Bellini: La Sonnambula [Original recording remastered]

Editorial Reviews
Amazon.com
Maria Callas had worked with Leonard Bernstein at La Scala on Medea in 1953. Here, in '55, they were together again for a very different heroine. While Medea is all vengeance and rage, Amina in Sonnambula is a delicate, sweet, village girl whose sleepwalking confuses the locals into thinking she's unfaithful to her fiancé. Of course, she's exonerated and all ends happily. This role is one of the tests of a great bel canto soprano. There are miles of coloratura, grand leaps, long-breathed melodies, and high notes galore. Callas is at her peak here, singing with delicacy and girlish tone, with fine filigree and sheer loveliness. She makes us care about this character--quite a feat. Tenor Cesare Valletti is her elegant, sweet-toned, and expressive fiancé, and the rest of the cast is fine. Bernstein knows which parts of the score to race through and which to linger over. The remastering of this once-quite-terrible-sounding recording has rendered it acceptable. But even if it weren't (and if you own Callas's other EMI recording of this opera), the wonders of this set--at midprice--are worth hearing. --Robert Levine

Tracks:

E strano! - "Ah, fors'ui"
Sempre libera
Ah! Se una volta sola
Ah, non credea mirarti
Ah! non giunge uman pensiero
O rendetemi le speme...Qui la voce
Ah! tu sorridi
Vien, diletto, n ciel la luna
O giusto cielo! (Act 2)
OihmSorge il tremendo
Ardon gli incensi... (Act 2)
Spargi d'amaro pianto (Act 2)
Era pimo?
Piangea cantando nell'erma landa...
Ave Maria, piena di grazia
O mio babbino caro

Amazon.com

Anna Netrebko's second CD is even more impressive than her first. She still may not be an absolutely polished, finished artist, but she's working at it and presents here a very satisfying---even thrilling---program. She doesn't quite have the stature or insights for Verdi's Violetta yet, but aside from some smudged coloratura in low-lying passages she sings the first act scene quite well (capped with a well-placed, big E-flat). She's close to ideal in the Sonnambula and Puritani excerpts, where her girlishness is entirely right, her coloratura dazzling, and her ability to sound tearful really impressive. The Lucia Mad Scene (also notable here for its use of the glass harmonica for which it was composed in place of the usual flute) is quite wonderful, even if the runs are sometimes not as well-delineated as they should be. And although she's not vocally suited to Desdemona's Willow Song and Ave Maria, she does manage to darken her voice to fit the character and presents a very moving portrait. The CD ends with an utterly charming "O mio babbino caro." Artistry and everything else aside, her voice is just beautiful. Claudio Abbado's leadership is ideal. --Robert Levine

Customer Reviews:

I am in love with Anna.......2007-05-15

Did you see her in the Met's big screen broadcast of I Puritani? Then you know what I mean. Here is a just stunningly, impossibly gorgeous woman with a voice of liquid fire and gold who can sing with passion and precision while she's bending over and crawling around on the floor! If she weren't real I would guess she was the invention of the overinflamed imagination of a heterosexual opera queen (if such a being exists).

If you love getting great voice, buy this.

simple stunning.......2007-05-10

having just found this young womans CD in our local speciality store I was transformed from the mundaine life to the peak of ecstasy with her wonderful voice and the intense colours created by her own intensity.Here is a woman who can fill the heart with words that are pure gold and like velvet on the mind ,a truly wonderful voice and a stunning person to go with it .Here at last is a worthy successor to Dame Joan and others who gave opera to the world ,now we have in Anna Netrebko someone to give the passion and drama of opera to a new audience with the fire and fun of the pleasure this style of music can give.It is great to at last have an opera singer of this caliber who is unafraid to be herself and to let her own warmth and passion come through LONG May she continue to be the standard for others to attain.May she never change her love of singing and life

Ok but not a bel canto singer.......2007-03-21

Anna Netrebko's I Puritani selections are way below the art and skill of Callas, Sills, Sutherland, Caballe, and Gencer. She has no passion, no trills, no high notes that are deep and rich. Her best is in the Russian repertoire and possibley some undemanding Mozart.

Her broadcast from the Met Live of the I Puritani was alright, but scooping, avoidance of repetitions, running through passages like a locomotive, and an ending that would have brought the wrath of most opera houses in the world..scooping again, and a tight awful sounding high note. The same tentativenes is also here on this CD.She should know this. Her beauty and acting and allure are what interest the masses, not the voice, which is forgiven everything.

Too bad; she could be a lovely Tatyana some day.Also too, the Traviata is not that great; Anna Moffo , Renee Fleming, M. Caballe, and of course Maria Callas..Listen to these and hear the difference.

Having It All.......2007-01-22

This is a remarkable CD by the current "it" soprano. Anna Netrebko has it all. She is a wonderful singer, and a beautiful woman. Any star on the rise, particularly one with this much physical beauty and commercial promise, will always fall victim to criticisms that are more or less trivial. Believe me, I get it. When I first saw Anna, I wanted to be judgemental. After all, maybe she was just another pretty face being pushed by a record company. Then I heard her "Sempre libera" and became a fan.

There are criticisms of her trill, or her lack of a trill. Renee Fleming doesn't have a trill, and she has been the acclaimed queen for some time. Because of Anna's trill issues, she's criticized as lacking something that a coloratura should have. Well, she's not a coloratura. A good bel canto singer does not have to be a coloratura. There are criticisms of Anna's repertoire choices. You know why she picked this interesting melange for this CD? Because these are difficult scenes and arias, and she can do them. The only aria I didn't think "fit" is the "O mio babbino caro". She does it well, I just can't figure out what it's doing on this CD.

The "La Traviata" scene that starts the CD is absolutely magnificent. She is a wonderful Violetta, and sings this demanding scene with panache. She does the high E-flat at the end. Of course, she was coached by Scotto on this aria. Nice coaching if you can get it. No less remarkable are her scenes from "La sonnambula" and "I puritani". Her "Qui la voce" was beautiful. To listen to that gorgeous singing, and only focus on whether or not she has a trill is to miss the point of the music. I can definitely see why the Met is giving her the "Puritani" this season. Her scenes from "Lucia di Lammermoor" were technically perfect, and her mad scene very well done. The "Otello" scenes were amazing, particularly the floated pianos and pianissimos in the "Ave Maria". Abbado and the Mahler Chamber Orchestra are wonderful collaborators.

