Michael Amante

Editorial Reviews
Amazon.com
Alongside the three tenor posses, the dashing Michael Amante is poised to make opera palatable to the mainstream. Amante is bold enough to take on scores from Tosca, La Bohème, Turandot, and Aida, and he postures himself a swell prince on his self-titled debut. Possessed of a powerfully buoyant voice that is tenderly youthful yet richly resonant, Amante charms with the playful "La Donna e Mobile" from Verdi's Rigoletto and gives a cinematic and masculine cowboy-booted rendering of "Addio Fiorito Asil" from Puccini's Madame Butterfly. He sings like the angel Gabriel on the selection from Aida and smolders on the slick and regally produced "Ho Bisogno d'amore," a love song delivered in Italian and English. Amante is a heartthrob waiting to happen on a large scale. --Paige La Grone

Michael Amante, Music, Danilo Amerio, Cesare Andrea Bixio, Eduardo di Capua, Ernesto de Curtis, Agustin Lara, Giacomo Puccini, Giuseppe Verdi, Timothy Vernon, Canadian Opera Company Orchestra, David Greene, Michael Amante, Classical, Classical Crossover, Classical Vocals, Italian Romantic Opera, Opera, Opera/Operetta, Solo Voice(s) and Orchestra, Vocal, Vocal Music, World Music

Tell Her I Love Her
Average customer rating:

Disappointed

Better the Second Time Around

Simply Amaz(on)ing

wonderful

Michael 's #1 Fan

Tell Her I Love Her
Katherine Fink , Gerhard R. Koch , Julie Landsman , John Moses , Virgil Blackwell , and Marc Goldberg
Manufacturer: RCA Victor
ProductGroup: Music
Binding: Audio CD

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Michael Amante

Humbled

This Is Sergio Franchi

The Exciting Voice of Sergio Franchi/ Live at the Cocoanut Grove

Romantic Italian Songs

ASIN: B0000AM6JE
Release Date: 2003-09-09

Tracks:

Till
Crying
Delilah
It Comes To This
Because You're Mine
Caruso
Young Girl
Mala Femmena
Last Morning Of My Life
Be My Love
Core'ngrato
Dicetncello Vuie
Back On My Feet
Per Niente Al Mundo

Amazon.com

Discovered singing in a noted New York City watering hole, the Syracuse native's successful major label debut quickly made him a rising star who garnered comparisons to Mario Lanza--from Tony Bennet, no less. But Amante's showy, soaring style and good looks seemed destined for a wider audience than opera's, and indeed this sophomore release largely delivers on the tenor's rich crossover potential. While many classically educated singers seem challenged to throw off the formal constraints of their rigorous training in tackling pop material, Amante's journeyman musical background has gifted him with a more pliant delivery. It's hard to imagine Bocelli tackling such oldies Top 40 fodder as Gary Puckett's "Young Girl," let alone imbuing it with the melodrama that Amante effortlessly imparts it here. His "Delilah" strives for the kitschy verve of Tom Jones' original, with a voice whose natural power begs comparison with the Welsh sex symbol on the opening "Till" as well. Amante mixes enough Neopolitan standards and originals into the mix to maintain its crossover appeal, but curiously it's pop standards like his soaring, emotional take on Orbison's "Crying" (in a performance that reminds us that the rock legend was arguably a crossover pioneer as well) and a cover of "Back On My Feet" that seem to best engage his considerable talents. It's an album more oriented towards Vegas than Verdi, which seems precisely the intent. --Jerry McCulley

Customer Reviews:

Disappointed.......2006-01-16

I have seen Michael Amante in concert and this CD is not the best of his voice. He has a very powerful voice and it did not come out in this CD. The music he picked to record was good, mostly Tom Jones type music, but his voice is not at it's best. I think it needed better back-up or accoustics to bring out the power of his voice.

Better the Second Time Around.......2004-10-05

Michael Amante is back. Much to the chagrin of his many detractors and surely to equal delight of his many fans.

I purchased this CD not sure what to expect since Mr. Amante's first CD was a rather uneven attempt at Opera.
Luckily the old adage " It get's better with time" applies to his sophmore CD.

I find the song selection and style much more appropriate to his voice and with the exception of songs like "Young Girl" and "Delilah" this is a very nice CD.

Mr. Amante's voice seems more setteled and just a tad darker than on his first CD and he displays masterful command over the stylistic nuances of the English selections.
I particularily enjoyed the Jazz influenced styling of the Mario Lanz stanadrs "Be My Love" and " Because You're Mine" as well as the old Neapolitan fav "Dicitencello Vuie".
Also his reading of the classic "Caruso" is surpassed only by Maestro Pavarotti and even that is disputable.

Of course Mr. Amante still seems to have some trouble with the Italian language at times but nothing of the massive difficulty he displayed last time around.

Considering that his musical genre, "Popera", is dominated by Italians (Bocelli & Safina)& Brits (Russell Watson & Sarah Brightman)I think Mr. Amante deserves the credit due him as being a worthy American representative. Of course there is also the over-rated Josh Groban but that's neither here nor there.

4 stars for this CD over the 3 stars for his last effort. Couldn't give it 5 stars because in all fairness, Mr. Amante really ought to get a better understanding of the foreign languages he interprets. Other than that this is a fine CD.

