter culminating in a splendid high C; and a lively cabaletta from Verdi's La traviata. The orchestra tends to be too discreet. --Edith Eisler

Customer Reviews:

Good voice for his repertoire.......2007-07-22

Marcelo Alvarez began his singing career later than most tenors. As the booklet coming with the CD notes, "After years of nearly everyone he knew wondering if he was crazy to want to be a singer, all the doors are opening." This CD appears to be a solid introduction to his work. His repertoire here runs from Verdi ("Rigoletto" and "La Traviata"), to Donizetti ("L'elisir d'amore," "Il Duca d'Alba," "Lucia di Lammermoor," Linda di Chamounix"), to Bellini ("I Puritani").

Some reflections on some of the "cuts" on this CD:

From "Rigoletto," "Questa o quella." This is smoothly sung; Alvarez demonstrates an attractive voice. There are some annoying affectations, but these are not critical. A nicely paced version of this work. Then, "La donna e Mobile." This is a spirited version of this well known piece. His voice appears a bit on the light side; he does not have the instrument of Tucker or Corelli (although that is hardly a criticism). The final high note is done well.

He does a nice turn on "Una furtive lagrima" from Donizetti's "L'elisir d'amore."

His turn at the opening of Act III of Bellini's "I Puritani" is quite musical. He shares the stage (albeit briefly) with soprano Ying Huang and a chorus. Again, an attractive voice is on display. For someone on stage for so long, his voice wears well on the listener.

"La Traviata": "Lunge da lei. . .De' miei bollenti spiriti. . .o mio rimorso!" is well done. The first part is sung nicely. He shows much spirit and captures the character in "De' miei bollenti spiriti." The final part of this scene, "O mio rimorso" is dramatically done. He does not quite have the agility that would be ideal here, but, nonetheless, a good version.

So, all in all, a good CD from one of the finer tenors around today. He does not have a large voice, but it is attractive. A good introduction to his art.

Bravo, Bravo, Bravissimo!.......2005-04-18

These arias from La Traviata, Lucia di Lammermoor, Linda di Chamounix, I Puritani and Rigoletto have been recorded often (Too often) but among recent recordings I like Marcelo Alvarez's recordings of them the most. He has a most velvety and gorgeous timbre, wonderful high notes and he phrases sensitively, he uses vocal colours to shade and illuminate every phrase making him a great successor of lyric tenors like Giuseppe di Stefano and José Carreras. Of course he is individual but just as amazing as these guys! Bravo Monsieur Alvarez!

Early Marcelo Alvarez Revisited.......2004-12-22

Now and then it is a pleasant excursion to return to early recordings made by singers who are reaching a heady level of importance just to see how voices mature. In the case of Marcelo Alvarez, who is enjoying great success with his recordings (Massenet's 'Manon' with Renee Fleming, and his own solo CD 'The Tenor's Passion' for example), listening to this remarkable disc of bel canto arias is of particular interest.

This recording features the younger (1998), lighter voice in the appropriately lighter repertoire and the intelligence coupled with sheer beauty of sound is here. Though his voice has darkened and is much more full now, these bel canto arias are still splendid. The technique is sound, the line is pure, and the bloom at the top promises that he would become the lyric tenor he has become in 2004.

Marcelo Alvarez started here with the right works at the right time in his career. They are here to savour - sort of a hint of what he has become - a treasureable, exciting and intelligent singer. Grady Harp, December 2004

A great voice used well........2002-08-28

Mr. Alvarez has a wonderful vocal instrument, and his technique is marvellous. He is true bel canto. Nothing is ever forced or lacking in beauty. Fine diction and flawless Italian pronunction. Even when the voice rises in intensity, the sound remains lustrous and golden. The liner notes indicate that he is a wise steward of his voice as well, choosing his repetoire carefully and planning ahead as to when he will attempt certain things. I look forward to hearing him sing Cavaridossi in a few years. In the meantime, you will not be disappointed by this collection. It is simply great singing.

What is it with the numbers?.......2002-01-23

I refuse to call this guy the 4th tenor because there are lots of good tenors, always have been. But I do think Marcelo Alvarez is in line to inherit the mantle. Here he puts his agile voice through all the paces. It is a sweet voice, with power-like a velvet glove over a hammer! Never does it sound harsh or forced. I also like that he used "longer cuts" from scenes including duets and ensembles instead of the usual "Greatest Hits" (altho i like those too) But for me the most attractive and appealing element is the absolute joyful quality of his voice, like he is singing for the sheer pleasure of it. Thank you, Marcello, the pleasure is all mine!