Ignore the criticisms and buy this CD! You'll be glad that you did. Highly recommended.

Talented singer, but should she choose her reportoire better?.......2007-01-10

Anna Netrebko has an attractive voice and a pleasing personality in this recording. But her performance also raises some questions.

First, she has a Callas-like habit (not a great compliment) when she ups her volume on higher notes of producing a rather unpleasant sound. In "Sempre libera," from "La Traviata," this is manifest. I compare this with the silky smooth lyric voice of Anna Moffo, from the 1960s and 1970s, who essayed this same piece in a manner much more attractive to the ear. Second, I could not hear a single trill on this CD (although maybe I missed something). In the colorature/bel canto repertoire, this is not a trifle. A trill is a standard part of a coloratura soprano's armamentorium. In that, again, she is like Callas, who scarcely issued forth a trill. "Spargi d'amaro pianto" is one of the classic cabalettas for coloratura sopranos. Sung without trills, it is not very satisfying. Some who have recorded the pyrotechnics of the "Mad Scene" have only displayed adequate trills (e.g., Anna Moffo or Angela Gheorghiu). Others, of course, have deployed wondrous effects, such as Joan Sutherland and Beverly Sills. Just so, the cabalettas in "La Sonnambula" and "I Puritani."

Certainly, Netrebko also exhibits considerable strengths. Other ornamentation is fine; she has an agile voice; she can hit all the notes, including the high ones. Her vocal sound is most attractive (outside the one example noted earlier of a certain harshness). Her singing in the pieces from "Otello" and "Gianni Schicchi" are very well done.

So, all in all, a nice CD, but one that does not seem to feature Anna Netrebko at her best.

Average customer rating:

Beautiful Collection of Songs
A Legend in all.....La Callas.
Excellent compilation of La Divina's arias
Some people have no business reviewing this
BELLA BELLA BELLA!

Maria Callas, the Voice of the Century

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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The Very Best Of Maria Callas
Maria Callas - At Covent Garden 1962 and 1964
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Puccini: Arias
The Most Famous Opera Duets

ASIN: B00000631B
Release Date: 1998-03-17

Tracks:

Norma: Casta Diva (Atto I): Norma
La Sonnambula: Compagne, teneri amici...Come per me sereno (Atto I): La Sonnambula
Il Barbieri Di Siviglia: Una Voce poco fa (Atto I): Il barbiere di Siviglia
Lucia di Lammermoor: Regnava nel silenzio...Quando, rapito in estasi (Atto I): Lucia di Siviglia
Rigoletto: Gualtier Mald...Caro Nome (Atto I): Rigoletto
La Traviata: E Strano!...Ah, Fors'e lui...Sempre libera (Atto I): La traviata
La Boheme: Si, Mi chiamo Mimi (Atto I): La boheme
La Boheme: Donde Lieta Usci (Atto III) (Mimi's Farewell): La boheme
Madama Butterfly: Un Bel di Vedremo (Atto II): Madama Butterfly
TOSCA: Vissi D'arte (Atto II): tosca
Turandot: In questa reggia (Atto II): Turandot
La Wally: Ebben? ne andro lontana (Atto I): La Wally
Andrea Chenier: La mamma morta (Atto III): Andrea Chenier

Tracks:

Orphee et Eurydice: J'ai perdu mon Eurydice (Acte V)
Alceste: Divinites du Styx (Acte I)
Dinorah: Ombra leggiera (Atto II) (Shadow Song)
Romeo et Juliette: Ah! Je veux vivre (Acte I) (Waltz Song)
Faust: Les grand seigneurs...Ah! je ris (Acte III)
Lakme: Dov'e l'indiana bruna? (Atto II) (Bell Song)
Samson et Dalila: Printemps qui commence (Acte I)
Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte II)
Les Pecheurs De Perles: Me voila seule...Comme autrefois (Acte II)
Carmen: L'amour est un oiseau rebelle (Habanera)(Acte I)
Carmen: Les tringles des sistre tintaient (Acte II)
Le Cid: De cet affreux combat...Pleurez mes yeux! (Acte III)
Manon: Je ne suis que faiblesse...Adieu, notre petite table (Acte II)
Louise: Depuis le jour (Acte III)

Customer Reviews:

Beautiful Collection of Songs.......2006-07-15

I have listened samples of 5 Callas CDs before buying this one. This one has a very beautiful collection of songs on just 2 CDs. he sings with so much expression. Most the recordings are from the fifties and early sixties when her voice was very young and lovely. I'll try to get her on DVD so I can see her sing.

A Legend in all.....La Callas........2005-04-24

I would just like to refer to an article that was published by a German Newspaper in 1959, mentioned on the Callas Edition (CED:100342)
'...her voice is of unparalleled beauty, having an inimitable, completely own timbre of sopranos and altos...a performance of superior musical quality..a phenomenon amongst contemporary singers'
' ...One of the most spectacular Verdi arias, of Elizabeth from Don Carlo, and one, In Germany tottaly unknown, terrific scene from Bellini's opera Il Pirata were enough to enchant huge numers of television viewers, who can say at her next performance: 'we have seen La Callas''(Hamburg concert 1959)
'- from the contra-alt-f to the f - thats Callas' voice range, spanning over 37 half-tones. Callas herself has drawn the range of her voice. In her concert repertoire the contra-alt-f can be found in e.g. the aria from I Vespri Siciliani. In an aria from Rossini's opera Armida she reaches the 'F'. five half-tones above the high C. Normal voices couldnt possibly even whistle this high F. Though there are other singers, whose voices contain these three octaves - Erna Sack with her coloratura soprano, the lyrical singer Ema Berger and the dramatical singer Zinka Milanov from the New York Metropolitan Opera - simple fact is that the phenomenon Meneghini-Callas lies in her fabulous vocal versatility. She is a coloratura singer, drama-player and lyrist in one person - and an exceptionally talented ac-tress at that.'
Excuse from a journalist of the German Newspaper for the Diva :

Article Title : 'I am sorry!'

