Plácido Domingo & Deborah Voigt - Wagner Love Duets ~ Tristan und Isolde, Siegfried

Editorial Reviews
Amazon.com
This stunning disc includes the two long love duets from Act III of Siegfried and Act II of Tristan und Isolde (including a new "resolution" that was written into the latter from the Act III "Liebestod"). In Plácido Domingo and Deborah Voigt, Richard Wagner's characters find powerful, vulnerable, almost transcendental exponents. Domingo's voice, of course, is no longer in the freshest bloom of youth. But, if he is not the impossibly ideal 25-year-old Heldentenor about whom one fantasizes singing Siegfried, he brings an authority and sensitivity to the role that sweeps one away. Voigt, too, gets to the heart of the female characters, and sings Brünnhilde with such subtle vulnerability that her moments of powerful exclamation sound as if she is trying to convince herself of their truth. There is no bombast for bombast's sake, and the result is psychologically all the more true. Antonio Pappano, a conductor alive to every nuance of the singers' phrasing, brings a Mediterranean sensuousness to the score, and draws some remarkably luxurious sounds from the Royal Opera House band. The acoustic also gives a wonderful depth to the texture, and the brass especially sounds gorgeous. --Warwick Thompson

Tracks:

La Boheme: Che gelida manina
Manon Lescaut: Donna non vidi mai
Carmen Bizet: La fleur que tu m'avais jetee (Flower Song)
Luisa Miller: O! fede negar potessi .. Quando le sere al placido
La Traviata: Lunge da lei ... De' miei bollenti spiriti
Martha: M'appari
Giordano: Amor ti vieta
L'Africaine: Mi batte il cuor .. O paradiso
La Favorita: Favorita del re . . . Spirto gentil
Werther: 'Pourquoi me reveiller'
Die Meistersinger von Nurnberg: 'Morgenlich leuchtend in rosigem Schein'
Les Contes d'Hoffmann: O Dieu! De quelle ivresse
TOSCA: E lucevan le stelle
Pagliacci: Recitar! ... Vesti la giubba
Il Trovatore: Di quella pira
Aida: Se quel guerrier .. Celeste Aida
TOSCA: Recondita armonia
L'Elisir d'Amore: Una furtiva lagrima
La Gioconda: Cielo e mar!
Turandot: Nessun dorma

Customer Reviews:

The End of the Big Voice?.......2007-04-16

This CD, which is truly fine overall, reminds me of Marilyn Horne's lament that we have probably seen the end of the big voice and it makes me sad. I agree with the reviewer who refers to "microphonies". And more justice could be done to Bjorling's voice with a better transfer. But at some point, music becomes a matter of taste and I prefers singers who have the instrument and the support and the training, whether formal or not, to just let fly and take a chance on making a mistake. Domingo can be wonderful and so can his musicianship but he tends to be so stiff. I have to wonder at the virulence and asperity with which some people go after Pavarotti. It's true that late in his career he made some questionable recordings but the answer to that is simple: don't buy them. At his best, he belongs for all time in the top echelon of tenors. I love this CD and would recommend it to anyone who enjoys great (big) voices.

Fla Gator Lady.......2007-01-12

Highly recommend this CD with these beloved arias of the greatest tenors in opera. I have owned this CD for a couple of years and purchased another for a friend who always requests that I play it ... perfect for listening in the car, dinner, bridge games, relaxation ... just so perfect. You won't be disappointed in this one.

20 Great Tenor Arias.......2007-01-09

A great disc,combination of the greatest tenors of the 20th century and some of the most beautiful music ever written in any century,a must addition to any opera lovers collection.

Plesantly surprised..........2006-01-14

I don't remember how I found this CD the other day surfing through the "Amazon" such as it is, but I did. I listened to a few clips provided & on the strength of that, I purchased this CD.

First it is a great buy. A booklet with pictures of each tenor, a small bio, the year recorded and TRANSLATIONS of each aria are provided. This is really nice. It seems more & more that translations are being left out. Being a former opera singer, I may know most of the words, but sometimes it's just nice to read along (sometimes it's just nice to listen too).

Being on the Decca label, there is admittedly quite a few Pavarotti selections. Out of 20 selections, he has 6 of them. But I love Pavarotti, so this is no problem for me. These are all early recordings & his voice is magnificent! Being a singer, I still marvel at his ability to sing "All'armi!" on a high D and still say the 2nd syllable "mi" on such a note! WOW. There is also of course his very sweet, impassioned and lyrical turn as Rodolfo in "La Boheme" as well as the lesser known (although I still have it on casette) "La Favorita" which has a particularly high tessitura.

Also featured are a young Plácido Domingo singing a VERY nice "Flower song/ La fleur que tu m'avais jetée" from Carmen. He usually sounds too pushed for me on the top notes (as one might expect from a Pavarotti fan, I like free top notes) but in this recording he is pretty darn fabulous. He also sings an aria from "Tales of Hoffman/Les Contes d'Hoffman" and I have always felt that he, like Neil Schicoff, were well suited to this role.

Lamentably there are only one selection each from Carreras, Correlli, Monaco, Aragall & Kollo. Especial kudos to the young recording they feature for Aragall. He had a very free and nice high tenor well suited to Verdi. Of course as his career went forward with the natural darkening of his voice and the "heavier" roles, he did start to develop a wobble. But this recording is before that. His top, his phrasing are all beautifully done in his featured aria from "La Traviata."
Mario del Monaco's "E lucevan le stelle" is hauntingly beautiful and has such a wonderful pianissimo in it that it makes you just want to gasp for beauty's sake. I now know every tenor I've heard sing this aria was trying to emulate what he did.

This is a great CD because it does bring together on one CD some of the greatest singers of the 20th/21st century. Bergonzi, di Stefano, Björling, in addition to the previously mentioned artists is quite an impressive collection. I'm sure there's only one of each for Carreras, Aragall (I believe they are formerly EMI/Angel artists) and perhaps some of the others because they are "imported" from another label. There's so much Pavarotti on this CD because he IS a Decca artist.

A highly recommended CD, affordable, not the usually obscure and unpolished artists that are sometimes found on compilations. Plus acutal linear notes and translations. Nicely done, Decca!!!

Absolutely Agree About Corelli.......2005-05-27

Franco Corelli's "Nessun Dorma" is still the best of them all - clear, passionate, and exciting. (And those final two notes...! Gives me chills just to think of it.) I was fortunate enough to see him live in both "Turandot" and "Romeo and Juliet" a year before his retirement, and he was still a Calaf and a Romeo to die for... as, of course, Liu and Juliet did! As it is, I tend to buy compilations depending on how much Corelli they include - though Bjorling is a strong second, and I have happy memories of Domingo. Long live the Golden Age of Operatic Tenors!

Carreras · Domingo · Pavarotti ~ the three tenors in concert / Mehta

Average customer rating:

delivery went ok
A knockout performance
The night that started it all!
Great singing from the three tenors
Excellent. Like summer sunshine. manna from heaven!