Average customer rating:

It's 'okay'
best
Warm and Bright
Really, really bad. Weak and watery, flouncy & pretentious
Unbelievable, but it looks like everyone else thinks so too.

Shimmering, Warm & Bright
Bel Canto
Manufacturer: Chameleon / Ada
ProductGroup: Music
Binding: Audio CD

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Birds of Passage
White-Out Conditions
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ASIN: B000004BCA
Release Date: 1992-09-22

Tracks:

Unicorn
Summer
Waking Will
Shimmering, Warm & Bright
Sleep In Deep
Buthania
Le Temps Degage
Spiderdust
Die Geschichte Einer Mutter
Mornixuur

Customer Reviews:

It's 'okay'.......2007-01-18

Not the best effort from Bel Canto. I really enjoyed 'White-Out Conditions', but this was a bit too dance/techno for me. 'Unicorn' is goofy as hell, probably only suitable for soppy-headed eight year old girls. 'Shimmering Warm & Bright' is a nice one; very pretty and a good use of layered vocals. 'Spiderdust' was okay as well.

If you're going to check out Bel Canto, I'd suggest their first album.

best.......2006-01-19

This album is their best studio album. the title track is... enchanting techno? Is there such a thing? Well, they've created it on that particular song, and "Unicorn" is mesmerizing as well. They might have broken up a while back but at least they put out six albums and a greatest hits collection? And it's all GOOD. It's all transcendent.

Warm and Bright.......2005-08-12

I think Gazzah's review is a little ungenerous... but my initial reactin to Bel Canto was the same. I purchased this album on it's recommendation to me as "Cocteau Twins-like"... I agree that Bel Canto Tries a little too hard, and sounds much more forced than the twins. But this album has definitely grown on me, and I still listen to it regularly. When I first got into the Twins it took time for them to grow on me too... but now they're like my favorite Band! "Le Temps Degage" stands out to me as the strongest track on the album, particularly because it's in French. THe English Lyrics on the album are the weekest point for me, mostly just pretentious and stupid. At least in *dumb* Twins songs like "Pearly Dew-drops drops" the lyrics are hidden within Liz's unique vocal styling.
My final word is, nothing will ever replace the Cocteau Twins, but Bel Canto is not without their strengths. If your willing to lower your standards to listen to something a little more pretentious and oversaturated, then this is it. Think Enya with a beat...

Really, really bad. Weak and watery, flouncy & pretentious.......2005-03-25

I bought this album on the strength of the other reviews here, comparing it to the Cocteau Twins and Dead Can Dance. My first impression is that I find it very weak, derivative and unimaginative. It has more in common with Enya and Sarah Brightman than anything from 4AD. For me, it lacks any real emotion, depth or interest. Reviewers mention their Arctic heritage, but if you're expecting something like Biosphere, forget it. If you liked the early Cocteau Twins and DCD and not just their later albums, don't bother with this. It's rubbish.

Unbelievable, but it looks like everyone else thinks so too........2003-11-17

This album is great. I listen to it all the time. What could I say to convince you to get it... It's good to listen to while driving your car... It's good to listen to while on the bus... It's good to listen to while making dinner... It's good to listen to while you're getting intimate...That's a good enough reason! If you like this, check out State of Grace and their album: Jamboreebop. Super cheap on Amazon Marketplace. (wink)

Average customer rating:

This is a beautiful voice
My dream woman
This will get me crucified
Amazing!
Breathing Beautiful Life into Characters Commonly Dismissed

Kathleen Battle - Bel Canto Arias
Vincenzo Bellini , Gioachino Rossini , Gaetano Donizetti , London Philharmonic Orchestra , Bruno Campanella , Kathleen Battle , Richard Croft , John Constable , Pal Christian Moe , Randi Stene , Mark S. Doss , and Ambrosian Opera Chorus
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GH1
Release Date: 1993-10-12

Tracks:

I Capuleti Ed I Montecchi: Recitativo E Romanza (Atto I): 'Eccomi In Lieta Vesta...Oh! Quante Volte'
Tancredi: Recitativo Ed Aria (Atto II): 'Gran Dio! Deh, Tu Proteggi...Giusto Dio Che Umile Adoro'
Don Pasquale: Cavatina (Atto I): 'Quel Guardo Il Cavaliere'...So Ancho'io La Virtu Magica'
Linda Di Chamounix: Recitativo E Cavatina (Atto I): 'Ah! Tardai Troppo...O Luce Di Quest'anima'
La Sonnambula: Scena Ed Aria Finale (Atto II): 'Oh! Se Una Volta Sola...Ah! Non Credea Mirarti'
Il Viaggio A Reims: Aria (Atto I): 'Partir, O Ciel! Desio'

Customer Reviews:

This is a beautiful voice.......2007-07-15

Kathleen Battle has been the best soprano in her repertoire. She is always exquisite singing opera arias, lieder, chansons, spirituals or jazz.

My dream woman.......2007-01-10

Another great recital by my dream woman. Battle's voice and style is not to everyone's taste, but that's why we can compare and choose which singers we love and adore! This CD has provided me with endless listening pleasure and I love every minute of it.

This will get me crucified.......2007-01-05

She drops instead of leaping to the last note in arias, like Caballe does. When she doesn't drop, she slides to the last note in arias, like Gruberova does. Never (at least on this disc) does she make a clean break and leap like Jo, Sills, Sutherland, Pons and Callas do. To name the few I'm familiar with. It's a drag. She sings like a dream. She has a warm facility during the song. I've had her Mozart album for years and loved it. Not anymore. I got this CD ("Bel Canto") a couple days ago, ripped the wrapping off eagerly, listened hopefully for the 56 minutes or whatever it was (twice to be sure I hadn't missed something), then said to hell with it. There are lots of beautiful voices out there (Studer, Ricciarelli, Tebaldi, Gheorghiu, - it's endless). And I love them all up to a point. But when it comes to someone who calls herself bel canto, which she is, just a coloratura cop-out, and has an attitude like I've heard that she does to boot, I say why bother. Both her CDs are in my sack of classical rejects that one of these days I'm going to try to sell on eBay. Phooey! What a rip!

Amazing!.......2006-05-22

This is my first Bel Canto album and Kathleen Battle has a new fan. Her voice is so powerful and clear. Now I have to upgrade my stereo system to listen to her nusic 8-).

Breathing Beautiful Life into Characters Commonly Dismissed.......2001-06-13

At last! This is the disc I have waited my whole life for: famed soprano Kathleen Battle showing her awesome talents in the bel canto repertoire. After glimpsing her coloratura abilities as Donizetti's Adina (L'ELISIR D'AMORE) and her ability to soar over ensembles as Mozart's Pamina (DIE ZAUBERFLOTE), we all knew that Ms. Battle was tailor-made for these arias and extended scenes. Miraculously, she never strains, her voice is creamy throughout its two and half octave range (listen to those high E's melt in her Amina's mouth), and her diction is remarkably intelligible. The above-mentioned gifts do not even hint at her ability for expression and gift for improvisation. One thing I have always loved about Kathleen Battle is the fact that she DOES improvise, breathing her own unique life into a characterization (listen to her Semele or Rosina for proof of this). This 56 minute CD has her tackle 2 apiece from Bellini, Donizetti, and Rossini. Once again she shows her affinity for Rossini but, like the previous reviewer, I have to express my surprise and delight at how beautifully SONNAMBULA sits in her throat. In fact, in my own humble opinion, her version is even more impressive than Dame Joan's and Sumi Jo's for its sheer vocalism! In this 15 minute scene, she is lent admirable support from Richard Croft, Randi Stene, and Mark S. Doss but make no mistake: this is Ms. Battle's show. Consider me converted... then again, who am I kidding? I'm one of her biggest fans and supporters! Enjoy this gem of a disc--sit back and be astounded.

Average customer rating:

RIP, JERRY HADLEY 1952-2007
INTERESTING REPERTOIRE, WELL SUNG

Jerry Hadley - The Age of Bel Canto

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FTA
Release Date: 1996-01-16

Customer Reviews:

RIP, JERRY HADLEY 1952-2007.......2007-07-18

Among his numerous recordings of opera, concert and lighter works, this one CD best serves the late tenor's art. Arias, both familiar and not, exemplify his clear, clean singing, wonderful diction and musicality. Although it is currently unavailable, I'm hoping RCA will see fit to reissue it soon in memory of a truly fine American-trained artist and singer.