'I owe Maria Callas an apology. She is a unique vocal talent, a great artist. She is a primadonna. And she has her moods. Moods for which i ask her to forgive me. Because i misunderstood them - and many others too. That much i gathered from her latest television concert. Even in the flickering of the screen this woman's nervousness and enormous effort were visible.
La Callas is a fragile, rather shy person. Her moods are fear of failure. The moloch audience expects her to always go to any lenght, show the brilliance others just dont have. She is not allowed to get weak. Decent country singers are not decapitated for a false note. La Callas, on the other hand, is the identifying mark of the extraordinary. Even the slightest hint of a mistake would cost her her uniqueness, her stardom....a perverse triumph for all bathtube singers.
That explains her inhibitation to perform when she isnt well, her cancellations when she is not in the right mood. I understand them now. If she werent moody, she wouldnt be a primadonna, would not be La Callas.
Stars like her do not fit in our world of standards and programmed data. They pay dearly for their moods, have to put up fights and, undoubtedly, shed many a tear. So one more, my apologies, Maria Callas'
(Hans im Bild)
That's all folks!:D

Excellent compilation of La Divina's arias.......2005-03-21

This is one of the best compilations EMI has ever made for Maria Callas' arias. Each and every aria lets us listen to the best of her voice from each period of her career. An excellent collection!

Holly Mathews doesn't know how to appreciate art. Kathleen Battle and Renee Fleming themselves have admitted to the supremacy of Callas' singing over theirs, even if their voices seem more beautiful than La Divina. Why else would Callas be a legend and they wouldn't? They are equally good in their own right, but none of them would surpass the accuracy of La Divina's singing and phrasing. Holly Mathews' left side of the brain must be made of clay or foam, dead material that couldn't absorb any beauty.

Some people have no business reviewing this.......2005-01-25

My goodness, what is a non-musical person like Holly Mathews doing in this board? Do you know what other album she has reviewed? Hayley Westenra! And she's not even an opera singer! She obviously doesn't know her business! Disgraceful review! Ignore it! It obviously was not based on good judgement. I'm sure she is a pop fan who just likes tender music. Oh, her insulting language! What an ignorant Maria basher!

Anyway, this is an excellent compilation of SOME of Maria Callas' greatest arias. Although I do wish some arias like Pace Pace Mio Dio were included here, I do think it is a very good compilation all in all. Although she has many detractors, they still have to admit that Callas is the sheer embodiment of singing and drama. She was an actress...a panther on the stage. Listen to her La Mamma Morta and her Suicidio...those brought chills to my spine when I listened to them. Maria is the only singer in the history of opera besides the great Caruso-tenor Franco Corelli who touched me, moved me even. This is probably the reason why I love Maria Callas' music so much. If you want to hear Medea's anger and Norma's anguish and Butterfly's hopeful blindness, listen to Maria Callas. If you just want a golden voice, then go to Renata Tebaldi or Joan Sutherland. And don't even compare her with Charlotte Church or Hayley Westenra! The distaste of some people!

BELLA BELLA BELLA!.......2004-11-23

THIS WAS THE FIRST ALBUM I EVER BOUGHT FEATURING ANY OPERATIC SOPRANO. I WAS 15 AND WAS GIVEN MY VERY FIRST CLASSICAL PIECE "CARO MIO BEN" WHICH WAS NOT AN OPERA ARIA BUT DUE TOTHIS SONG I WAS SUDDENLY IN LOVE WITH OPERA. I HAD HEAR OF HER A FEW TIMES IN THE PAST BUT MY IDEA OF A GOOD SOPRANO AT THE TIME WAS SARAH BIRGHTMAN (YES I KNOW I KNOW!!!BUT I WAS YOUNG!)BUT IT DIDN'T TAKE LONG TO REALIZE HOW WRONG I WAS!! THIS CALLAS RECORDING HAD THE MOST PROFOUND EFFECT ON ME WHICH LED TO MY OBSESSION WITH MY OWN OPERATIC ASPIRATIONS. IT WAS STRANGE AS SHE DID NOT SOUND LIKE A FAT WOMAN SCREAMING HER HEAD OFF IN FULL BODY ARMOR. YES YES...I AND MANY MANY SAD AMERICANS HAVE THOUGH OF THIS WHEN GIVEN THE WORD OPERA. (NOW NOW, WE ALL FELT LIKE THAT AT SOME POINT) I NEVER REALIZED THAT THERE COULD BE SUCH PASSION. HER NORMA WAS IS SO BEAUTIFUL IN IT'S SIMPLICITY AND UNDERLINING STRENGTH. HER TAKE ON "COME OER ME SERENO" AND "UNA VOCE POCO FA" WERE SWEET AND APPROPRIATELY INNOCENT. HER BEL CANTO ROLES WHICH INCLUDED HER FANTASTIC LUCIA (ALTHOUGH LATER I WOULD PREFER SUTHERLAND) AND GILDA JUST THRILLED ME. I HAD NO IDEA SOMEONE COULD ACTUALLY SING THOSE PIECES! OF COURSE UP UNTIL THIS POINT I DIDN'T EVEN KNOW OPERA COULD SOUND LIKE THAT!! (SILLY ME!) I WAS SURPRISED TO REALIZED I KNEW THE ARIAS SHE SUNG FROM LA BOHEME, LA TRAVIATA, AND MADAME BUTTERFLY. THEY DIDN'T MAKE A HUGE IMPRESSION BECAUSE THEY DID NOT HAVE THE FIREWORKS I WAS LOOKING FOR BUT I STILL FOUND THEM TO BE BEAUTIFUL. AFTER ALL OF THIS I LANDED ON CALLAS' TAKE OF TOSCA'S "VISSI D'ARTE". IT WAS AND HAS BEEN THE ONLY TIME I'VE BEEN SO MOVED BY A PERFORMER THAT I CRIED. IT WAS SO PURE BUT THE PAIN WAS SO EVIDENT THAT IT JUST CHILLED ME. I MUST HAVE LISTENED TO IT THOUSANDS OF TIMES OVER THE YEARS AND STILL HAVE YET TO HEAR A MORE STIRRING RENDITION. DUE TO THE OVERWHELMING FIRST CD I MUST ADMIT I KIND OF IGNORED THE SECOND HALF. EVENTUALLY I DID GET TO IT AND FOUND WHAT I FELT WAS THE GREATEST SONG EVER WRITTEN. MY WHOLE BEING LIVED FOR LAKME'S BELL SONG. AFTER LISTENING TO HER I WAS CONVINCED THIS WOMAN WAS MAGICAL BECAUSE I COULDN'T FIGURE OUT HOW SHE OR ANY HUMAN COULD SING LIKE THAT! HER SECOND DISC WAS INTERESTING BECAUSE IT WENT FROM WHITE HOT COLORATURA TO MEZZO? AAHHH BUT YES SHE WENT THERE. INTO THE INTENSITY OF SAMSON ET DELILA. I THOUGHT THEY WERE BEAUTIFUL!!! OF COURSE I KNOW PREFER MARILYN HORNE TO CALLAS ON THOSE SONGS....BUT IT SHOWED ME THAT NOT EVERY SONG HAS TO BE HIGH TO BE BEAUTIFUL. I LOVED AND STILL DUE LOVE THIS COLLECTION....IN FACT I HAVE BOUGHT IT THREE TIMES AS MINE DETERIORATED QUICKLY 'CAS I PLAYED THEM SO MUCH! AND I'VE GIVEN THIS COLLECTION TO COUNTLESS FRIENDS AND FAMILY. THIS IS THE BEST COLLECTION OF CALLAS' WORK AND I WOULD RECOMMEND IT TO EVERYONE AND ANYONE! VIVA LA DIVA!