Simply Amaz(on)ing.......2004-08-11

To the Music Fan in Calgary. You are living proof that the cold weather in Canada is not good for one's hearing. Dear Michael's voice is stronger than ever. All you have to do is hear him live singing in Rao's Restaurant on a Monday night without a microphone or amplification and you will realize the error in your ways.
Trashing a talent like Michael Amante is further proof of your inability to distinguish between a good voice and a great voice. Obviously with all of the positive reviews that you see herew and read throughout the world, all of our ears cannot be lieing to us all at once.
Perhaps you were in a bad mood or your stereo just couldn't handle his high notes and was distorting?
Give his first album another listen (as long as your ears are thawed out) and I believe you will reconsider. You may end up throwing your trash where it belongs. In the garbage can !

wonderful.......2004-02-03

Some of you may have read my review of his "operatic album" which I whole heartedly condemned as trash (which it is, since the music is so poorly sung and so badly interpreted), however, this is a reflection of the man and his voice doing what it should be doing. This man is NOT an opera singer and his fans should not for a moment think they are getting any understanding of opera when they listen to him, for they are not. However, singing the music best suited to his voice, he is wonderful. This album is truly enjoyable. Here his voice can shine forth in all its splendor, and we are all enriched by what he has to offer. Why so many good singers who are simply wonderful in their own area of expertese wish to sing opera when it really doesn't suit them (even if they have the notes) is something I can't understand. Michael Amante is so wonderful here, and I found listening to him simply thrilling. ONE WORD OF ADVICE DEAR MICHAEL: Stick to what you do best and let others do what they do best. This album is really a treat, and the mellow caressing sound Amante makes is truly exciting.

Michael 's #1 Fan.......2003-11-14

This album is just wonderful and I truly enjoy this album as I did his first alubmn...It's a great mix of classical and POP. I listen to all the songs on this album but especially enjoy "It's Come To This" which Michael wrote. I have 3 cd's(home, car, office) and listen to him all the time. Michael sings from the heart and feels every word he sings. He is going places. Waiting for the next CD ......

Verdi - Rigoletto / Cappuccilli, Cotrubas, Domingo, Obraztsova, Ghiaurov, Moll, Schwarz, Wiener Philharmoniker, Giulini

Average customer rating:

Best in modern sound, second best overall.

Verdi - Rigoletto / Cappuccilli, Cotrubas, Domingo, Obraztsova, Ghiaurov, Moll, Schwarz, Wiener Philharmoniker, Giulini

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001G66
Release Date: 1990-10-25

Tracks:

Rigoletto: Prelude (No.1)
Rigoletto: Introduction (No.2)
Rigoletto: DUCA: Questa o quella (Ballata)
Rigoletto: MONTERONE: Ch io gli parli
Rigoletto: RIGOLETTO: Quel vecchio maledivami (No.3: Duetto Rigoletto - Sparafucile)
Rigoletto: RIGOLETTO: Pari siamo!... (No.4: Scena e Duetto)
Rigoletto: RIGOLETTO - GILDA: Figlia!... - Mio padre!
Rigoletto: GILDA: Gia da tre lune son qui venuta (Duetto Gilda - Rigoletto)
Rigoletto: GILDA: Giouvanna, ho dei rimorsi
Rigoletto: DUCA: E il sol dell anima (Aria)
Rigoletto: DUCA: Che m ami, deh! ripetimi
Rigoletto: GILDA: Gualtier Malde...Caro nome (No. 6: Scena ed Aria)
Rigoletto: RIGOLETTO: Riedo!...perche? (No.7: Scena e Coro - Finale Primo)
Rigoletto: TUTTI: Zitti, zitti, moviamo a vendetta

Tracks:

Rigoletto: DUCA: Ella mi fu rapita!
Rigoletto: DUCA: Parmi veder le lagrime
Rigoletto: TUTTI: Duca, duca! L amante fu rapita a Rigoletto (Coro/Duca)
Rigoletto: DUCA: Possente amor mi chiama (Stretta)
Rigoletto: MARULLO: Povero Rigoletto! (No.9:Scena)
Rigoletto: RIGOLETTO: Cortigiani, vil razza dannata (Aria)
Rigoletto: GILDA - RIGOLETTO: Mio padre! - Dio! mia Gilda! (No.10: Scena e Duetto)
Rigoletto: GILDA: Tutte le feste al tempio
Rigoletto: RIGOLETTO: Ah! Solo per me l infamia
Rigoletto: MONTERONE: Poiche fosti invano da me maledetto
Rigoletto: RIGOLETTO - GILDA: E lami? - Sempre (No.11: Scena)
Rigoletto: DUCA: La donna e mobile (Canzone)
Rigoletto: DUCA: Un di, se ben rammentomi
Rigoletto: DUCA: Bella figlia dell amore
Rigoletto: RIGOLETTO: M odi ! ritorna a casa
Rigoletto: DUCA/MADDALENA: Maddalena...- Aspettate...
Rigoletto: MADDALENA: E amabile invero cotal giovinotto
Rigoletto: RIGOLETTO: Delta vendetta alfin giunge l istante
Rigoletto: RIGOLETTO: Chi e mai, chi e qui in sua vece?
Rigoletto: GILDA: V ho ingannato...colpevole fui

Customer Reviews:

Best in modern sound, second best overall........1999-03-29

This is an excellent Rigoletto. Guilini's conducting is superb, if a bit on the serious side. Domingo is great as the Duke, and Cappuccilli's Rigoletto and Cotrubas' Gilda are also outstanding. The sound is wonderful. Anyone who needs a version with outstanding sound and excellent performance can buy this disc with confidence.

For myself, the first choice is the version with Callas and Gobbi. Perhaps Domingo is a better Duke, but Gobbi's sensitive musicianship makes him a fantastic Rigoletto, and Callas an outstanding Gilda. That version crackles with more excitement, though the sound per se is not as exciting as this one.

Eventually you will probably buy both versions if you love this opera as much as I do.

Humbled
Average customer rating:

"Humbled" - An Amazing Inspirational Work

Michael Amante's "Humbled" CD

Humbled
Michael Amante
Manufacturer: Must Close Saturday
ProductGroup: Music
Binding: Audio CD

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Tell Her I Love Her

Michael Amante

Alessandro Safina

The Italian

Andrea Bocelli - Amore

ASIN: B0007CYEUI
Release Date: 2005-02-08

Tracks:

I Will Glory in the Cross
His Eye Is on the Sparrow
I Can See (On the Emmaus Road)
God and God Alone
Praise Medley: Praise the Lord Almighty/Joyful, Joyful We Adoe Thee
Lord's Prayer
When His Kingdom Comes
When Praise Demands Sacrafice
Chasing of the Wind/Why Do We Live Without Jesus
I Want to Know Christ
Oh Come Emmanuel
Danny Boy

Customer Reviews:

"Humbled" - An Amazing Inspirational Work.......2005-03-07

I was happy to see that Michael Amante's new CD "Humbled" has arrived on Amazon.com, where it should be to gain the most exposure, for new fans to both Michael and fans of Gospel/Religious music. Hopefully now those fans looking for uplifting and heartfelt praise to God will discover the amazing talent of this versatile performer. Michael's lst & 2nd CDs demonstrated his considerable talents in Italian Opera and Italian & American classic songs, as well as some other love ballads, done in a pop & slightly jazzy style. But Michael shows us in "Humbled" his deep love and commitment to the Lord in a most personal way, and his voice is as pure and honest as ever. My favorite song is "I Can See" which has a most beautiful melody, which Michael sings with excellent dynamics and shading, a mix of power and sweet tenderness in his voice.