Carreras · Domingo · Pavarotti ~ the three tenors in concert / Mehta
Francesco Cilea , Giacomo Meyerbeer , Giacomo Puccini , Franz Lehar , Vencenzo De Crescenzo , Salvatore Cardillo , Ernesto de Curtis , Agustin Lara , Pablo Sorozabal , Umberto Giordano , Leonard Bernstein , Vincenzo d' Annibale , Anonymous , Andrew Lloyd Webber , Alexander Sergeyevich Dargomizhsky , Juan De Dios Filiberto , Louis Louiguy , Ruggiero Leoncavallo , Rudolf Sieczynski , Joseph M. Lacalle , Eduardo di Capua , Zubin Mehta , Plácido Domingo , Luciano Pavarotti , and José Carreras
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The 3 Tenors in Concert 1994
The Best of the Three Tenors
Three Tenors: In Concert
The Three Tenors Christmas
Romantica: The Very Best Of Luciano Pavarotti

ASIN: B0000041XX
Release Date: 1990-09-05

Tracks:

Il Lamento Di Federico
O Paradis
Recondita Armonia - Luciano Pavarotti
Dein ist Mein Ganzes Herz
Rondine Al Nido - Luciano Pavarotti
Core 'ngrato
Torna A Surriento - Luciano Pavarotti
Granada
No Puede Ser
L'impovviso
E Lucevan Le Stelle
Nessun Dorma
Finale Medley: Maria - Tonight, 'O paese d' 'o sole, Cielito lINDO
Memory, Ochi tchorniye, Caminito
Mattinata ; Wien, Wien, Nur Du Allein, Amapola, 'O sole mio
Encore: 'O sole mio
Encore: Nessun Dorma

Amazon.com

Magic was created one starlit night in July 1990, when Luciano Pavarotti, Placido Domingo and José Carreras met onstage at the Baths of Caracalla in Rome and became the Three Tenors. They eschewed competitive instincts and cooperated in the spirit of mutual admiration to create one of the greatest musical events ever. This concert is an awe-inspiring orgy of the greatest hits for the tenor voice. Domingo and Pavarotti sing perfectly. The audience wins as these vocal supermen compete to seduce the hearts of the audience. One moment Domingo brings thrilling fire and pain to "E lucevan le stelle" from Tosca; the next, Pavarotti rises to heavenly heights in an inspired rendition of "Nessun dorma" from Turandot. Carreras is the competent little brother, one step behind the greatness of the big brothers from opera's Ponderosa. His singing isn't as captivating as that of the big boys; but his enthusiasm and passion are unrivaled. Mehta exquisitely captures the largeness of this bonanza through the grandiose orchestra. --Barbara Eisner Bayer

Customer Reviews:

delivery went ok.......2006-11-14

the item was delivered to me on-time and with no problems. however,i was looking for a DVD and not a audio Cd. might be good to clearly differentiate when the product is being advertised or shown.

A knockout performance .......2006-05-28

Like so many of the reviewers here I am not an opera aficionado. But I sensed immediately the night I saw this concert on television that this was one of those 'remarkable' artistic events. Domingo and Pavarotti both have such strength and beauty in their voices that they overwhelm. Carreras adds flavor and enthusiasm.
One of the most remarkable music performances I have seen.

The night that started it all!.......2005-11-02

You can read the technical information about the contents of this CD above. That is not what this review is about. I became intrested in opera about 1 1/2 years ago because of happening upon Mario Lanza. Since then, I have experienced many great truly operatic voices, including the "King," Pavarotti.
If you are just discovering opera, suffice it to say; Buy this album!!! It was the concert that launched the 3 Tenors phenomenon. It is full of uplifting, heart- tugging favorites, and you will find yourself listening to it over and over. Buy the dvd as well. It imparts absolute electricity! I am a young pianist and vocalist, and this concert is truly inspiring to me! You won't regret one penny you spend on this!

Great singing from the three tenors.......2005-06-23

This cd is a must-have for anyone interested in opera - or beautiful singing. And when you're at it - why don't buy the dvd from the concert? It will make you appreciate the cd even more.

First of all I have to comment on the editorial review of this cd. I felt the reviewer is "belittling" José Carreras here by saying he's one step behind the big brothers and his singing isn't as captivating as that of the big boys.....?!?!? Of course I can only speak for myself, but I feel she's way out of line. And I'm starting to wonder if she's been listening to the cd at all? In my opinion you have to be dead not to be touched by his rendition of "Lamento di Federico" and "L'improvviso". If anybody can deliver a line it has to be Carreras. When it comes to his interpretation of "Granada" even conductor Zubin Mehta was gobsmacked. Watching the dvd you can see him putting down his baton and applauding. He even steps down from his podium to hug José.

I have to say I'm not too keen on the two other tenors, although I have to admit I loved Pavarotti's "Torna a Surriento" and "Rondine al nido". The thing about Pavarotti is that he has a great singing technique and he's also in possession of this "push-button" which make him sing a lot of high notes, but that alone isn't enough to stir emotion.

As for Domingo, even if he's giving it all in every song, and his "No puede ser" was great,I think he's a bit too much on the nasal side. He's okay when they all perform together, but his "E lucevan le stelle" is sending shivers down my spine - and not of delight. I'm practically unable to sit still and listen to his solos. If you really want "fire and pain" you should check out Carreras in the Tosca-recording from -80, or his recording from -76. It's really breathtaking and I promise you'll end up in tears!

At the end of this concert the three tenors perform a medley together. Their voices blend perfectly and it's powerful to listen to them giving it all. A lot of people are talking about their mis-pronounciations. I for one, think it only adds to the charm of the performers. Pavarotti has some problems with the English songs (okay, big problems..), Domingo stumbles in the words in the beginning of "Wien Wien nur du allein", and (this you'll see in the dvd) in the same song Carreras is actually reading the text from a piece of paper as he's singing and his facial expressions when getting his head around the German words are really hilarious. O sole mio as an encore is fabulous when Pavarotti pushes his button and shakes out all his high notes.... And I love it when the two other join forces and repeat his stunt to perfection.

All in all this is a wonderful album. And well worth 5 stars.... José alone gets 10 stars!!!

Excellent. Like summer sunshine. manna from heaven!.......2004-05-28

This CD is terrific on so many levels. In celebration of one of the world's great sporting events - the World Cup of football (soccer to us stateside), three great tenors and one masterful conductor (Zubin Mehta) were brought together in one of the world's great cities - Rome -- for a special evening that we are blessed to have been able to listen to again and again.

The concert was held during the World Cup in 1990 at the Baths of Caracella, which are ruins of the once great Roman baths. In this beautiful setting Luiciano Pavrotti, Jose Carreas and Placido Domingo came together for one of the best CD's ever made.

The singing is exquisite. The passion of the crowd in this live performance should equal the reaction of the listener. This is art at its highest level. It is a celebration of great music, not just of opera, but in my opinion, the soaring human spirit. What power to move the soul! You don't need to be an opera fan to enjoy this music. If you like any kind of music, you cannot help but be affected by the power of this special evening. And what an evening, those in attendance were lucky to have been there!!

The casual listener will already know some of these arias, as they are from some the great operas of all time. However, I believe even the most hardenend opera fan, unless he or she is a real stiff, cannot be helped to be but moved by this music.

Tracks:

'O sole mio
Funiculi, funicula
Libiamo ne' lieti calici (Brindisi)
Sous le ciel de Paris
Torero quiero ser
Parlami d'amore, Mariu
Manha de Carnaval
Lolita
Dicitencello vuie
Core 'ngrato
Because
You'll Never Walk Alone
Singin' In The Rain
Maria
Tonight
'O paese d' 'o sole
Cielito lindo
Ochi tchorniye
Caminito
La Vie en Rose
Mattinata
Wien, Wien, nur du allein
Amapola
Lippen schweigen
Brazil
Sous les ponts de Paris
Torna a Surriento
Nessun dorma
La donna e mobile

Amazon.com

Back in 1990, three of the world's most celebrated tenors--namely, José Carreras, Plácido Domingo, and Luciano Pavarotti--combined forces to create the Three Tenors, now celebrated on a best-of CD. They gave their first concert in Rome. The event was recorded and went on to become one of the best-selling classical titles of all time.

This latest release brings together tracks from that night in Rome (including "Nessun dorma" and a competitive rendition of "O sole mio") with music performed in a 1994 concert in Los Angeles and at the 1998 event in Paris where the Three Tenors sang to an audience of thousands with the Eiffel Tower as their backdrop.