Average customer rating:

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

Una Furtiva Lagrima

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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

ASIN: B00008CLJK
Release Date: 2003-04-08

Tracks:

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

Amazon.com

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

Album Details

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

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.

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

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:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1
LA SUPERBA!
Madame Caballé is great!!!
Amazing collection!
Cannot be called an "ultimate" collection

Montserrat Caballé: Ultimate Collection

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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

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French | Languages | Opera & Vocal | Styles | Music

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Oratorios | Opera & Vocal | Styles | Music

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

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

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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Very Best of
Diva:Montserrat Caballe
Very Best of
Montserrat Caballe - Beyond Music
Grandi Voci: Renata Tebaldi

ASIN: B00000J914
Release Date: 1999-05-25

Tracks:

La Boheme: Si. Mi chiamano Mimi
Norma: Casta diva
L'Assedio di Corinto: Giusto ciel! In tal periglio
Sapho: O ma lyre immortelle
Semiramide: Serbami ognor... Alle piu calde immagini
Otello: Piangea cantando (Willow Song) -
Otello: Ave Maria
Herodiade: Il est doux, il est bon
Lucrezia Borgia: Tranquillo ei posa... Com'e bello!
Suor Angelica: Senza mamma
Rigoletto: Caro nome
La Sonnambula: Ah! non credea mirarti

Tracks:

La Traviata: E strano, e strano! -
La Traviata: Follie! Follie! -
La Traviata: Sempre libera degg'io
TOSCA: Vissi d'arte
Il corsaro: Egli non riede ancora!
Il corsaro: Non so le tetre immagini
Armida: D'amore al dolce impero
I Pagliacci: Qual fiamma avea nel guardo!
Roberto Devereux: E Sara in questi orribili momenti... Vivi, ingrato
Il Trovatore: D'amor sull'ali rosee
Stabat Mater: Inflammatus et accensus
Adriana Lecouvreur: Io son l'umile ancella
Anna Bolena: Al dolce guidami
Adelson e Salvini: Dopo l'oscuro nembo
I Vespri Sicillani: Arrigo! Ah, parli a un core

Customer Reviews:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1.......2005-12-23

First off this two cd set is for the price of one,that is always great.Montserrat caballe is the star of this cdset,and she demonstrates all that is beautiful in singing,on ever track.Her ave maria from othello is included here.It is one of the best performed arias by caballe ever,she ends it with a heavenly piano top note.Also included is her magical casta diva from norma.Caballe sings all these arias with her legendary sound and breath control.On this set there are plenty of examples of long sustained notes,seemless legato,glorious high notes,and magically floated soft notes.Check out the cover to,there are some great photos of Caballe in opera costumes.These cds have great sound,and play for over two hours,too.

LA SUPERBA!.......2005-11-22

Montserrat Caballe is an amazing person and an amazing singer. In my opinion she has a more beautiful voice than Maria Callas. The high notes she reaches are just fantastic! Her Sempre Libera is the best ever! Her Ave Maria is stunning and her Vissi D arte is really moving. Her voice is so beautiful, it's as if it's an angels voice coming from her.

Madame Caballé is great!!!.......2003-04-06

This collection of Caballé's recordings is fantastic! Her soprano is the most beautiful that has been recorded. L. Price, Tebaldi, Ponselle, and a few others have gorgeous voices, but can any of those voices compare with Caballé's? Caballé's singing throughout is of the highest standard. Her "Ave Maria" is spectacular. "Vissi d'arte, vissi d'amore" has never sounded more beautiful. I love her "Non so le tetre immagini". Such beautiful singing does not come any better than this. Her "Caro nome" is disappointing. She is clearly not suited to this aria. "Inflammatus et accensus" is glorious. The later recordings are nice, but they are not the best Caballé has committed to disc. "Il est doux, il est bon" betrays a slight wobble in her otherwise still beautiful voice. "Dopo l'oscuro nembo" features very respectable soft singing from Caballé. This version does not do justice to Bellini's exquisite orchestration. For a version that does, check out Opera Rara's "The Collection: Volume 2". That version features competent singing from an inferior-voiced soprano, but the orchestra is ravishing. The one reviewer who mentioned the aria from "I Vespri Siciliani" as having "fioriture effects Berio could sign on to" is incorrect. The aria included here is not "Mercè, dilette amiche". That aria is more famous and much more florid than the aria included in this collection, "Arrigo, parli a un core". By the way, Caballé performs this aria ravishingly well. This is a superb testament to one of the all-time greats in opera.

Amazing collection!.......2003-04-05

I will write this review objectively, but I will not avoid praising Caballé when praise is due.