You will hear many such songs sung beautifully and fervently, including "I Will Glory in the Cross", "God & God Alone", When His Kingdom Comes", to name a few. The latter song has a powerful high note, which may be a High C at the very end....not unusual for Michael Amante! He sings those high notes as effortlessly as he uses his sweet mezza-voce in songs like "His Eye is on the Sparrow", "A Chasing of the Wind", and "Danny Boy". This last song on the CD he sings acapella, (no musical accompaniment), as few recording artists would dare to do on a CD, but he pulls it off very nicely! His voice is beautiful in falsetto as well. Two other songs are familiar ones - "The Lord's Prayer" and "Oh Come Emmanuel" - 12 songs in total. I strongly recommend this new album for anyone who wants to be inspired, not only by a gorgeous tenor voice, but also to live our lives in the service of God and all of His children. Michael Amante REALLY sings from his heart here, and in my opinion, his versions of these songs surpass well established Gospel recording artists like Steve Green, one of the great voices that have inspired him.

Michael Amante's "Humbled" CD.......2005-03-02

This is Michael's third album and he goes in a different, and very personal, direction this time. Michael's selection of religious music shows off his voice in a very positive way. He had performed a few of these songs in concert and his fans were begging him to make the album. His orchestra leader, Herb Bernstein, did a superb job on the arrangements on the ablum. If you like Michael Amante, you will find this album to be his best so far.

Average customer rating:

Amazing Voice!
Music to surely make you swoon.
Wonderful Tenor with Appealing, Golden Voice
Introducing standards to a new generation
Curious...

Michael Amante

Manufacturer: Medalist
ProductGroup: Music
Binding: Audio CD

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Tell Her I Love Her
Humbled
Romantic Italian Songs
This Is Sergio Franchi
The Italian

ASIN: B00005KCH3
Release Date: 2001-06-05

Tracks:

Madama Butterfly: Addio Fiorito Asil
La Boheme: Che Gelida Manina
Rigoletto: La Donna E Mobile
Bixio: Mamma
Turandot: Nessun Dorma
DiCapua: O Sole Mio
Tosca: Recondita Armonia
Aida: Celeste Aida
Granada
Tosca: E Lucevan Le Stelle
Non Ti Scordar Di Me
Torna A Surriento
Ho Bisogno D'Amore

Amazon.com

Alongside the three tenor posses, the dashing Michael Amante is poised to make opera palatable to the mainstream. Amante is bold enough to take on scores from Tosca, La Bohème, Turandot, and Aida, and he postures himself a swell prince on his self-titled debut. Possessed of a powerfully buoyant voice that is tenderly youthful yet richly resonant, Amante charms with the playful "La Donna e Mobile" from Verdi's Rigoletto and gives a cinematic and masculine cowboy-booted rendering of "Addio Fiorito Asil" from Puccini's Madame Butterfly. He sings like the angel Gabriel on the selection from Aida and smolders on the slick and regally produced "Ho Bisogno d'amore," a love song delivered in Italian and English. Amante is a heartthrob waiting to happen on a large scale. --Paige La Grone

Customer Reviews:

Amazing Voice!.......2006-11-14

I have recently attended a performance by Michael and have to say that his singing absolutely blew me away and the rest of the audience. His voice exceeded my expectations. I was not familiar with him prior to my attending his show but am now a fan. I plan on purchasing this album and if I can catch any of his other performances I plan to do so. I am not a connoisseur when it comes to opera so I can't speak to his "technique" per say but I can say that if you're looking for great voice to listen to then this man delivers.

Music to surely make you swoon........2005-03-06

Michael Amante will make you forget that Mario Lanza ever sang.
His voice and style is a true gift of artistry. And, he is the master of this gift!

Wonderful Tenor with Appealing, Golden Voice.......2004-12-28

I also have read the reviews here, and agree that Michael Amante has a unique sound that may not appeal to all opera lovers, especially the opera purists. Nevertheless, what you will hear on this album is very pretty singing (to say the least),and the Italian tenor arias here are among the world's finest & most beloved. Some seem to feel that he may not sing Italian with the perfect diction of a native (I give him easily a B + or better for this, and I speak Italian), but did Pavarotti ever sing flawless English - even today? This small, occasional imperfection is more than made up for in the purity and smoothness of his tone, and the clear, ringing high notes that never go flat or sharp, but are always hit dead on. And no scooping or transposing notes downward here, as many other tenors have done in both recordings & live concerts. I find among his vocal strengths - excellent vocal control and pitch, a very pleasing vibrato, an amazing upper register, a lyric tenor but with enough power in all registers, and the great versatility of voice which is needed to be both an operatic tenor AND a pop singer - which is what he is - without the foreign accent in English! Some may prefer his pop singing to his operatic singing or vice-versa - I love both!

What you will see at one of his live concerts is an amazing combination of energy, passion, appealing stage presence, and soft & powerful singing that is simply beautiful and awe-inspiring. He could concentrate on just one genre of music, since he does each so well - but why? This album is all Italian music, but at his concerts, (I've attended several), he does a huge variety of music: Italian and English love songs, opera arias, Broadway, gospel/Christian music, a Latin upbeat song, even pop tunes such as Delilah! He has just put out 2 new CD's, (his 3rd & 4th): A Gospel CD & a Christmas CD, which are available through his official website. I recommend all to try not only this Italian music album, but also some of the others to get a true picture of the various talents of this singer, with the upper register many other tenors only dream of having! If you like a more modern, natural sound than the sometimes stiff, formal style of some opera tenors, plenty of perfectly executed High Cs, B flats, etc. in the most popular Italian tenor arias, this album is for you!