The 22 tracks making up The Best of the Three Tenors range from operatic standards, such as the joyful "Brindisi" from La Traviata, to popular songs like "Singin' in the Rain" and "You'll Never Walk Alone" (from Carousel). There are no solos on this disc; each piece is performed by all three singers. And with plenty of applause and cheering to be heard, not to mention the sense of fun in the singers' voices, the disc captures the atmosphere of these extraordinary musical events. --Rebecca Agnew

Customer Reviews:

Nice songs from this album.......2007-07-22

This is the first album I have acquired of the Three Tenors, and it was wonderful. The selections were easy to listen to and familiar to me. None of the heavy operatic selections. It is the best. I will buy more albums of them.

Not bad.......2006-03-18

This is a good recording. If you don't like the 3 tenors, then look else where. It's that simple. These are recordings from concerts where they WERE supposed to show off. This ain't opera. If you want opera, go out and attend one.

The best from the three greatest..........2005-08-11

The first thing we must establish here is that this is not meant to be opera. This is three exceptionally talented tenors enjoying themselves and giving tremendous joy to those listening by singing mostly popular "evergreens" and also some operatic arias. The beauty in music lies in the diversity, in my opinion. One can better appreciate one type of music when one knows about the others. And why should we limit ourselves to listen to just one genre in music. It would be the same as having steak for dinner every day for the rest of your life, wouldn't it? So why should we limit three wonderful tenors to only sing operatic arias for the rest of their lives? If so we wouldn't have "Maria", "You'll never walk alone", "Singing in the rain" or any of the evergreens on this recording and that would be a shame.

There are no solos on the cd. I think I've read somewhere that they felt there had been enough "three tenors cd's" and if they were to release yet another one it would be one containing what the audience demands, the three of them joining forces and performing together in the songs.
The result, in my opinion is highly recommendable. The three voices blend perfectly together. I have to admit that I have a personal favourite among the tenors and that I would never buy an entire recording featuring only one of the two others, but I recognize their talents and -as stupid as it may sound- since they are performing together I can also appreciate the other two. (I like them too, but in smaller doses....)Some people have commented on their problems with mastering the english language. If anything, I think it just adds to their charm. By the way, who is perfect??

The songs on this cd is a mixture of beautiful songs, heartwrenching songs, toe-tapping songs and powerful songs. It's wonderful to just listen to the beauty in the three voices. It's fun hearing Pavarotti pushing his "high-note-button" in "O sole mio" and Carreras and Domingo copying his stunt. I have no idea what they're singing about in "Manha de Carnaval", but boy does it sound romantic...... And "Dicitencello vuie" brings tears to my eyes (even if I'm still left in the dark when it comes to understanding the meaning of the words...) In "Because" Carreras takes my breath away when singing "because God made thee mine, I'll cherish thee...through light and darkness, through all time to be, and pray his love may make our love divine...." (What woman wouldn't like to hear those words..??!?) Their rendition of "You'll never walk alone" should satisfy some of the soccer-fans since it's the anthem of a European football-club and "Nessun Dorma" will probably satisfy the rest of the soccer-fans, being the antheme of the 1998 world soccer championship. In short, there should be something for every taste on this cd.

It's a very "versatile" cd. You can play it almost everywhere. You can sing along to it in the car, you can dance around the house to it while doing your chores, you can put your feet up and unwind after a hectic week. Or you can write an Amazon review while listening to it.... (Feel free to add suggestions of your own here.....)

To make a long story short - a very enjoyable cd!

Just Like the Real Thing!.......2005-07-14

A few years ago I was lucky enough to actually see a Three Tenors concert. The experience was amazing. Later I bought this CD. I was so happy when I listened to it because the CD captures the mood of being present at the concert. I like the variety and every time I play it, I am taken back to my personal experience at the concert. Hearing the audiences on the CD really gets you excited about hearing this amazing trio.

Powerful and moving!.......2004-10-21

I got this CD as a gift and it changed my life! I was always a rocker and liked classical music, but never was much into this genre of music. This album changed all of that. Since getting the three tenors I've found a whole new world out there. Thank you guys!

Average customer rating:

Correction to the entry by "sergiocqh"
Fantastic!
HATE OPERA? THIS ONE WILL CHANGE YOUR MIND
"Ultimate" only if you like your opera "al fresco"!
Wonderful Performance but Average Recording Quality

The Ultimate Puccini Collection
Giacomo Puccini , Herbert von Karajan , Riccardo Chailly , Stephen Barlow , Tullio Serafin , Lorin Maazel , Sir Edward Downes , Giuseppe Patane , Zubin Mehta , Alberto Erede , John Mauceri , Plácido Domingo , José Carreras , Kiri Te Kanawa , John Alldis Choir , Luciano Pavarotti , London Philharmonic Orchestra , Bologna Community Theater Orchestra , Ettore Bastianini , Carlo Bergonzi , Renato Cesari , Fernando Corena , Cesare Siepi , Renata Tebaldi , Gianna D'Angelo , Saint Cecilia Academy Orchestra , Franco Corelli , Alfredo Mariotti , Regine Crespin , Royal Opera House Orchestra Covent Garden , London Symphony Orchestra , Maggio Musicale Fiorentino Orchestra , Rome Opera House Orchestra , Pilar Lorengar , Berlin Philharmonic Brass Ensemble , Mirella Freni , Rolando Panerai , Jussi Bjorling , Leontyne Price , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000007OU1
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Tracks:

Turnadot: Nessun Dorma!
Gianni Schicchi: O Mio Babbino Caro
Manon Lescaut: Donna Non Vidi Mai
La Boheme: Musetta's Waltz Song
Tosca: Recondita Armonia
Madame Butterfly: Un Bel Di
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Turandot: In Questa Reggia

Amazon.com essential recording

Ordinarily, it pays to be wary of collections such as these, which often promise a lot but deliver a mishmash of disconnected excerpts. This disc, however, is something of an exception: you really do get just about all of Puccini's best arias, which is possible, because he didn't write so many operas that choosing the best moments becomes a matter of the producer's personal taste. Also, Puccini's operas are so popular that every major label has excellent complete recordings of all of them, so in making this compilation it was possible to cast from strength: all the singers here are fine. In fact, the only proviso that needs to be made before you rush out and add this disc to your collection is that it's wrong to assume that all of Puccini's best tunes lie in his arias. The opening 10 minutes of any one of his operas will tell you that's not true. So by all means enjoy this disc--then start sampling the operas complete. --David Hurwitz

Customer Reviews:

Correction to the entry by "sergiocqh".......2005-11-08

"Quando m'en vo" is not omitted from this CD; it is just called "Musetta's waltz song." It is the same aria.

Fantastic!.......2003-10-14

This is one of the first opera CDs I ever got. It's wonderful for just about any body;from the newbies like me or the opera fanatics. I especially like 'In Questa Reggia'. Buy it now!!

HATE OPERA? THIS ONE WILL CHANGE YOUR MIND.......2003-09-04

The Ultimate Puccini Collection features some of Puccini's most arias and will appeal to even the most ardent operaphobes.

A great listening experience featuring some of the greatest opera performers of all time.

"Ultimate" only if you like your opera "al fresco"!.......2002-06-13

The music is without question, among the most beautiful ever written. But the quality of the fidelity tells me that many of the selections were recorded live in concert in outdoor venues. I wish that was clear to me before I bought the disc. So, is the music the ultimate? YES! Is the recording the ultimate? NO!

Wonderful Performance but Average Recording Quality.......2002-02-18

I love opera! I love Puccini! Not only is the vocalism important to me, but the quality of the recording as well. I enjoy my hi-tech sound system. I like to feel as if I am sitting in the front row of the first balcony when I listen to opera. This CD is excellent! The vocalists were well chosen. The technical performances are eloquent and emotional, as Puccini should be. However, the quality of the recording is not very good. No matter how you adjust your sound system, the recording is a bit tinny and as a result, the emotional high points of the arias are not as vibrant as they could be if the recording were of better quality. I would recommend this CD to anyone who loves Puccini and who is not as finicky as I!