INTERESTING REPERTOIRE, WELL SUNG.......2003-11-14

While currently out of print BMG might well reissue the album so some comments are in order. The album has a repertoire that is, under any conditions, exceptionally demanding with the arias from Dom Sebastien, La dame blanche, Les Huguenots, etc., being among the most difficult to sing in the tenor literature. For the most part Hadley proves a wealth of beautiful, well posed tone running into trouble only when he must deal with troublesome top notes that have never been his forte. The top c-sharp taken in the aria "Seul sur la terre" from Dom Sebastien in pure head tone( read falsetto )is really stylistically correct but the versions by Marcelo Alvarez, Roberto Alagna, Luciano Pavarotti( as "Deserto in terra" ), and, of course, Alfredo Kraus are much more thrilling with the top note ringing out in full voice. Kraus was well into his 60s but his ageless voice took the top notes with consummate ease.

The arias from Lucia di Lammermoor, L'elisir d'Amore, Mignon, Lakme, and The Bohemian Girl are all well done with really beautiful tone and stylistic elan. The arias from Les cloches de Corneville, L'eclair, and The Rose of Castille and Sigismondo are well sung but so new to me as music that a critical evaluation is not possible.

The aria from Martha sung in the original German as "Ach, so fromm" is, at the climax, rather stressful and strained.

The sound is excellent and the direction of the English Chamber Orchestra by Richard Bonynge is a real plus for both Hadley and the listener.

Tracks:

Semiramide: Bel raggio lusinghier
La Sonnambula: Care compagne
Falstaff: Sul fil d'un soffio etesio
I Puritani: Son vergin vezzosa
I Capuleti e i Montecchi: Eccomi in lieta vesta...Oh! quante volte, oh! quante
Linda di Chamounix: O luce di quest' anima
Tancredi: No, che il morir non e
I Puritani: Qui la voce sua soave
Crispino e la Comare: Io non sono piu l'Annetta
La Traviata: E strano, e strano

Customer Reviews:

The artistry of Sumi Jo.......2007-02-28

This CD shows Sumi Jo's bel canto technique off to good effect. She has a light agile voice that exemplifies top notch coloratura singing (and I know that bel canto and coloratura are not the same). Indeed, she probably must be rated as one of the best coloratura sopranos of the current era.

Some samples of her work. . . .

"Bal raggio lusinghier," from Rossini's "Semiramide" is enchanting. She displays, as always, an agile voice with a lovely quality to it. Her technique is good; this is fun to listen to. She hits a nice high note at the end.

From Bellini's "I Puritani," we have "Son vergin vezzosa." There are iconic versions of this, first, from Joan Sutherland, and, second, from Beverly Sills. However, Sumi Jo's rendering of this work stands well in comparison. She sings this at a quick pace, as seems appropriate. She shows a nice trill; her florid singing is nicely done. She hits high notes cleanly, although one appears a bit thin and strained--but that's a mere quibble. The repeat is very well done.

"O luce di quest'anima," from Donizetti's "Linda di Chamonix," is also well sung. The opening portion is prettily sung. The cabaletta picks up the pace. She shows off nice appoggiaturas and her singing is, as always, very agile. She displays a decent trill before the final high note.

And then there is one of the great showpieces for coloratura sopranos, "Qui la voce. . .Vien diletto," from Bellini's "I Puritani." "Qui la voce" is poignantly and touchingly sung, showing some nice characterization. The cabaletta is smoothly and agilely sung the first time through. Her voice sounds quite sweet in the slower parts of this segment. The repeat features nice ornamentation, including a good trill here and there. Her repeat is not as florid as some, but it is nonetheless nicely done. The final high note is hit dead on.

Finally, from Verdi's "La Traviata," "E strano". . ."Sempre libera." This has been well sung by many who came before her, such as Renata Scotto and Anna Moffo from decades ago. Her singing seems to represent a nice characterization of the doomed Violetta. The early parts are well sung and expressive. "Sempre libera," of course, picks up the pace. And so does Jo. She handles the demands of this music well. She, once more, manifests considerable vocal agility. The repeat is fine, with some nice runs and a final high note well done.

In short, this is a good representation of the work of Sumi Jo. For what it's worth, in my estimation, she rates very high among the current crop of coloratura sopranos, alongside Natalie Dessay, for instance. With singers such as these, the current generation of coloratura sopranos ranks well against their historical predecessors.

Nice Collection, Pure Voice. Slightly Weak High Notes.......2003-04-09

I don't want to say more about her since she is too famours to introduce. I just bought two of her cds recently, which I had big expection for her.