Introducing standards to a new generation.......2004-12-13

I've read many of the reviews posted here. I have seen Michael Amante perform several times, and I keep coming back to this first recording. At his shows, I am likely one of the youngest in attendance (that is not accompanied by a parent). I agree that Michael's style is somewhat pop oriented, and he may not be a true opera singer by exact standards, but I would have never been exposed to the beautiful and enjoyable music that is on this CD.

Because of this recording, I have found the same music by "great" singers, only to loose the feel that I enjoy in this CD. For a true opera fan, I'm sure this is a pass. For a fan of the music and a more modern style, it's a must have.

Curious..........2004-10-16

I just heard this guy, and I'll try to be absolutely objective here. I find his voice actually interesting for some standards. For some instants, it has a "honeyed italian quality", but soon it disappears. The voice sounds awfully bad placed, and the most curious thing is that placement changes from note to note (ceeeleeeste ai-da-... terrible!).
On the passage he sounds absoutely strangled!!
It is hard for me to understand how someone who is, I guess, a trained singer can have as basic flaws as this tenor.
His italian is horrible (not the only one, anyway). He doesn't have much style (neither did Mario Lanza, but at least Lanza had a more interesting and, let's say, better produced voice, without having the technique or musical intelligence to be considered a real opera singer).
I also have many doubts about the way this guy can really sound on stage, as the approach he uses throughout this CD is very microphonal, as for a pop singer. It would be interesting to hear him in the theater and see the difference. Perhaps it will be a nice surprise... but for the moment, just another guy who has the looks to sell many CDs, but who lacks the singing to be taken seriously.

Average customer rating:

La Partenza

Manufacturer: Opera Rara
ProductGroup: Music
Binding: Audio CD

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Il primo dolce affanno (The First Sweet Pain)
Rimembranza: Il Salotto 5
La Potenza d'Amore (The Power of Love) / Miricioiu, Cullagh, Shkosa, Ford, Matteuzzi, Maggie, D. Harper
Federico Ricci: La prigione di Edimburgo (Highlights)
Paventa Insano: Pacini and Mercadante Arias and Ensembles

ASIN: B0000DJEQB
Release Date: 2004-01-13

Handel - Agrippina / D. Jones, A. Miles, Ragin, Chance, Brown, J. P. Kenny, von Otter, EBS, Gardiner

Average customer rating:

a voice teacher and early music fan
An wonderful recording of this important opera that set Handel on his path to fame and history
Jones and Miles are fantastic
first class recording of one of Handel's finest operas
Absolute Genius from young Handel.

Handel - Agrippina / D. Jones, A. Miles, Ragin, Chance, Brown, J. P. Kenny, von Otter, EBS, Gardiner
Michael Chance , Donna Brown , George Mosley , Jonathan Peter Kenny , Anne Sofie von Otter , and English Baroque Soloists
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Otter, Anne Sophie von | Divas | Opera & Vocal | Styles | Music
ASIN: B0000041JV
Release Date: 1997-04-15

Tracks:

Agrippina: Sinfonia
Agrippina: Act One : Recitativo - Nerone, amato, figlio! (Agrippina, Nerone)
Agrippina: Aria - Col saggio tuo consiglio (Nerone)
Agrippina: Recitativo - Per cosrande impresa (Agrippina)
Agrippina: Aria - La mia sorte fortunata
Agrippina: Recitativo - Or che Pallante into (Agrippina,)
Agrippina: Aria - Volo pronto, e lieto il core
Agrippina: Recitativo - Quanto fa,quanto puote (Agrippina); Aria - L'alma mia fra le tempeste (Agrippina)
Agrippina: Arioso - Qual piacere a un cor pietoso (Nerone); Recitativo - Prendi tu ancora, prendi (Nerone); Arioso - Ma rassembra tormentoso (Nerone)
Agrippina: Recitativo - Amici, al sen vi stringo (Nerone, Agrippina)
Agrippina: Recitativo - Voi, Che dell'alta Roma (Agrippina); Quartetto - Il tuo figlio (Pallante, Narciso, Agrippina, Nerone)
Agrippina: Recitativo - Ma qual di liete trombe (Agrippina); Arietta - Allegrezza, allegrezza!; Recitativo - Che sento! (Nerone)
Agrippina: Recitativo - Alle tue piante, o Augusta (Ottone, Agrippina)
Agrippina: Aria - Tu ben degno (Agrippina)
Agrippina: Recitativo - L'ultima del gior meta gradita (Ottone); Aria - Lusinghiera mia speranza (Ottone)
Agrippina: Aria - Vagne perle, eletti fiori (Poppea)
Agrippina: Recitativo - Otton, Claudio, Nerone (Poppea, Agrippina)
Agrippina: Aria - E un foco quel d'amore (Poppea)
Agrippina: Recitativo - Ma qui Agrippina viene (Poppea, Agrippina)
Agrippina: Aria - Ho un non so nel cor (Agrippina)
Agrippina: Recitativo - Cieli,quai strani casi; Aria - Fa quanto vuoi
Agrippina: Recitativo - Non veggo alcun
Agrippina: Aria - Pur ritorno a rimirarvi (Claudio)
Agrippina: Recitativo - Ma, oh ciel, mestra e confusa (Claudio)
Agrippina: Arietta - Vieni, o cara (Claudio)

Tracks:

Agrippina: Act One : Recitativo - Che mai faro (Poppea, Claudio); Terzetto - E quando mai i frutti (Claudio, Poppea); Recitativo - Pur al fin si riando (Poppea, Agrippina)
Agrippina: Aria - Non ho cor che per amarti (Agrippina)
Agrippina: Recitativo - Se Ottone m'inganno (Poppea); Aria - Se giunge un dispetto (Poppea)
Agrippina: Act Two : Recitativo - Dunque noi siam traditi?
Agrippina: Aria - Coronato il crin d'alloro (Ottone); Recitativo - Roma, piu ch'il trionfo (Ottone, Agrippina, Nerone)
Agrippina: Recitativo - Ecco il superbo (Agrippina, Poppea, Nerone, Ottone)
Agrippina: Coro - Di timpani e trombe (Poppea, Nerone, Agrippina, Ottone)
Agrippina: Recitativo - Nelle Britannia vinta (Claudio); Aria - Cade il mondo soggiogato(Claudio)
Agrippina: Recitativo - Signor, quanto il mio core (Agrippina, Claudio, Poppea, Nerone, Ottone)
Nulla sperar da me (Agrippina); Recitativo - E tu, Poppea (Ottone); Aria - Tuo ben l trono (Poppea); Recitativo -Soccorri almen, Nerone! (Ottone); Aria - Sotto il lauro ch'hai sul crine (Agrippina); Recitativo - Scherzo son del destino (Ottone)
Agrippina: Recitativo - Otton,qual portentoso fulmine (Ottone)
Agrippina: Aria - Voi che udite il mio lamento (Ottone)
Agrippina: Aria - Bella pur del mio diletto (Poppea); Recitativo - Il tormento d'Ottone (Poppea)
Agrippina: Arioso - Vaghe fonti (Ottone); Recitativo - Ma qui che veggo, oh cieli! (Ottone); Recitativo - Ottone traditore! (Poppea, Ottone)
Agrippina: Aria - Ti vo'giusta e non pietosa (Ottone)
Agrippina: Recitativo - Di quali ordite trame (Poppea, Nerone)
Agrippina: Recitativo - Pur al fine ti retrovo! (Poppea)
Agrippina: Aria - Col peso del tuo amor (Poppea)
Agrippina: Recitativo - Qual bramato piacere (Nerone); Aria -Quando invita la donna l'amante (Nerone)
Agrippina: Aria - Pensieri, voi mi tormentate! (Agrippina); Recitativo - Quel ch'oprai e soggetto a gran periglio (Agrippina); Aria - Pensieri, voi mi tormentate! (Agrippina)
Agrippina: Recitativo - Se ben nemica sorte (Agrippina)
Agrippina: Aria -Col raggio placido

Tracks:

Agrippina: Act Two : Recitativo - Di giunger non dispero al mio desire (Agrippina)
Agrippina: Aria - Spereroi che mel dice
Agrippina: Recitativo - Per dar la page al core (Agrippina, Claudio)
Agrippina: Aria - Basta sol che tu chieda (Claudio)
Agrippina: Recitativo - Favorevol la sorte oggi m'arride (Agrippina); Aria - Ogni vento ch'al porto lo spinga (Agrippina)
Agrippina: Act Three : Recitativo - Il caro Ottone al precipizio io spinsi (Poppea, Ottone)
Agrippina: Aria - Taceracerttone)
Agrippina: Recitativo - Attendo qui Nerone e Claudio ancora (Poppea, Nerone, Ottone)
Agrippina: Aria - Coll'ardor del tuo bel core (Nerone)
Agrippina: Recitativo - Amico ciel, seconda il mio disegno (Poppea, Claudio, Nerone, Ottone)
Agrippina: Aria - Io di Roma il Giove sono (Claudio)
Agrippina: Recitativo - Pur al fin se ne andoppea, Ottone)
Agrippina: Aria - Pur ch'io ti stringa al sen (Ottone)
Agrippina: Recitativo - Piega pur del mio cor (Poppea); Aria - Bel piacer (Poppea)
Agrippina: Recitativo - Cotanto osppea? (Agrippina, Nerone)
Agrippina: Aria - Come nube che fugge dal vento (Nerone)
Agrippina: Recitativo - Evvi donna piia? (Claudio, Agrippina)
Agrippina: Recitativo - Adorato mio sposo (Agrippina, Claudio)
Agrippina: Aria - Se vuoi pace, o volto amato (Agrippina)
Agrippina: Recitativo - Ecco la mia rivale (Agrippina, Poppea, Nerone, Ottone, Claudio)
Agrippina: Coro - Lieto il Tebro inscrespi l'onda
Agrippina: Recitativo - D'Otton e di Poppea sul grande innesto; Aria - V'accendano le tede
Agrippina: Ballo

Customer Reviews:

a voice teacher and early music fan.......2006-05-20

May I Please award this l0 stars!!!!Every singer in this opera was first-rate. And imagine having that great duo of countertenors :Michael Chance and Derek Ragin together again as in the opera "Tamerlano". IN addition, we have Jonathan Kenny another countertenor who sings quite well. This opera gave Handel the first great popular triumph of his career. It was composed while he was visiting Italy in 1706. The story is about Agrippina who was Nero's mother and her manipulations to get him the throne from the emperor Claudius. The situations are full of humour, but for the most part, the characters are motivated by strong, even passionate impulses. Michael Chance portrays "Ottone" the commander of the imperial army and the one who is deceived thruout the entire opera until the end when (believe it or not) everybody gets what they want. The voices of Chance and Ragin make a nice contrast:Chance's voice: rich, mellow filling up his entire body with sound;Ragin's voice: lighter, strong prone to more vibrato and ornaments. This opera is a marvelous listening treat; worth the effort it will be to purchase it.

An wonderful recording of this important opera that set Handel on his path to fame and history.......2005-10-31

Some believe that it was the brilliance of this opera that led to Handel being invited to London. Handel was reluctant to write because he didn't see any advantage to doing all that work. However, he was persuaded and set it to a brilliant libretto by Vincenzo Grimani. Apparently the entire opera was written in only a few weeks. Some dispute this because of the quality of the writing, but contemporary testimony and Handel's fast work habits lead others to believe this accomplishment to be true.

Beyond the names, general moral depravity, and a broad historical shape, this is not an historical story. Some see it as simple a comedy of courtly manners, but others see some sly commentary on the War of Succession that was then ongoing. When Charles II died he bequeathed the crown to Phillip V much to the consternation of Leopold I, the Holy Roman Emperor, who wanted to maintain his territory intact. In this opera, Claudius names Otho his successor much to the consternation of Agrippina.