Average customer rating:

escellent recording
Lovely love music by a classical voice
Perhaps Love
Great
Our wedding songs!

Perhaps Love

Manufacturer: Sony
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Binding: Audio CD

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Placido Domingo: A Love Until The End Of Time
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ASIN: B0000025MJ
Release Date: 1990-10-25

Tracks:

He Couldn't Love You More
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Customer Reviews:

escellent recording.......2007-05-30

I HAD ORIGINALLY WANTED THIS RECORDING FOR THE SONGS WITH JOHN DENVER. WELL I FOUND MYSELF VERY MUCH TAKEN WITH THE WHOLE CD AND LISTEN TO IT OFTEN.

Lovely love music by a classical voice.......2007-05-07

Love classical voice singing music like this alblum. Ordered a copy for a friend for her birthday. She called and compared Domingo to IL Divo on this CD and another I ordered. We both enjoy a great deal hearing the classical voice alone, or combined with other in old sacred music, some classical (e.g) from Operas like Peter, Elijah, Moses, etc. Some ofthe artists we can no longer find. I recorded some from 70s and 80s to tapes. No CDs except single songs. All were sung in English (I sang and understood the romance languages, some Germanic. Can't remember them. Wish I could. Find I can sing with them, but have a lot going, and spouse does not like anything but "old" country, which I enjoy also.

Perhaps Love.......2007-02-10

I was at a Grieving Class when I first heard this absolutely beautiful music. I had lost my husband of 58 years, one year earlier. I missed him terribly. The words in all of this music were singing to me. The tears were very healing and continue to heal as I listen to this music with Placido Domingo and John Denver. It has HEART. I want more of the romantic voice and passion of Placido Domingo.

Great.......2006-08-06

I listened to this cassette in 1981 and loved it - I lost it in a gazillion moves since then but found it here. And I still love it.

Our wedding songs!.......2006-03-19

Before my wife and I were married in 1984, she asked our church music director to recommend music for a friend of hers to sing at the wedding. He asked her if she preferred religious or secular music. Since she was open to either, he said the he had recently bought the album "Perhaps Love" and he loved the music. He especially recommended two songs - "Perhaps Love" and "My Treasure." Everyone at the wedding loved the music, and these are still two of our favorite songs.

We've worn out two casette tapes, so I recently ordered the CD.

If you haven't heard the album, it probably seems like a weird combination of voices and styles, but it actually works incredibly well. If you like love songs, I can't imagine not liking this.

Average customer rating:

Gitano
Tenor Villazon
A Mexican Star Makes Spanish Music Great
Magnificent performances
Not quite the fiery gypsy, Villazon still wins me over

Gitano
Rolando Villazon & Placido Domingo
Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

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Combattimento (W/Dvd)

ASIN: B000FIHZLE
Release Date: 2007-02-06

Tracks:

No puede ser (Sorozabal: La tabernera del puerto)
Por el humo se sabe donde esta el fuego (Vives: Dona Francisquita)
Cancion guajira (Serrano: La alegria del batallon)
Pajarin, tu que vuelas (Luna: La picara molinera)
De este apacible rincon de Madrid (Moreno Torroba: Luisa Fernanda)
Bella enamorada (Soutullo & Vert: El ultimo ramontico)
La roca fria del Calvario (Relato) (Serrano: La dolorosa)
Mi aldea (Guerrero: Los gavilanes)
Raquel (Guerrero: El huesped del Sevillano)
Suena guitarrico mio (Jota de Perico) (Perez Soriano: El guitarrico)
Te quiero, morena (Jota) (Serrano: El trust de los tenorios)
Madrilena bonita (Sorozabal: La del manojo de rosas)
Ya mis horas felices (Soutullo & Vert: La del soto del Parral)
Amor, vida de mi vida (Moreno Torroba: Maravilla)
Un gitano sin su honor (Cano: Luna)

Amazon.com

Zarzuela--the Spanish theatrical form that is half-way between what we know as musical comedy and opera--requires as much from the singer as opera. Teresa Berganza, Placido Domingo, Montserrat Caballé, and others have popularized it somewhat in the past 20 years, and this terrific new CD from superstar tenor Rolando Villazon should convince others of the music's worth. The selections are filled with heartfelt emotions - love, loss, joy - and the remarkable Villazon inflects his essentially dark-hued voice so intelligently and sensitively that he embodies each experience. He's a tenor with ideas, seemingly incapable of phoning in a performance: the lovely, soft ending to an aria by Pablo Luna stands in wonderful contrast with a near-heroic number by Jacinto Guerrero about loving one's home. So much of great singing is about inflection: Villazon is a master of subtlety. It certainly doesn't hurt that he's singing in his native language and that the orchestra is being led by another famous Spanish tenor, Placido Domingo. A greatly enjoyable CD. --Robert Levine

Customer Reviews:

Gitano.......2007-07-16

What a voice!!! He and Domingo go well together. Loved the selections and have played it almost constantly since I received it.

Tenor Villazon.......2007-06-27

Rolando Villazon is an outstanding opera tenor, and in this series of zarzuela arias shows his great talent. Coached by Placido Domingo, some of the arias sound as if Domingo was singing them. The CD includes a new aria Domingo has also sang before (Un gitano sin honor)and Villazon does a great interpretation.

A Mexican Star Makes Spanish Music Great.......2007-04-14

Rolando Villazon's warm, rich sound, and his keen dramatic intuition bring some of the loveliest zarzuela romanzas to life in what is no doubt one of the finest recordings of its kind. If there is one minor complaint to be made, it is regarding Domingo's conducting. While on the whole he draws a truly heart melting performance from the orchestra, there are occasions on which one wishes that his approach was a bit more nuanced, and that there were crisper tempos (particularly in the first track, "No puede ser" and in the lovely "Jota de Perico"). Still, this recording is a beautiful expression of hot blooded passion mingled with intimate, but ensnaring expressions of love. The deluxe edition with the bonus DVD is worth getting. The DVD offers an interesting glimpse into the recording, and an emblematic set of images capturing two great artists at work and at play.

Magnificent performances.......2007-03-21

This recording should help increase the English-speaking public's knowledge and appreciation of the zarzuela genre. Superbly sung and conducted, it reflects Domingo's knowledge of and experience in zarzuelas aand Villazón's beuatiful voice and great artistry. What a combination!

Not quite the fiery gypsy, Villazon still wins me over.......2007-03-10

All the great Spanish opera stars have made zarzuela records--on the side, so to speak--that find enthusiastic audiences in the Latin world. This one from Rolando Villazon, filled with many tenor chestnuts from various composers, has caused the Amazon reviewer to propose marriage. It's certainly very enjoyable, with winning exuberance and style. Newcomers to zarzuela might be swept away. But if you know the classic recordings by Domingo, Krauss, and Carreras, just to mention the most recent tenors, Villazon operates at a lower wattage, and Domingo as conductor is a bit routine. The best singing for me was the quietist and most intimate.

I'm not ready to call Villazon a superstar the way the Amazon reviewer does. His career is being spotlit right now, and this CD will help him, even though the voice could use more bloom and the expression a lot more variety. Enthusiastically recommended, but without rapture.