Undoubtly, she has beautiful voice and wonderful coloratura style, I was amazed by the flexiblity in her voice. However I was slightly disappointed by the weakness in her high notes. It seems that she never has strong high notes, and those high notes can't last as long as Dilber's or Organasova's.

Sorry to say this to the pretty Sumi.

Angels sings like this..........2002-06-18

This is, without doubt, the most beautiful bel canto recital disc since Dame Joan's Art of the Prima Donna. Sumi Jo is without equal in this repertoire today. Her interpretations are immaculately rendered and her technique (just incredible) is beyond reproach.

This disc is worth ever penny because it contains the best Elvira ever recorded. Sumi's angelic (albeit small) voice floating above a chamber orchestra creates one of the most intimate operatic portraits of Elvira in recent history. Callas gave us penetrating pyscholgical insights into Elvira, Dame Joan gave us vocal fireworks, but Sumi Jo IS Elvira. She's simply exquisite.

This is a tribute to Bel Canto.......2002-01-06

This record is realy a Tribute to Bel Canto.
When we talk about bel canto, we have to refer Sutherland. Dame Joan had (has) the most beautiful voice I've ever heard. The range of her voice is incredible and I have to desagree with the reviewer that says that Sutherland lower range was heavy. It was strong, not heavy. With that voice range she could do any kind of reportoire.

Now, let's talk about Sumi Jo. Miss Jo is realy a coloratura Soprano and in bel canto she is the best we have now. All the high notes are very clean and she has no difficulties to reach them. Qui la voce sua soave is very good, I even prefer this interpretation over Sutherland's.

Well, she is not Sutherland, but she is with no doubt a Tribute to Bel Canto.

Another Sutherland, yet even better..........2000-12-28

As I have explained in another review I wrote of Sumi Jo's music, she has become one of my favorite sopranos. I started out with Dame Joan Sutherland, La Stupenda herself in her recital disk "The Art of the Prima Donna." A fantastic CD. And I must say that it has been hard to find other sopranos that could do as well as Dame Joan in such traditional bel canto repertoire. You know how it is, once you hear one version, it's hard to find another that is better. And although some of the arias on this CD are different than you find on Sutherland's, they are just as great, if not better. What one finds with Sumi is a gorgeous voice, clear and pure throughout(not mushy and heavier as Sutherland had in her lower range... Ahhh!! I can't believe I admitted it... I hate to put Sutherland down), and the enunciation is never a problem. So what is there to complain about?... Nothing really, except maybe if her top note wasn't a high F, and instead a C above high C, and then I wouldn't like Natalie Dessay just for her high notes(she has a high A flat I believe). But a high F is more than enough for any bel canto piece as Sutherland showed us throughout her career(I just love high notes, the higher the better).

Now that I've settled with my love of the voice... the recording itself is to be talked about. Bel raggio lusinghier from Rossini's Semiramide is the first track. A different interpretation than Sutherland, but gorgeous. All throughout this recording, Sumi Jo shows us just how effortless her coloratura is, and this track especially conveys this. As for Sumi Jo's lyrical skills, the perfect track for that is track 5, "O quante volte" from Bellini's "I Capuleti e I Montecchi." What a gorgeous Juliette she is! And if only the previous reviewer knew I was going to see Sumi this coming February in this exact role. I know I can't wait, and I'm sure Ms. Jo will not disappoint. Anyways, this entire recording, each and every song is wonderful. And the Violetta aria from Verdi's "La Traviata" is a nice end to the CD, summing up just how great Sumi Jo is. To those who say bel canto has withered away lately, they should hear this disk. Sumi Jo would convert them right away. And could there be no better praise than the fact that Sutherland's husband Maestro Richard Bonynge has worked with Sumi Jo... Afterall, his wife was practically the Queen of Bel Canto. It's obvious that Bonynge has found his new reigning queen. We could be in for a real treat in the coming years!!!

This is bel canto at its finest. Enjoy

P.S. - Even though it's not bel canto repertoire, one wishes Sumi Jo's famed Queen of the Night from Die Zauberflöte were on this set to wow people even more. But not to worry, it's on a couple of her other recordings.

The Age of Bel Canto
Average customer rating:
The Age of Bel Canto
Sutherland , Bonynge , and Lpo
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000E3SN
Release Date: 1992-01-16