The opera opens when Agrippina receives news that Claudius has died at sea. She seizes the opportunity to advance her son, Nero, to be named Emperor. However, just before he can be crowned, Claudius arrives. He had been saved by Otho and in gratitude named him his successor. Agrippina cannot confront him directly but uses her knowledge of Claudius and his lust for Poppea to spring her trap and it almost works.

Poppea is a beauty who trades on that, but if she cares for anyone it is Otho, but she cannot deny the Emperor. It also turns out that Nero has improper desires for her as well. It is Nero's chasing her that actually undoes Agrippina's plan, but in the end all works out. Agripina gets her son names to the throne, Poppea gets Otho, and Claudius gets some peace and quiet.

The music is marvelous. It is important to remember that opera was only a century old at this time; about the same distance from the beginning of football or maybe basketball to our present time. Certain aspects of the recitative and aria had certainly been developed and made more brilliant, but there was much left to explore in the form. Handel added a great deal to the expressiveness and character development in his creative use of music appropriate to the character, for example Claudius is given wide leaps and musical lines the emphasize his clumsy and awkward qualities. These are qualities Handel develops over his career writing dozens of brilliant operas.

In this opera the roles of Nero, a boy still learning evil from his mother, was written for a castrato, but sung here by the brilliant countertenor Derek Lee Ragin. Otho was originally written for a woman, but sung here by the terrific countertenor Michael Chance. Agrippina is given all her devious splendor by Della Jones, and Poppea's beautiful shrewdness by Donna Brown. Claudius requires a very special bass voice that can plumb the depths down to the C below the staff and Alistair Miles is simply wonderful in the role.

This is a treasure of a recording of a very important opera to Handel's career. Starting with "Rinaldo" Handel wrote more brilliant operas, and others that were more subtle. However, this was the one that got him the attention that set him on the course of fame and history.

Jones and Miles are fantastic.......2001-10-03

I'll stay out of the pro/contra countertenor argument- I am by far most impressed with Della Jones and Alastair Miles. They sing their music magnificently, not just with generally impeccable technique but with as much drama as any Verdi opera. No boring stand and sing baroque nonsense with these two. Miles has a big, rich, incisive, gorgeous basso that could sing Verdi, yet has no trouble with the coloratura. Beautiful diction and full understanding in the delivery of his recitative (Donna Brown deserves credit in this area as well).

It is almost needless to say, but Della Jones delivers her usual hgihly involved, totally committed performance with complete conviction. Every word from scheming Agrippina is invested with meaning- when do baroque recitiatives (which can be so tiresome) sound this exciting? Her arias could hardly be better sung, with beautiful line in her slow solos and accuracy at high speed in the fast coloratura. Nothing is tossed off as mere display- she sacrifices tone for dramatic expression, but just a couple of times. A real tour de force for Jones, and more justification for my impulse to buy any recording with her name on it without having to hear it first.

first class recording of one of Handel's finest operas.......2000-11-18

When it comes to recordings of Handel's Agrippina there is admitedly little to choose from. Fortunately the two recodings we have available are excellent and either will give you a fine representation of the score. Ultimately it will come down to which conductor you prefer: Gardiner versus Mcegan. Gardiner seems to favor a more dramatic, and slightly slower approach, to the music. The orchestra really crackles in the fast numbers ("lalma fra le tempeste", etc.) in a way that Mcegans do not. I miss something of Mcegans lightness and finesse at times, but Gardiners dramatic take on the music is undeniably well executed by his forces. The singers are an interesting lot and I mean this in the best way possible. Della Jones flies through Agrippinas spiky coloratura with extraordinary ease and her highly unique true mezzo helps to give the character necessary venom. Her countrerpart on the Mcegan set is the very fine Sally Hayword who sings coloratura as brilliantly as Della Jones and makes up for what she may lack in vocal juice with a keen verbal sense. Donna Brown has a juicier voice than Lisa Safer on the Mcegan set. She sings Poppeas virtuosic music exceedingly well and creates a compelling character. As for Nerone, Derek Lee Ragin frankly sounds uncomfortable with the soprano tessitura of his part (the part lies higher than Agrippinas part) but when coloratura is called for he delivers brilliantly. On the Mcegan set Ottone is sung by the fine Drew Minter and while his slightly chalky voice may not be the most beautiful sound in the world he uses it with such complete musicality and strong sense of Handelian style that it makes up for any vocal shortcomings. Michael Chance sings well as Ottone on the Gardiner set but I find the voice a little colorless and uninteresting. I miss something of Minters dramatic fire. Miles is a very good Claudio. His voice is more cupo than we are used to hearing in Handel's music nowadays but he handles the fiendishly wide ranging coloratura so well that he seems beyond reproach. The supporting players are better on the Gardiner set including the added bonus of Ann Sofie von Otter singing as stylishly as ever as Giunone.

Absolute Genius from young Handel........2000-11-03

This recording of Handel's 3 opera, is indispensable. The voices are beuatiful, and the music, (as always) is beuatiful and gorgeous. The leading role of Agrippina, Della Jones, is great, the Nerone, Derek Lee Regin, is great in the soprano role. I had never Ragin's voice before, when I heard this, I thought a real female soprano was singing this, this man is great! The Claudio is a little to cupo, I think he sould back off some, the two henchmen are also good. And of course, Anne sofie, and Micheal Chance are always great. The orchestra is on Period instruments, which I very much appreciate (thank you so much John Eliot Gardiner) and of course, Gardiner is a great Handel interpreter. The orchestra is very crisp, and very good on the slow tempi arias, and brisk and quick on the bravuratura arias. The Beautiful, gorgeous aria, in the second act of this opera, "Voi che uditi il mio lamenti" is absolutely beautiful, the rythmic balance, Polyphony are genius, and this is why I love Handel's Music. The Arias are gorgeous, and the music is always great. I cannot begin to complement Gardiner, and the english Baroque Soloists on their porformance of this opera. The tempi is great, and I will always cherish this recording for ever. Buy this it is worth it's money!