Placido Domingo: A Love Until The End Of Time

Average customer rating:

love songs easy to listen too
This is an oldie but a goodie!
Great for boring candlelight dinner or quick ride in an elevator.
Beautiful music
A Valentine's Day Gift for all time

Placido Domingo: A Love Until The End Of Time
Ken Hirsch , Jule Styne , John & Paul McCartney Lennon , Consuelo Velazquez , John Denver , Andrew Lloyd Webber , Richard Rodgers , Henry Mancini , Johnny Mercer , Armando Manzanero , and Maureen McGovern
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Perhaps Love
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ASIN: B0000026H6
Release Date: 1990-10-25

Tracks:

Maria
Siboney
A Love Until The End Of Time
Noche Azul
La Comparsa
Save Your Nights For Me
Time After Time
Malaguena
Yesterday
Besame Mucho
My Life For A Song
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Siempre en me Corazon
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I Don't Talk To Strangers
Blue Moon - Moon River
Autumn Leaves
Adoro

Customer Reviews:

love songs easy to listen too.......2007-05-07

I love a classical voice singing this type of mustic, or sacred (from the operas (in English), or, out of print sacred. Wish I could find a source for some of my old tapes (some recorded from 78s) of artists like Jerome Hines (Holy City, 1962-3, 78 record I transferred to tape), Russel Davis (1970 or early 8os record I coped, of tape my Dad had copied), William Harness, Kathleen Battle, etc. etc. I enjoy a wide range of music, but had operatic training, so understand the requirements for superior vocal skill. John Denver had much of the quality. Music for me is part of the fabric of life.

This is an oldie but a goodie!.......2006-11-09

One of his first albums of "popular" songs and one of the best of the songs we have loved for years with a fresh, new Domingo treatment. Just as his album with John Denver was a something new for him, these songs are out of the opera world. You'll never hear any of them performed by anyone up to the "gold standard" of Domingo. That being said, I love this album, but - the accent gets in the way on the English songs. You have to be able to accept the accented English and just listen to the gorgeous voice singing some very romantic songs. I highly recommend!

Great for boring candlelight dinner or quick ride in an elevator........2006-10-31

As much as I enjoy listening to Placido Domingo's popular recordings this is not one of his best performances. Missing the full-blooded belting that can be heard on his other albums ("Be My Love" for example). The orchestration is very mediocre and uninspired.
For a romantic mood, "Perhaps Love" (simply fabulous) is much better choice.

Beautiful music.......2006-02-23

I have been looking for this title for a long time...in all the wrong places.

A Valentine's Day Gift for all time.......2005-02-02

If you truly want to touch someone's heart, give this as a Valentine's gift. I received the CD last year and I love every minute. It makes a loving gift of one of the greats. With such a long career you would think that Placido would disappoint. So far it hasn't happened. This year my honey and I will see him in concert! Another Valentine's day wish come true.

Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini

Average customer rating:

Marvelous performance by the whole lot.
This is the definitive recording of Don Carlo!!!
Italian Opera Sung By two Spaniards, an Italian and two Americans
TAKING SOUNDINGS
A masterpiece of conducting

Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini
Giuseppe Verdi , Carlo Maria Giulini , Plácido Domingo , Montserrat Caballé , Ruggero Raimondi , Sherrill Milnes , Shirley Verrett , Giovanni Foiani , Simon Estes , Ryland Davies , and Ambrosian Opera Chorus
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004VVZP
Release Date: 2000-08-15

Tracks:

Don Carlo: Act One - I: Introduzione - Coro di cacciatori - Su, cacciator! pronti o la belva (Coro)
Don Carlo: Act One - II: Scena e romanza - Fontainebleu! Foresta immensa e solitaria!
Don Carlo: Act One - II: Scena e romanza - Io la vidi e al suo srriso (Carlo)
Don Carlo: Act One - III: Scene e duetto - Il suon del corno alfin nel bosco tace (Carlo, Tebaldo, Elisabetta)
Don Carlo: Act One - III: Scene e duetto - Al mio pie', perche?
Don Carlo: Act One - III: Scene e duetto - Di quale amor, di quanto ardor (Elisabetta, Carlo)
Don Carlo: Act One - III: Scene e duetto - Al fedel ch'ora viene, o signora (Tebaldo, Elisabetta, Carlo)
Don Carlo: Act One - III: Scene e duetto - L'ora fatale e suonata! (Elisabetta, Carlo)
Don Carlo: Act One - IV: Coro, scena e finale primo - Inni di festa lieti echeggiate (Coro, Elisabetta, Carlo)
Don Carlo: Act One - IV: Coro, scena e finale primo - Il glorioso Re di Francia (Lerna, Coro, Elisabetta)
Don Carlo: Act One - IV: Coro, scena e finale primo - Vi benedica, Iddio dal ciel! (Coro, Elisabetta, Carlo)
Don Carlo: Act Two, Scene One - I: Preludio, Introduzione, scena del frate e duetto (Don Carlo-Rodrigo) - Preludio (Orchestra)
Don Carlo: Act Two, Scene One - I: Preludio, Introduzione, scena del frate e duetto (Don Carlo-Rodrigo) - Carlo il sommo Imperatore (Coro, Un frate)
Don Carlo: Act Two, Scene One - I: Preludio, Introduzione, scena del frate e duetto (Don Carlo-Rodrigo) - Al chiostro di San Giusto (Carlo, Un frate)
Don Carlo: Act Two, Scene One - I: Preludio, Introduzione, scena del frate e duetto (Don Carlo-Rodrigo) - E lui! desso! l'Infante!
Don Carlo: Act Two, Scene One - I: Preludio, Introduzione, scena del frate e duetto (Don Carlo-Rodrigo) - Questo arcano dal Re non fu sorpreso ancora? (Rodrigo, Carlo)
Don Carlo: Act Two, Scene One - I: Preludio, Introduzione, scena del frate e duetto (Don Carlo-Rodrigo) - Dio, che nell'alma infondere amor (Carlo, Rodrigo, Coro, Un frate)
Don Carlo: Act Two - Scene Two - II: Coro e scena (Canzona del velo) - Sotto ai folti, immensi abeti (Coro di donne, Tebaldo)
Don Carlo: Act Two - Scene Two - II: Coro e scena (Canzona del velo) - Tra queste mura pie la Regina di Spagna
Don Carlo: Act Two - Scene Two - II: Coro e scena (Canzona del velo) - Nei giardin del bello saracin ostello (Ebloi, Tebaldo, Coro di donne)
Don Carlo: Act Two - Scene Two - III: Scena terzetto et dialogato (Romanza di Rodrigo) - La Regina!...Un'arcana mestizia (Coro di donne, Eboli, Elisabetta, Tebaldo, Rodrigo)
Don Carlo: Act Two - Scene Two - III: Scena terzetto et dialogato (Romanza di Rodrigo) - Che mai si fa nel suol francese
Don Carlo: Act Two - Scene Two - III: Scena terzetto et dialogato (Romanza di Rodrigo) - Carlo, ch'e sol il nostro amore (Eboli, Rodrigo, Elisabetta)
Don Carlo: Act Two - Scene Two - IV: Gran scena e duetto - Il vengo a domandar
Don Carlo: Act Two - Scene Two - IV: Gran scena e duetto - Perduto ben, mio sol tesor
Don Carlo: Act Two - Scene Two - IV: Gran scena e duetto - Oh! Carlo! Oh! Carlo! (Carlo, Elisabetta)

Tracks:

Don Carlo: Act Two, Scene Two - V: Scena e romanza - Il Re!...Perche sola e la Regina? (Tebaldo, Filippo, Coro)
Don Carlo: Act Two, Scene Two - V: Scena e romanza - Non pianger, mia compagna (Elisabetta, Rodrigo, Coro, Filippo)
Don Carlo: Act Two, Scene Two - VI: Scena e duetto - Restate! Al mio regal cospetto
Don Carlo: Act Two, Scene Two - VI: Scena e duetto - O Signor, di Fiandra arrivo
Don Carlo: Act Two, Scene Two - VI: Scena e duetto - Quest'e la pace che voi date al mondo?
Don Carlo: Act Two, Scene Two - VI: Scena e duetto - Oso lo sguardo tuo penetrar il mio soglio (Filippo, Rodrigo)
Don Carlo: Act Three, Scene One - VII: Preludio - Preludio (Orchestra)
Don Carlo: Act Three, Scene One - VIII: Scena, duetto e terzetto - A mezzanotte, ai giardin della Regina
Don Carlo: Act Three, Scene One - VIII: Scena, duetto e terzetto - Ciel! non e la Regina! (Carlo, Eboli)
Don Carlo: Act Three, Scene One - VIII: Scena, duetto e terzetto - Che disse mai? (Rodrigo, Eboli)
Don Carlo: Act Three, Scene One - VIII: Scena, duetto e terzetto - Al mio furor, sfuggite invano
Don Carlo: Act Three, Scene One - VIII: Scena, duetto e terzetto - Ed io, che tremava al suo aspetto!
Don Carlo: Act Three, Scene One - VIII: Scena, duetto e terzetto - Trema per te, falso figliuolo (Eboli, Rodrigo, Carlo)
Don Carlo: Act Three, Scene One - VIII: Scena, duetto e terzetto - Carlo! se mai su te fogli importanti serbi (Rodrigo, Carlo)
Don Carlo: Act Three, Scene Two - IX: Gran finale - Spuntato ecco il di d'esultanza (Coro)
Don Carlo: Act Three, Scene Two - IX: Gran finale - Il corteggio resale (Orchestra, Coro)
Don Carlo: Act Three, Scene Two - IX: Gran finale - Schiusa or sia la porta del tempio! (L'araldo, Coro)
Don Carlo: Act Three, Scene Two - IX: Gran finale - Nel Posar sul mio capo la corona (Filippo, Coro, Elisabetta, Rodrigo, Carlo, Deputati)
Don Carlo: Act Three, Scene Two - IX: Gran finale - A Dio voi foste infidi, infidi al vostro Re (Filippo, Coro, Elisabetta, Tebaldo, Carlo, Rodrigo, Deputati)
Don Carlo: Act Three, Scene Two - IX: Gran finale - Sire! egli e tempo ch'io viva! (Carlo, Filippo, Elisabetta, Rodrigo, Tebaldo, Coro)
Don Carlo: Act Three, Scene Two - IX: Gran finale - O ciel! Tu! Rodrigo! (Carlo, Coro, Eboli, Elisabetta, Filippo, Una voce dal cielo, Deputati)

Tracks:

Don Carlo: Act Four, Scene One - X: Introduzione e scena - Introduzione (Orchestra)
Don Carlo: Act Four, Scene One - X: Introduzione e scena - Ella giammai m'amo!
Don Carlo: Act Four, Scene One - X: Introduzione e scena - Dormiro sol nel manto mio regal (Filippo)
Don Carlo: Act Four, Scene One - XI: Scena - Il Grand'Inquisitor! (Lerma, L'Inquisitore, Filippo)
Don Carlo: Act Four, Scene One - XI: Scena - Nell'ispano suol mai l'eresia domino
Don Carlo: Act Four, Scene One - XI: Scena - Mio padre, che tra noi la pace alberghi ancor (L'Inquisitore, Filippo)
Don Carlo: Act Four, Scene One - XII: Scena e quartetto - Giustizia, giustizia, Sire! (Elisabetta, Filippo)
Don Carlo: Act Four, Scene One - XII: Scena e quartetto - Ardita troppo voi favellate!
Don Carlo: Act Four, Scene One - XII: Scena e quartetto - Ah! sii maledetto, sospetto fatale (Filippo, Elisabetta, Eboli, Rodrigo)
Don Carlo: Act Four, Scene One - XIII: Scena ed aria - Pieta! Pieta! perdon! (Eboli, Elisabetta)
Don Carlo: Act Four, Scene One - XIII: Scena ed aria - Ah! piu non vedro la Regina! O don fatale, o don crudel
Don Carlo: Act Four, Scene One - XIII: Scena ed aria - O mia Regina, io t'immolai (Eboli)
Don Carlo: Act Frou, Scene Two - XIV: Morte di Rodrigo e sommossa - Son io, mio Carlo (Rodrigo, Carlo)
Don Carlo: Act Frou, Scene Two - XIV: Morte di Rodrigo e sommossa - Per me giunto e il di supremo (Rodrigo)
Don Carlo: Act Frou, Scene Two - XIV: Morte di Rodrigo e sommossa - Che parli tu di morte? (Carlo, Rodrigo)
Don Carlo: Act Frou, Scene Two - XIV: Morte di Rodrigo e sommossa - O Carlo, ascolta, la madre t'aspetta
Don Carlo: Act Frou, Scene Two - XIV: Morte di Rodrigo e sommossa - Ah! io morro, ma lieto in core (Rodrigo)
Don Carlo: Act Frou, Scene Two - XIV: Morte di Rodrigo e sommossa - Mio Carlo, a te la spada io rendo (Filippo, Carlo, Coro, Lerma, Eboli, L'Inquisitore)
Don Carlo: Act Five - XV: Scena ed aria - Introduzione (Orchestra)
Don Carlo: Act Five - XV: Scena ed aria - Tu che le vanita
Don Carlo: Act Five - XV: Scena ed aria - Carlo qui verra! Si!
Don Carlo: Act Five - XV: Scena ed aria - Addio! Addio, bei sogni d'or
Don Carlo: Act Five - XV: Scena ed aria - Tu che le vanita (Elisabetta)
Don Carlo: Act Five - Scena, duetto d'addio e finale - E dessa!...Un detto, un sol
Don Carlo: Act Five - Scena, duetto d'addio e finale - Vago sogno m'arrise!
Don Carlo: Act Five - Scena, duetto d'addio e finale - Ma lassu ci vedremo (Carlo, Elisabetta)
Don Carlo: Act Five - Scena, duetto d'addio e finale - Si, per sempre! (Filippo, L'Inquisitore, Elisabetta, Carlo, Un frate, Familiari)

Amazon.com

Politics, love, and family conflict make a heady brew in Verdi's masterpiece, originally set to a French text for Paris in 1867. In 1882, the composer made an Italian version with big cuts, lopping off the entire first act, which here is restored by Giulini. His pointed, nuanced conducting makes this recording the best available. An ideal Don Carlo requires the unattainable: five great singers and an expert Verdi conductor. This 1970 set has glorious voices that don't dig deep enough for this multilayered drama. The young Domingo sounds fresh, but lacks the free top that the part needs. Milnes has the voice for Rodrigo but, like Domingo and Caballé, is too generalized. Raimondi is too light-voiced for Philip, and the confrontation scene consequently lacks the chilling tension that Tito Gobbi and Boris Christoff bring to it on an earlier EMI cut led by Gabriele Santini. Rival recordings have bigger flaws and few of the virtues that are displayed here, such as Caballé's extraordinarily beautiful if detached singing. True Verdians also will want Pappano's French version, also on EMI, which features Alagna as the hapless prince. --Dan Davis

Customer Reviews:

Marvelous performance by the whole lot........2007-05-31

This is a very good version of the 5-act Italian "Don Carlo". You can notice the anguish and pain of Don Carlo into Domingo's performance, sometimes is heartbreaking. Monserrat Caballé singing is full of pain and longing, a true performance by the Catalonian soprano. The Marquis de Posa sung by Milnes shows a true friendship bond to Carlo and Elisabetta. The emperor Phillip is sung by Ruggero Raimondi. As the bad guy, his singing is dark yet full of expression, specially on his monologue "nel mio manto regal". The wicked Eboli sung by Verret is very good, showing the desire of breaking the love between Carlo and Elisabetta. Giulini conducting is passionate and blazing, like fireworks. The choir is very good, specially at the auto-de-fe scene before Carlo gets arrested. Don't look further, this is the Don Carlo to listen and it has a great price too.