First off, this compilation is amazing! I have always thrilled to hearing Caballé's voice and this compilation is no different. I am amazed at Caballé's instrument; such extraordinary purity combined with great power! Even when she sings pianissimo, she can be clearly heard! Her voice literally fills up the room. These arias really show off her remarkable voice. Of special note is her rendition of the hauntingly beautiful "Non so le tetre immagini". Amazing! Her "D'amor sull'ali rosee" is exquisite, but she sings it too softly. Her trill is quite weak. Voices like hers don't respond well to being forced to trill. The tracks from the 1990's show off the remarkable preservation of her voice. The voice retains its purity and beautiful timbre, but is now heavier and darker. "Sempre libera" is not that good. Her coloratura is not up to par with Verdi's demands and she cannot hit the high E-flat at the end. However, she sings the main part of Violetta's aria very well, with supple, gorgeous tone and ravishing pianissimos. "Ah! non credea mirarti" is ravishing, but it is missing its energetic cabaletta. Presumably, it was cut because Caballé could not deal with the coloratura. Caballé's legato lines in this aria are superb. Her version of the "Lucrezia Borgia" Prologue is masterful. Elizabeth's last aria from "Roberto Devereux" is noble and touching. She is not quite Sills, but that aria benefits from a spinto voice instead of a soubrette one. Her aristocratic phrasing is very well used throughout the selections, with a few exceptions. Her "Willow Song" is beautiful, first time on CD. However, she fails to completely show Desdemona's despair. Some parts were good, but the whole thing failed to touch the heart. Her phrasing here is too indulgent. I have to say that I prefer Sutherland's touching version on her "The Art of the Prima Donna" recording. However, I loved "Ave Maria". Caballé sounds most beautiful when singing softly and this selection really shows her in the best light. Her cadenzas are intoxicatingly beautiful. "Caro nome" is not really her aria. The coloratura is suspect and some of the staccati are replaced with upward flourishes. She avoids the last short passage of staccati. Her phrasing in this aria is way too indulgent and she really fails to suggest Gilda's innocence. Even Sutherland is better at portraying Gilda's girlish qualities. Her "Armida" aria has some nice coloratura. She does the runs really well and is fearless in the triplet passages. For some reason, she does not sing the second "fronde" in the first line of the third stanza nor does she sing the last line of this stanza, "i muti abitator". She also does not sing the last line of the fifth stanza, "il tempo vorator". Caballé's first recorded version of "Vissi d'arte, vissi d'amore" is included here. This just may be the most beautiful version of this aria ever recorded. It certainly is Caballé's best version of the aria. The climax is handled in one breath by Caballé. She diminuendos the big high note twice in the same breath. Amazing! The rolling of the "r" in "Signor" after the last diminuendo is quite nasal and reminds us that the sound we are hearing is coming from a human throat. It also shows that these diminuendos are natural and not studio produced. She infuses Tosca's aria with real feeling and piety. The compilation ends with a knockout reading of "Arrigo, parli a un core". Caballé is at her best in this aria. She sings softly to stunning effect. This version may be the most beautiful of this particular aria ever recorded. RCA has done Caballé justice with this wonderful collection. Caballé is truly a remarkable artist with a million-dollar voice. Brava!

Cannot be called an "ultimate" collection.......2003-02-05

This is a prime example of the a major recording label being fickle with the goods, in order to force you to continue buying other recitals and full-length studio recordings. Of course, any Caballe fan would already want to own those other recordings anyway, so the point is moot.

Other reviewers here have cried out against the exclusion of one of her most essential and artistic roles, Imogene from Il Pirata. I would like to emphatically express the same. In fact, I would even have settled for the exclusion of Casta Diva, in favor of Col Sorriso di Innocenza.

Some other stellar recordings not represented her are the Sleepwalking Scene from MacBeth, and Pace, Pace Mio Dio from La Forza del Destino. Also worth mentioning is her O Patria Mia from Aida. She might not be Leontyne Price or Martina Arroyo, but she gives a superb reading of this wonderful aria.

Of course, brevity does require some editing- a true "Ultimate" Caballe collection would span four or five CDs, at least- but to include late-career and less-than-best selections at the expense of others is a crime.

Tracks:

Finstre Furien, Ihr Geister Der Holle (Crude Furie Delg'orridi Abissi)
Wenn Der Freude Tranen Flieben
Dies Bildnis Ist Bezaubernd Schon
Lebe Wohl Flandrisch Madchen
Nadir, Du Stehst Wirklich Vor Mir - Und In Des Tempels Grund (C'est Toi, Toi Qu'enfin Je Revois - Au Fond Du Temple Saint)
Wohin Seid Ihr Entschwunden (Kuda, Kuda, Kuda Vi Udalilis)
Ich Denk Ihn Lieber Mir Von Meinem Statde - Liebe Ist Seligkeit, Ist Licht Und Leben (Signor Ne Principe Io O Vorrei - E Il So Dell'anima, La Vita E Amora)
O, Lass Uns Fliehen Aus Diesen Mauern (Parigi, O Cara, Noi Lasceremo)
Und Es Blitzten Die Sterne (E Lucevan Le Stelle)
Wenn Es Abend Wird - Grub Mir Mein Wein
Wien Wird Bei Nacht Erst Schon
Heute Nacht Oder Nie
Ein Lied Geht Um Die Welt
Be My Love
Granada

Tracks:

Nun Schwanden Vor Dem Heiligen Strahle/Verzweiflung, Wut Und Schrecken
Mit Wurd' Und Hoheit Angetan
Ma Qual Mai S'ofre, Oh Dei - Fuggi Crudele
Come Mai Creder Deggio - Dalla Sua Pace
Amici Miei - Il Mio Tesoro Intanto
Nur Einen Wunsch, Nur Ein Verlangen (Unis Des La Plus Tendre Enfance)
O Unverhofftes Gluck - Das Hore Ich Von Dir, Von Meinem Freunde? (O Moment Trop Heureux! - Et Tu Pretends Encore Que Tu M'aimes?)
Hier Nimm Den Ring Der Treue (Prendie: L'anel Ti Dono)
O Schweige Still, O Lasse Dich Erbitten (Ne Parle Pas, Rose, Je T'en Supplie)
Doch Nun Zu Dir - Trenne Nicht Das Band Der Liebe
Di Rigori Armato Il Seno
Heimliche Aufforderung Op.27 No.3
Ich Trage Meine Minne Op.32 No.1
Standchen Op.17 No.2
Zueignung Op.10 No.1
Morgen Op.27 No.4

Customer Reviews:

Delightful!.......2007-01-19

What a beautful voice and such an artist. I've always loved Wunderlich's voice and this album was such a delightful surprise to happen across. The Pearl Fishers' duet with Herman Prey is spectacular--it would be even better than Bjoerling/Merrill if it were in the original French!

A Great and Varied Collection.......2005-12-19

Fritz Wunderlich is a name that is familiar to opera buffs, at least those who enjoy the great singers of the past, but his name is not as familiar with the general public. It probably would have been, had it not been for a tragic and fluke accident that claimed his life. For those who are familiar with this great tenor, he's a beloved musician that makes listeners wonder what could have been.