Average customer rating:

Cavalli: Ercole Amante
Francesco Cavalli , Michel Corboz , Felicity Palmer , Colette Alliot-Lugaz , Chorus and Orchestra of the English Bach Festival , Ulrik Cold , Yvonne Minton , Patricia Miller , Ricardo Cassinelli , Michael Goldthorpe , and Kerry Brown
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Opera & Vocal | Box Sets | Stores | Music
ASIN: B000001Z2Z
Release Date: 1999-05-18

Tracks:

Prologue: Sinf - English Bach Festival & Baroque Orch/Michel Corboz
Prologue: 'Qual Concorso Indonivo' - English Bach Festival Chor
Prologue: Ah! Che Mentre La Terra' - John Tomlinson
Prologue: 'Ai Di Lei Veri Accenti' - English Bach Festival Chor
Prologue: Sinf - English Bach Festival & Baroque Orch/Michel Corboz
Prologue: 'Ed Ecco, O Gallia Invita' - Marilyn Hill Smith
Prologue: 'Dopo Belliche Noie' - English Bach Festival Chor
Prologue: 'E Poiche Qual Dopo Guerrieri Onori' - Marilyn Hill Smith
Prologue: 'E Veda Ogn' Un' - English Bach Festival Chor
Prologue: 'O Gallia Fortunata!' - English Bach Festival Chor
Act I: Sinf - English Bach Festival & Baroque Orch/Michel Corboz
Act I, Scene 1: 'Come Si Beffa Amor' - Ulrik Cold
Act I, Scene 2: 'Se Ninfa Ai Pianti' - Colette Alliot-Lugaz
Act I, Scene 2: 'Ogn' Impero Ha Ribelli' - Colette Alliot-Lugaz
Act I, Scene 2: 'Fugano A Vol' - Ulrik Cold/Colette Alliot-Lugaz
Act I, Scene 2: 'Infelice E Disperato' - Ulrik Cold
Act I, Scene 3: 'E Vuol Dunque Ciprigna' - Yvonne Minton
Act II, Sinf - English Bach Festival & Baroque Orch/Michel Corboz
Act II, Scene 1: 'Amor Ardor Piu Rari' - Keith Lewis/Felicity Palmer
Act II, Scene 1: 'Pure Alfine Il Rispetto Di Figlio' - Felicity Palmer
Act II, Scene 2: 'D Amore Il Foco' - Felicity Palmer/Keith Lewis
Act II, Scene 3: 'E Che Cos'E Quest' Amore' - Agnes De Crouzat
Act II, Scene 4: 'Buon Di, Gentil Fanciullo'! - Riccardo Cassinelli/Agnes De Crouzat
Act II, Scene 5: 'Misera: Ohime Ch' Ascolto?' - Patricia Miller
Act II, Scene 5: 'Ah! Fu Sempre In Amor' - Riccardo Cassinelli
Act II, Scene 5: 'Ah, Denanira! Dunque Tu Temi?' - Patricia Miller
Act II, Scene 6: 'Mormorate, Fiumicelli' - Rosemary Hardy
Act II, Scene 6: Coro - English Bach Festival Chor
Act II, Scene 7: 'Sublime Dea' - Rosemary Hardy
Act II, Scene 7: 'Zelo Dell' Onor Mio A Cui' - Yvonne Minton
Act II, Scene 7: 'Le Rugiade Piu Preziose' - Yvonne Minton/Rosemary Hardy/English Bach Festival Chor
Act II, Scene 7: 'Vanne E Fa Breve Dimora' - Rosemary Hardy

Tracks:

Act III: Sinf - English Bach Festival & Baroque Orch/Michel Corboz
Act III, Scene 1: - Colette Alliot-Lugaz
Act III, Scene 1: 'E Pe Mi Cangi O Dea' - Ulrik Cold
Act III, Scene 2: 'Amor, Contar Ben Puoi' - Ulrik Cold
Act III, Scene 2: 'Sara Com' Hai Disposto' - Agnes De Crouzat
Act III, Scene 3: 'Bella Jole E Quando' - Ulrik Cold
Act III, Scene 3: 'Ohime, Che Ascolto?' - Keith Lewis
Act III, Scene 4: 'A Che Pensi Jole?' - Ulrik Cold
Act III, Scene 5: 'Sonno Potente Nume' - Yvonne Minton
Act III, Scene 5: 'O Qual Sonno Prodigioso' - Felicity Palmer
Act III, Scene 6: 'D' Eutyro Anima Grande' - Felicity Palmer
Act III, Scene 7: 'Svegliati, Alcide E Mira' - Michel Corboz
Act III, Scene 8: 'Piu Di Salvarlo Tenti' - Ulrik Cold
Act III, Scene 9: 'Figlio, Tu Prigionero' - Patricia Miller
Act III, Scene 10: 'Addio Paggio' - Riccardo Cassinelli
Act IV: Sinf - English Bach Festival & Baroque Orch/Michel Corboz
Act IV, Scene 1: 'Ahi Che Pena E Gelosia' - Keith Lewis
Act IV, Scene 2: 'Zefri Che Gite' - Agnes De Crouzat
Act IV, Scene 2: 'Che Novella M' Arrechi?' - Keith Lewis
Act IV, Scene 3: 'E Chi Fia Piu Vieti' - Keith Lewis
Act IV, Scene 4: 'Salva, Nettuno, Ah! Salva' - Yvonne Minton
Act IV, Scene 4: 'Eccoti O Dea Contenta' - John Tomlinson
Act IV, Scene 5: 'Congedo A Gl' Orridi' - Yvonne Minton
Act IV, Scene 6: 'Ed A Che Peggio' - Patricia Miller
Act IV, Scene 6: 'Ah Dejanira, Io Non Son Tanto Accorto' - Riccardo Cassinelli

Tracks:

Act IV, Scene 7: 'Gradisci, O Re' - English Bach Festival Chor
Act IV, Scene 7: 'E Se Pur Negl' Estinti' - Felicity Palmer
Act IV, Scene 7: 'Che Prieghi Ingiuriosi - Malcolm King
Act IV, Scene 7: 'Hyllo Il Mio Bene E Morto' - Felicity Palmer
Act IV, Scene 7: Ferma Ti Prego' - Riccardo Cassinelli
Act V: Sinf - English Bach Festival & Baroque Orch/Michel Corboz
Act V, Scene 1: 'Come Solo Ad Un Grido - Malcolm King
Act V, Scene 1: 'Para, Mora Il Crudel' - English Bach Festival Chor
Act V, Scene 1: 'Pera, Mora, Il Perverso' - Michael Goldthorpe
Act V, Scene 1: 'Pera, Mora L'Iniquio' - English Bach Festival Chor
Act V, Scene 1: Su Su Dunque' - Malcolm King
Act V, Scene 1: Sinf - English Bach Festival & Baroque Orch/Michel Corboz
Act V, Scene 2: 'Alfine Il Ciel D'Amor' - Ulrik Cold
Act V, Scene 2: 'Pronuba E Casta Dea' - English Bach Festival Chor
Act V, Scene 2: 'Ma Qual Pungente Arsura' - Ulrik Cold
Act V, Scene 2: 'Che Dici' - Riccardo Cassinelli
Act V, Scene 3: 'Ah, Nesso Mi Tradi!' - Patricia Miller
Act V, Scene 4: 'Su, Su Allegrezza - Yvonne Minton
Act V, Scene 4: 'Oh Dea Come N'Arrequii' - Felicity Palmer/Patricia Miller
Act V, Scene 5: 'Quel Grande Eroe' - English Bach Festival Chor
Act V, Scene 5: 'Cosi Un Giorno' - Colette Alliot-Lugaz
Act V, Scene 5: 'Virtu Che Soffre' - English Bach Festival Chor

Handel: Agrippina / Gardiner [highlights]

Average customer rating:

Fragmented and Dissected
No highlights, please!

Handel: Agrippina / Gardiner [highlights]

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000009DFR
Release Date: 1998-07-14

Tracks:

Agrippina: Sinfonia
Agrippina: L'alma mi fra le tempeste
Agrippina: Vaghe perle, eletti fiori
Agrippina: Viene, o cara
Agrippina: Non ho cor che per amarti
Agrippina: Se giunge un dispetto
Agrippina: Di timpani e trombe
Agrippina: Otton, qual portentoso fulmine
Agrippina: Voi chi udite il mio lamento
Agrippina: Par che amour sia cagion - Vaghe fonti
Agrippina: Qual bramato piacere - Quando invita la donna l'amante
Agrippina: Favoreval la sorta oggi m'arride - Ogni vento ch'al porto lo spinga
Agrippina: Tacero, tacero
Agrippina: Coll'ardor del tuo bel core
Agrippina: Piega pur del mio cor - Bel piacer
Agrippina: Come nube che fugge dal vento
Agrippina: Si vuoi pace, o volto amato
Agrippina: Lieto il Tebro increspi l'onda
Agrippina: Ballo

Customer Reviews:

Fragmented and Dissected.......2001-01-30

I have been listening to film scores for years. For the majority of those years many of us have had to settle for the selections that made it to the album from the actual film score. Contented? Not Quite! Thanks to the emergence of the film score as a legitimate cousin to `Classical' symphonic and/or choral compositions we are now getting recordings of `complete scores.' I think this can be attributed to the compositional and orchestral genius of Bernard Herrmann through his simple yet effective mastery of the human emotion. Turning that picture 180 degrees, I now find myself reciprocating and exploring music and compositions before the birth of the cinema. This CD: "Handel: Agrippina - Highlights" is a bit of a disappointment. I am no longer settling for just a section of the pie. I'll admit that the cover of this CD is rather appealing, but after listening to the music and reading the reviews I am left with a feeling of the glass being half empty. Highlights leave me yearning for the deleted parts and that brings me full circle and still not satisfied.

No highlights, please!.......2000-06-04

I don't know why Philips released this disc (to attract those who have the McGegan's complete recording?)! I am principally against highlights, but this CD made me particularly angry: to compress this 3 hour humorous operatic masterpiece into a short (mere 57 min.) recital was a barbarian act. "Agrippina" is one of these Handel's operas which doesn't work without recitativi. One can argue that no opera really does, but in this case it is the quality of libretto - one of the best Handel ever worked with - that makes "Agrippina" such a delightful listening from start to finish. Here both elements of opera - words and music (and what music it is!) are wonderfully balanced, something that cannot be said about many of Handel's musically great works. Imagine listening to the "Marriage of Figaro" in highlights only! I am not afraid of using this comparison, because "Agrippina"'s sparkling recitativi often reminded me of the Mozart's masterpiece.

The selection of arias on this disc makes me wonder about this failed release even more. There are at least two inexcusable omissions which would add ca. 11 minutes to the meagre total timing. One of them is Agrippina's aria "Pensieri, voi mi tormentate" (2nd act), 'broken' by a short recitativo. The aria is one of the central points of the opera: Agrippina's scheme 'lies in great peril' and she summons her 'cunning wiles' to stand by her side and help her succeed in her plan. This aria wouldn't be out of place in a collection of the greatest operatic 'invocations', such as Medea's (Charpentier), Circe's (in Leclair "Scylla et Glaucus") or Armida's (Lully, Gluck), to name just a few. Musically it is also one of the greatest moments of the opera, with a chilling orchestral accompaniment and a lovely oboe obligato. The other omission is von Otter's cameo appearance as the goddes Juno. This disc would certainly sell a few copies more if von Otter's short (3 min.) aria was included here - there are always numerous collectors who buy recordings exclusively for the tracks featuring their beloved artists. They will have to buy the complete set and that's probably what Philips wanted to achieve by this odd omission.

To sum up - I don't understand why this great recording of the baroque masterpiece has been released in this flawed form. No Handel fan can afford to be without a complete set, be it Gardiner's or McGegan's. If you want to limit yourself to this disc, imagine once again what you would miss having Mozart's Figaro in highlights only.

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