This is the definitive recording of Don Carlo!!!.......2006-01-02

This is the definitive recording of Don Carlos.Giulini(a golden age conductor)does a marvelous job with his wand.Montserrat Caballe's performance is profound.She sings with such seemless legato line,and the most glorious tone,this demanding role of elisabetta di valois.Her high notes are so beautiful and powerful,she more than does this role justice.Caballe's pianissimo note at the end of her main aria,tu che le vanita(is one of the grandest verdi has ever written,and in caballe's hands,one of the most beautiful.)has to be heard to be believed.It is truely a revelation,in terms of the singular beauty Caballe is able to manifest here on planet earth.A note so soft and pure,and yet luxuriously audible.Shirley verrett is another reason to have this don carlo.Her eboli is sung with rich and beautiful tone,as well as thrilling dramatic bite.her o don fatale blows me away every time.Domingo sings with a handsome tone,and stays in character throughout.The other singers are in good voice,and pleasant to listen to.Milnes and raimondi are a nice addition to this recording.Giulini's don carlo was recorded in 1970,and this newly remastered version sounds pristine.The over all atmosphere I feel from this don carlo,when playing on my stereo,is that of being transported in a aural rapture to golden age heaven.

Italian Opera Sung By two Spaniards, an Italian and two Americans.......2005-11-05

For the Italian version of Verdi's Don Carlo on record, which far surpasses the original French version in popularity and commercial appeal, this is the studio recording to own. The people at EMI would not dare let this classic, legendary recording go out of print. Listed among opera's top recordings, this 1970 studio recording represents the highlight of many of these singer's respective careers up to that point and attests to the prowess of conductor Carlo Maria Giulini. It's ironic that for a highly Italian opera, replete with Verdi's Italian phrasing and music, the singers are not even Italian, except for baritone Ruggero Raimondi. Placido Domingo and Montserrat Caballe, the tenor and soprano romantic duo on this set, are both proud of their Spanish heritage. Domingo's parents sang in Zarzuela in Madrid. Domingo's roots are in Spain but he first received operatic notoriety in Mexico City. The Latin gloss he suffuses his voice with is extremely sexy and seductive, and he has enough darkness and heft (coming from the fact he first sang the roles of baritones) to make Don Carlos a man not to be toyed with. Don Carlos is Domingo's most vocally gratifying role. Every thing he sings here, from love arias to pensive ones, is clearly his best work. He can relax his voice in some portions as well as exude dramatic virile power in other more thrilling parts. He was born to sing Don Carlo, for it is even a tribute to his possibly Castillian roots. And just from his voice and mannerism alone one would actually mistake Domingo for a Spanish prince.

Likewise, Montserrat Caballe has what it takes to essay the role of Queen Elisabeth Di Valois. Not only does she color her voice so that she is both singing with melancholy sweetness (with those ravishing pianissimi she is so famous for) but she is able to make the Queen sound tormented behind a mask of pride and aristocratic bearing. With Verdi, Caballe did not have to tra-la-la her way through phrases as she did with Puccini. She knew Verdi very well and excelled in Verdi opera perhaps because Verdi's operas are influenced in part by bel canto, which Caballe was the reigning interpretor of in the 60's. This is Caballe's best work on recording, and that's considering she sang superbly as Donizetti's Lucrezia Borgia and Bellini's Norma. Her "rival" the seductive and scheming Princess Eboli is sung by the well-endowed mezzo soprano Shirley Verrett, an African-American. Born in America to a Seventh-Day Adventist, Shirley Verrett's rich, dark voice is thrilling and elegant. She makes the character of Eboli appear majestic in her own terms, though perhaps not as sympathetic in portrayal as Grace Bumbry's interpretation. Still Verrett has the right stuff to pull ito ff. Eboli is among her greatest mezzo roles and already hinted at here is her high soprano voice which she would use later in the 70's to essay the roles of Bellini's Norma, Aida and Puccini's Tosca. Another American in the cast is baritone Sherill Milnes, who is also involved in baseball. Milnes makes the role of the Inquisitornearly as charismatic as Domingo's Carlo. Their duets and scenes alone are worth the price of this recording. Milnes worked well with Domingo and it shows, especially here. This is his best work for I find that his Count Di Luna and Scarpia are static. Here, though, he delivers!! The only Italian in the bunch is Ruggero Raimondi singing one devilishly, and cool-sounding King Phillip. He makes the King sound like Don Giovanni! And that's actually good in this case because the King has some big flaws. Giulini is doing a fine job with the score, treating it with a kind of epic grandeur worthy of Wagner. This is still the best Don Carlo out there. The only other I recommend is the original French version starring Domingo, Ricciarelli, Valentini Terrani and Nicolai Ghiurov who sing in the most glorious French voices for this opera fit for the Paris Opera that adored historical spectacles.

TAKING SOUNDINGS.......2005-08-26

Opera in sound alone can never be the full monty, just as Shakespeare on the radio can't be. The grander the Grand Opera the more true this is, and Don Carlo is bigger in scope even than Aida. It is about a lot more than the story of a love-triangle set against a background of armies, slaves, pyramids and elephants: there are four parties to the love-interest alone, the role of Posa is nearly as important as any of them, and the action takes in the fate of the royal house of Spain, the imperial dominion in Flanders and the overweening power of the Spanish Inquisition. It cries out for staging. However in sound alone the Grand Inquisitor without his garb will have difficulty in being more than a disembodied bass voice given that his is a rather small part, and however dramatically kings, princes, princesses and nobles sing and act with their voices I can't help finding myself more concerned with them as sopranos, tenors, baritones and basses than as the dramatis personae they would be for me in the opera house.

When recommending a Don Carlo on disc I therefore focus mainly on the musical side. In any case there is no possible risk that if this music is sung properly it will come across as a concert - Verdi sees to that. He was a dramatist to the marrow of his bones, and the listener at home has only to follow the words in order to be caught up in the grand sombre tragedy that Verdi has burned into music. The best performance on disc, for me, will be the performance that most consistently conveys both power and beauty, because this opera is about tormented human emotions at the mercy of ruthless political power in addition to their own tragic fallibility. None of that needs any staging when conveyed in music like this. It would be a tall order to expect any performance of this outsize opera to be perfect. It is not a perfect work itself, on any showing. Even by Verdi's standards it went through an enormous amount of rethinking and revision, and it has surely the most peculiar and unconvincing conclusion there can ever have been in a work of its stature. A worthy performance has to convey total and absolute belief and commitment, but the focus has to be on beauty as well, more than would be so in the opera house, because sound is all we have.

One doesn't have to get far into the first act to realise that this Don Carlo is going to score quite exceptionally highly in point of beauty. Domingo is in superb voice, and Caballe surpasses herself. As the work goes on I suppose it might be fair to say that her lower register is not the equal of her higher, but this is Verdi and not Wagner. Wagner pitches his solo parts reasonably so as not to put strain on the voices, Verdi exploits the upper range of every voice except the bass with remorseless partiality, and Caballe rises to his monstrous demands magnificently. Eboli is a mezzo role, but the challenge Verrett has to overcome is hardly less in that respect, and her confession of the theft of the jewel-box is perhaps the final solo gem in a performance that is a jewel-box itself. Not everyone is absolutely right - the Grand Inquisitor's voice is too youthful, but I have very little criticism indeed to make of any of the major roles. Raimondi as the king seems perfectly good to me, and Milnes delivers a fine rendering of the part of Posa, combining power and inwardness, sometimes at one and the same time. If there is a high spot to the entire performance it is surely the quartet in act IV, a sublime outpouring of beautiful sound from all the principals together.

In the last analysis this Don Carlo surpasses any other I have ever heard for its combination of sheer beauty with wholehearted power. Giulini was born to conduct it, and I doubt I have a single criticism of anything he does from start to finish. The recording is now 35 years old, but you might not be able to tell. Now only weeks from Giulini's passing I am especially glad to be able to give such an unqualified endorsement to what I believe to be one of his finest achievements, indeed one of the finest opera recordings I know. It's only to be expected that there are details that one prefers in other accounts, but for sheer consistent quality at the highest level I would say your search can safely end here.