Wunderlich's voice is one that can be light and airy at times, yet it can also have a dramatic intensity. This two disc set includes a variety of pieces that display Wunderlich's wide range and great vocal talent. His excerpts from Mozart are perhaps his strongest. So often the tenor roles in Mozart operas are cast with performers who are agile and can reach the higher notes, but their voices are somewhat weak. Wunderlich shows just how beautiful these arias can be. The same holds true for his arias from EUGENE ONEGIN and the pieces from well known operettas. His "Au Fond De Temple Saint" performed with Hermann Prey (a dream team pairing if there ever was one) is close to the Bjorling/Merrill rendition. We see his versatility in the excerpt from Haydn's CREATION and the live performance of "Di Rigori Armato" from DER ROSENKAVALIER is a treat and allows the listener to compare his live and studio recordings. The bonus DVD has a few slight flaws, but we see, at least in the scenes from THE BARBER OF SEVILLE that he not only has a wonderful voice but a good stage presence as well.

Most of the tracks are performed in German, even the Bellini, Bizet, and Verdi tracks, as was the case in many of the recordings of famous German singers. This may detract at first, especially of we expect to hear gorgeous French singing and it comes out, well German sounding. Still, it's a wonderful set with great variety and shows us what we missed in this tenor whose career had just begun.

MAGIC is a good word to describe Fritz Wunderlich.......2005-11-08

Magic is a good word to describe Fritz Wunderlich (1930-1966), and if you aren't already familiar with his work, you'll see why when you experience this CD.

Many of the tracks are not new to CDs: I'd say 50% of them are also in the "Art of Fritz Wunderlich" set (DG, 7 CDs), including Handel, Mozart, Bellini, and other opera arias. There are 3 tracks from "Don Giovanni" which I had not encountered elsewhere, and a scene from Richard Strauss's "Der Rosenkavalier" + 5 Strauss Lieder (with orchestra) not previously released in recent years.

Wunderlich was never less than the very best, and here is no exception. The bonus DVD has almost 30 minutes of scenes of Wunderlich (Count Almaviva) in Rossini's "Barber of Seville", sung in German with Hermann Prey (Figaro) and Erika Koth (Rosina) from a 1959 black and white TV production, in very good mono sound; and two scenes from Tchaikovsky's "Eugene Onegin", also sung in German, and with a young Brigitte Fassbaender (a little more hiss but very good, full, rich mono sound). The Rossini is available from English sources, and hopefully will be available in the US soon.

Like conductor Karl Bohm (1894-1981), I'm going to try to get as much Fritz Wunderlich material as I can find, CD or DVD, as is practical (and even when it isn't!).

Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan

Average customer rating:

The best Callas "Sonnambula"
One of the two Greatest Sonnambulas in history!
Callas - The greatest Amina
Legendary Sonnambula
A 'SONNAMBULA" TO CHERISH

Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan
Maria Callas , Bellini , Lsc , and Bernstein
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
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Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
Cherubini: Medea (complete opera live 1953) with Maria Callas, Fedora Barbieri, Leonard Bernstein, Orchestra & Chorus of La Scala, Milan
Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin

ASIN: B000069V7N
Release Date: 2002-11-05

Tracks:

Viva! Viva! Amina!...Tutto E Gioia, Tutto E Festa - Eugenia Ratti
In Elvezia Non V'ha Rosa - Eugenia Ratti
Care Compagne
Come Per Me Sereno...Sempre, O Felice Amina
Sovra Il Sen La Man Mi Posa
Il Piu Di Tutti, O Amina
Perdona, O Mia Diletta
Prendi: L'anel Ti Dono - Cesare Valletti
Scritti Nel Ciel Gia Sono...Ah! Vorrei Trovar Parole
Domani, Appena Aggiorni
Come Noioso E Lungo Il Cammin...Vi Ravviso, O Luoghi Ameni...E Gentil, Leggiadra Molto - Giuseppe Modesti
Contezza Del Paese - Cesare Valletti
A Fosco Cielo, A Notte Bruna - Cesare Valletti
Basta Cosi, Ciascuno Si Attenga - Cesare Valletti
Elvino! E Me Tu Lasci
Son Geloso Del Zefiro Errante
Davver, Non Mi Dispiace - Giuseppe Modesti
Che Veggio?
O Ciel! Che Tento?
Osservate: L'uscio E Aperto - Coro Del Teatro Alla Scala, Milano
E Menzogna

Tracks:

D'un Pensiero E D'un Accento
Non Piu Nozze
Qui La Selva E Piu Folta Ed Ombrosa - Coro Del Teatro Alla Scala, Milano
Reggimi, O Buona Madre
Vedi, O Madre...E Afflitto E Mesto
Viva Il Conte!
Ah! Perche Non Posso Odiarti - Cesare Valletti
Lasciami: Aver Compreso - Eugenia Ratti
De' Lieti Auguri - Eugenia Ratti
E Fia Pur Vero, Elvino - Cesare Valletti
Signor Conte, Agli Occhi Miei - Cesare Valletti
Lisa! Mendace Anch'essa! - Cesare Valletti
Signor?...Che Creder Deggio? - Cesare Valletti
Oh! Se Una Volta Sola
Ah! Non Credea Mirarti
No, Piu Non Reggo
Ah! Non Giunge Uman Pensiero

Amazon.com

Maria Callas had worked with Leonard Bernstein at La Scala on Medea in 1953. Here, in '55, they were together again for a very different heroine. While Medea is all vengeance and rage, Amina in Sonnambula is a delicate, sweet, village girl whose sleepwalking confuses the locals into thinking she's unfaithful to her fiancé. Of course, she's exonerated and all ends happily. This role is one of the tests of a great bel canto soprano. There are miles of coloratura, grand leaps, long-breathed melodies, and high notes galore. Callas is at her peak here, singing with delicacy and girlish tone, with fine filigree and sheer loveliness. She makes us care about this character--quite a feat. Tenor Cesare Valletti is her elegant, sweet-toned, and expressive fiancé, and the rest of the cast is fine. Bernstein knows which parts of the score to race through and which to linger over. The remastering of this once-quite-terrible-sounding recording has rendered it acceptable. But even if it weren't (and if you own Callas's other EMI recording of this opera), the wonders of this set--at midprice--are worth hearing. --Robert Levine

Customer Reviews:

The best Callas "Sonnambula".......2006-11-25

SOURCE: Live performance from La Scala in Milan, March 5, 1955.

SOUND: Weak, inadequate, antiquated, muffled, limited and frustrating. I am reminded of the output of the first generation of pocket-sized transistor radios that were such a craze when I was in junior high school--the ones that made the Bakelite-cased, table model AM radios at home sound so resonantly mellifluous. Audiophiles who suffer the vapors on hearing digital recordings made with last week's equipment, walk away right now. This is not for you. The only reason for listening to this recording is the performance. Live with its technical inadequacies.

CAST: Amina - Maria Callas (soprano); Elvino - Cesare Valletti (tenor); Teresa - Gabriella Carurani (mezzo-soprano); Il Conte Rodolfo - Giuseppe Modesti (bass); Lisa - Eugenia Ratti (soprano); Alessio - Pierluigi Latinucci (bass); Un Notario - Giuseppe Nessi (tenor). CONDUCTOR: Leonard Bernstein with the Orchestra and Chorus of Teatro alla Scala, Milano.

TEXT: The standard cuts that were traditional for a century or more are observed.

COMMENTARY: In 1955 La Scala presented "Sonnambula" in an expensive new production overseen by Luchino Visconti, who served as producer, director and all-around prop for Maria Callas. It marked the second occasion in which Callas and Leonard Bernstein worked together in an opera house. Callas was still at her peak, but not long before, a bobbled high note during a performance of "Andrea Chenier" had occasioned an outburst of boos and whistles, something that Maria Callas would remember far more clearly than the cheers she had also earned that night. Callas believed that the sharks were beginning to circle--and she was probably right. Not long after that, Callas, being Callas, had managed to get into an unseemly tussle with Boris Christoff over bows in a "Medea." And the feud with Renata Tebaldi had come to a nice, sour boil.

By the time Callas arrived in Milan, she was in a state. Her doctor ordered complete rest. The opening of "La Sonnambula" was postponed for two weeks. Bernstein was not entirely unhappy at the delay, for it allowed him to get in an almost unprecedented eighteen orchestral rehearsals for an opera that La Scala habitually performed after only a single run-through.

At the time, Callas seems to have been going through an infatuation with Visconti. When she finally turned up at rehearsals, she was unusually pliant before his direction. However, so the story goes, one Visconti-ism proved too much for her. Although the opera is set in a humble Tyrolean village, the director insisted that Callas wear her best personal jewelry during all rehearsals. "But Luchino," she is supposed to have said, "I'm only a village girl." "No," Visconti replied, "you are MARIA CALLAS playing a village girl, and don't you forget it!"

Callas sings extremely well here, lightening her voice to portray the simple village girl, Amina (pace Luchino), but nevertheless in full La Divina mode with wonderful high notes and breathtaking vocal decorations. For Callas fans, that fully justifies a five-star rating for this set.

This is one of the relatively few Callas live recordings that can also boast of a first-class tenor and conductor. Cesare Valletti was a true, indeed a classic tenore di grazia. He was Tito Schipa's student and in some ways he surpassed that charming old musical con man. Because of him, the glorious Amina-Elvino duets are first-rate. (Such was not the case in Callas' studio recording and her second live recording, both made with the utterly useless Nicola Monti.) Bernstein was at his most Bernsteinly. He put his well-rehearsed orchestra through their paces and injected drama, fire and electricity into the music. (Perhaps more drama, fire and electricity than sweetly melodious Bellini ever intended--but that's another subject.)

The rest of the cast is pretty good, also unusual for a live Callas recording. Eugenia Ratti is a little too hard-edged for my taste but she is effective as the hard-edged Lisa. Giuseppe Modesti is fine as Count Rodolfo. The only fault I can find with him is that he is not Cesare Siepi.

Callas at her best, a good supporting cast and a top conductor, all of these demand and deserve five stars.

BUT--this is not at all the best performance of "La Sonnambula" available. In 1952 CETRA issued a recording with Lina Pagliughi and Ferruccio Tagliavini which is currently available in various editions. Pagliughi was good, even though she was never the vocal technician that Callas was. Nevertheless, she was a better Amina, singing in the old melodic way. Excellent as Valletti was, Tagliavini was even better. Overall, I think the Pagliughi-Tagliavini performance is the one Bellini would have said most closely matched his intentions.

One of the two Greatest Sonnambulas in history!.......2004-12-06

This recording of La Sonnambula is a necessity in any opera lover's collection. Featuring Maria Callas at the prime of her career, one cannot ignore the fact that despite the quality of this live recording, the sheer interpretation of Bellini's Swiss village girl in this Sonnambula should never be condoned. At 1955, Callas' voice was at its peak form, fresh without the many characteristics that would detract non-fans from her recordings. It was during this time too that she worked with the famed American conductor Leonard Bernstein, one of the most dexterous and passionate interpreters of the score. Also included in this collaboration was the famed film director Luchino Visconti, and it was this trio that brought the spotlights of opera into this rare gem of a Sonnambula. The other Sonnambula, the live Koln Sonnambula with Votto, comes with a much superior cast and an even more superior sound, but this Sonnambula should never be overlooked for the numerous trills and embellishments that Bernstein had designed for Callas' voice in this performance. Overall, I'd give it a six stars for the magic of her interpretation, but minus one star for the mediocre sound.

Callas - The greatest Amina.......2004-07-15

Callas sounding OLD? Sutherland is the one with the matronly sound while Callas sang Amina with a bright, innocent voice, something even severe critics noticed. Meowing the coloratura? Who are you listening to? To some silly chirper like Pons or Robin? Callas was a dramatic coloratura with incredible squillo! If you dislike Callas, fine, but to invent LIES and to PLAGIARIZE is a crime and REPULSIVE. Shame on you!

Legendary Sonnambula.......2004-07-10

This live-recording is, even in an illustrious discography as Callas', a wonder. A wonder of sheer perfection, love and beauty. Callas who could sing a blood-curdling Medea and Lady Macbeth sang the purest, most touching and tearful Amina. Just listen to Amina's first aria to hear a voice of airy beauty, lucid warmth and tenderness. The duets with Elvino (The WONDERFUL Valletti, a true belcanto-tenor in the tradition of Schipa) soar to heaven rivalling the stars! And her madscene is unrivalled with the ornaments and incredible coloratura! A keeper!

A 'SONNAMBULA" TO CHERISH.......2004-05-23

The very few ignorant people on these pages who dismiss this performance of "Sonnambula" are not to be taken seriously. They don't understand music OR Bellini. 1955 was probably Callas' greatest year as an artist, and she was in stupendous voice. This "Sonnambula" is in the Malibran-Pasta tradition. Callas uses Bellini's harmonies to their greatest advantage - her two and a half downward cadenza to low A flat in the first cabaletta is in the words of John Ardoin, "rooted in Bellini's harmonic structure". Her coloratura here is astounding ---- and at breakneck speed -- yet her lyrical singing is so beautiful that it's painful. Cesare Valletti is a priceless Elvino, and in the duets, both he and Callas sound like a violin and a viola. Bernstein is an outstanding Bellini conductor, and the entire performance is one never likely to be bettered anywhere by anybody. The sound is decent, except for some distortion in one of Valletti's arias in the second half of the opera, as well as some more just before Callas' superlative final cabaletta. But this is not nearly enough to make you not enjoy this set. It's a jewel.

Maria Callas - Life & Art (2 CD's & Bonus DVD)

Average customer rating:

The Fascinating Maria Callas
Stupenda! A great compilation...
wonderful representation of Callas artistry

Maria Callas - Life & Art (2 CD's & Bonus DVD)

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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Verdi: Arias by Maria Callas (includes DVD - rare performance of Callas on film)
The Passion of Callas
Maria Callas - The Callas Conversations (EMI Classic Archive)
Callas - A Documentary Plus Bonus / John Ardoin, Franco Zeffirelli
Maria Callas - Passion / A Film by Gerard Caillat

ASIN: B0002Z83KW
Release Date: 2004-11-16

Tracks:

Bellini: Norma - Casta Diva (Act I)
Donizetti: Anna Bolena - Al dolce guidami castel natio (Act II)
Verdi: Il trovatore - D'amor sull'ali rosee (Act IV)
Catalani: La Wally - Ebben? ne andrr lontana (Act I)
Giordano: Andrea Chinier - La mamma morta (Act III)
Puccini: La bohhme - Donde lieta uscl (Act III)
Puccini: Tosca - Vissi d'arte (Act II)
Mascagni: Cavalleria rusticana - Voi lo sapete o mamma
Boito: Mefistofele - L'altra notte in fondo al mare (Act III)10. Puccini: Madama Butterfly - Un bel dl vedremo (Act II)
Puccini: Turandot - Signore, ascolta (Act I)
Puccini: Manon Lescaut - Sola, perduta, abbandonata (Act IV)
Ponchielli: La Gioconda - Suicidio! (Act IV)
Verdi: Aida - Ritorna vincitor! (Act I)
Bizet: Carmen - Carreau ! Pique ! (Card Scene) (Act III)
Massenet: Le Cid - De cet affreux combat...Pleurez, mes yeux ! (Act III)

Tracks:

Bellini: La sonnambula - Compagne, teneri amici...Come per me sereno...Sovra il sen la man mi posa (Act I)
Bellini: I puritani - Son vergin vezzosa (Act 1)
Donizetti: Lucia di Lammermoor - Regnava nel silenzio...Quando rapito in estasi (Act I)
Verdi: Rigoletto - Gualtier Maldh...Caro nome (Act I)
Verdi: La traviata - Ah, fors'h lui (Act I)
Puccini: Gianni Schicchi - O mio babbino caro
Cilea: Adriana Lecouvreur - Ecco: respiro appena. Io son l'umile ancella (Act I)
Thomas: Mignon - Ah, pour ce soir...Je suis Titania (Act II)
Gounod: Romio et Juliette - Ah ! Je veux vivre dans ce rjve (Act I)
Gounod: Faust - Un bouquet !...Ah ! je ris (Jewel Song) (Act III)
Berlioz: La Damnation de Faust - D'amour l'ardente flamme (Part IV)
Massenet: Werther - Werther ! Qui m'aurait dit...Des cris joyeux (Letter Scene) (Act III)
Bizet: Les Pjcheurs de perles - Me voil` seule...Comme autrefois (Act II)
Saint-Saens: Samson et Dalila - Printemps qui commence (Act I)
Charpentier: Louise - Depuis le jour ( Act III)

Tracks:

Massenet: Le Cid - De cet affreux combat...Pleurez, mes yeux (Acte III) (DVD)
Bizet: Carmen - Prilude; Habanera (Acte I); Entr'acte (Acte III); Siguidille (Acte I) (DVD)
Verdi: Ernani - Surta h la notte...Ernani, involami (Atto I) (DVD)
Rossini: La Cenerentola - Nacqui all'affanno e al pianto...Non piy mesta (Atto II) (DVD)
Verdi: Don Carlo - O don fatale, o don crudel (Atto III) (DVD)

Customer Reviews:

The Fascinating Maria Callas.......2007-01-10

The DVD of her life was the most interesting part. I was really hoping for a wide selection of arias on the CDs, rather than the two full operas that came in the set.

Stupenda! A great compilation..........2006-08-23

First off, I think this is a great compilation of Maria Callas' work. It has a little bit of almst everything. It picks the right records and highlights them quite well. I liked the idea of splitting the album into two discs. One of lighter romantic arias. The other with tragic and dramatic arias. Now, to the point...
I listen to many operas as it is my music of choice. Whenever I find myself at a loss with a certain soprano for either character or tone I always find myself coming back to Callas. Not having the most tonaly beautiful voice she does for me what is more important. She adds life and passion to the music instead of just singing it. She knows the characters and their motivations. This rare feat comes thru in her voice. Capable of singing almost any soprano role from a light lyric coloratura such as Lakme or to the heavy demands of a Wagnerian role such as Norma. Not only does her range impress but her voice was capable of such colors and shades of those colors. She imparts such pathos and depth with her voice. This for me is most important. A singer can have the most tonaly beautiful voice, but if there is no heart and emotion behind it, forget about it. Callas has that in spades. Maybe that is why 30 some odd years after her death I still find myself turning to her for inpsiration.

wonderful representation of Callas artistry.......2006-04-29

This 2 set CD and additional DVD are a great sampling of Maria Callas singing various operatic arias. They demonstrate not only her remarkable vocal range but her ability to perform expressively as well. No artist in my opinion can act today as well as Callas. Callas voice may have been flawed later on during her career, but her ability to act truly makes up for any vocal imperfections. After all, she is the only operatic soprano I know of who possessed not only the natural talent for acting, but the ability to sing anything from mezzo to soprano. If you are a fan of Callas, then I highly recommend this set. Even those not familiar with Maria Callas should hear her perform at least once.

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

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Battle, Kathleen | Divas | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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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