A masterpiece of conducting.......2004-07-11

For me Don Carlo is Verdi's masterpiece. You find here a very good libretto which makes a lot of sense (compared to Il Trovatore for example) that has a very natural balance of human drama, powerful characters with veridic evolutions and above all some of the best music Verdi composed. It is flawless, and supports with depth and detail the characters and the conflicts without weak moments or loss of "concentration".

The vocal parts aren't as demanding as others in any register. Yet, the length and the profound impact that the orchestra has in this opera and the complex turns and situations the opera encompasses make me believe that a succesful Don Carlo is first of all a problem of conducting. And I think that this is why everybody turns to this recordnig when they have to name the best recording of Don Carlo.

For any of the vocals here you can find someone better. I personally prefer Corelli over all the others, including Domingo which here is in a very good shape and delivers a very involved and careful rendition of Don Carlo. Martti Talvela is indeed unsurpassed in the role of Grande Inquisitor, but Estes here does a very fine job. Ghiaurov's Filip is indeed overwhelming and I love him as much as the others do. But I have to say that I found Raimondi to be a revelation. Maybe his voice is a little lighter but the sensibility and expresivity Raimondi is capable of, deliver a very refreshing and rewarding contribution to this key role. Milnes is also very good. The first Don Carlo I heard had Bastianini singing Posa. Both him and Gobbi are more rewarding in terms of tone and interpretation. But Milnes comes really close and he makes a very convincing case especially in the duos with Domingo or King Filip (a real miscast was Dietrich Fischer-Dieskau, in Solti's recording). The ladies are as god as those on other recordings if not better. I really enjoy what Caballe does in the role of Elisabeta and Verrett is a very capable pair.
In conclusion the roles in this recording are handled extremely well and I can't help thinking that the star singers of some of these roles (mentioned above) were sacrificed for the unity of the cast, a good performing team.

So, in the end, everything comes to conducting. And here I think this recording is unsurpassed. The extraordinary sense of tempo that works wonders elsewhere is displayed here by Giulini in full power. And such, the opera unwraps in front of you with a "life-like" quality. Nothing is exagerated for the sake of a particular temporary effect. But when the development of the drama asks for it power and intensity are there to deliver the goods. As usual with Giulini the orchestra is so dedicated to its conductor and you can hear inner voices inside the orchestra that you won't hear anywhere else. The characters, entirely supported by the orchestra, evolve naturally in the same right atmosphere with flawless inner logic. It is the only recording of Don Carlo which has a sense of unity and of a "single piece".

To wrap up things imagine this: you listen to a performance wich always tells you where you are and how did you get there, you follow the evolution of both characters and intrigue without any bumpss or missed points, you hear very beautiful voices in distinguished performances supported by a very beautifully sounding and highly expressive orchestra. There is no wonder that you come back to this recording when somebody asks you which one is the best recording of Verdi's Don Carlo.

Verdi - Aida / Caballé · Domingo · Cossotto · Ghiaurov · Cappuccilli · Roni · NPO · Muti
Average customer rating:

Marvelous Aida!

Is there any Aida without pluses and minuses?

The most intimate of stories amidst spectacle sing with musical splendor!

HYPERBOLICAL AND GRANDIOSE

JUSTIFIES ITS FAME! Powerful, beautiful and exciting!

Verdi - Aida / Caballé · Domingo · Cossotto · Ghiaurov · Cappuccilli · Roni · NPO · Muti
Giuseppe Verdi , Riccardo Muti , Montserrat Caballe , Placido Domingo , New Philharmonia Orchestra , Choir of the Royal Opera House Covent Ga , Fiorenza Cossotto , Nicolai Ghiaurov , Piero Cappuccilli , and Luigi Roni
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini

Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan

Puccini - Turandot / Sutherland · Pavarotti · Caballé · Ghiaurov · Krause · Pears · LPO · Mehta

Verdi - La Traviata / Cotrubas · Domingo · Milnes · Bayerisches Staatsorchester · Carlos Kleiber

Wagner: Lohengrin

ASIN: B00005NW0C
Release Date: 2001-09-11

Tracks:

Prld
Act 1, Scene 1: Si, Corre Voce Che L'Etiope Ardisca
Act 1, Scene 1: Se Quel Guerrier Io Fossi!
Act 1, Scene 1: Celeste Aida
Act 1, Scene 1: Quale Insolita Gioia Nel Tuo Sguardo!
Act 1, Scene 1: Vieni, O Diletta, Appressati
Act 1, Scene 1: Alta Cagion V'aduna
Act 1, Scene 1: Su! De Nilo Al Sacro Lido
Act 1, Scene 1: Ritorna Vincitor!
Act 1, Scene 1: I Sacri Nomi Di Padre, D'amante
Act 1, Scene 2: Possente, Possente Ftha
Act 1, Scene 2: Danza Sacra Delle Sacerdotesse
Act 1, Scene 2: Mortal, Diletto Ai Numi
Act 1, Scene 2: Nume, Custode E Vindice

Tracks:

Act 2, Scene 1: Chi Mai Fra Gl'Inni E I Plausi
Act 2, Scene 1: Danza Degli Schiavi Mori
Act 2, Scene 1: Vieni, Sul Crin Ti Piovano
Act 2, Scene 1: Fu La Sorte Dell'armi A' Tuoi Funesta
Act 2, Scene 1: Ebben, Qual Nuovo Fremito T'Assal, Gentile Aida?
Act 2, Scene 1: Pieta Ti Prenda Del Mio Dolor
Act 2, Scene 1: Su! Del Nilo Al Sacro Lido
Act 2, Scene 2: Gloria All'Egitto, Ad Iside
Act 2, Scene 2: Marcia Trionfale
Act 2, Scene 2: Ballabile
Act 2, Scene 2: Vieni, O Guerriero Vindice
Act 2, Scene 2: Salvator Della Patria
Act 2, Scene 2: Che Veggo! Egli? Mio Padre!
Act 2, Scene 2: Ma Tu, Re, Tu Signore Possente
Act 2, Scene 2: Il Dolor Che In Quel Volto Favella
Act 2, Scene 2: O Re, Pei Sacri Numi
Act 2, Scene 2: Gloria All'Egitto, Ad Iside

Tracks:

Act 3: O Tu Che Sei D'Osiride
Act 3: Vieni D'Iside Al Tempio
Act 3: Qui Radames Verra!
Act 3: O Patria Mia
Act 3: Ciel! Mio Padre!
Act 3: In Armi Ora Si Desta Il Popol Nostro
Act 3: Padre, A Costoro Schiava Non Sono
Act 3: Pur Ti Riveggo, Mia Dolce Aida
Act 3: Nel Fiero Anelito Di Nuova Guerra
Act 3: Fuggiam Gli Ardori Inospiti... La, Tra Foreste Vergini
Act 3: Aida!... Tu Non M'Ami
Act 3: Ma, Dimmi: Per Quale Via
Act 3: Traditor!... La Mia Rival!
Act 4, Scene 1: L'Aborrita Rivale A Me Sfuggia
Act 4, Scene 1: Gia I Sacerdoti Adunansi
Act 4, Scene 1: No, Vive Aida!... Vive!
Act 4, Scene 1: Ohime! Morir Mi Sento!
Act 4, Scene 1: Spirto Del Nume, Sovra Noi Discendi!
Act 4, Scene 1: Radames, Radames, Radames
Act 4, Scene 1: A Lui Vivo, La Tomba!
Act 4, Scene 2: La Fatal Pietra Sovra Me Si Chiuse
Act 4, Scene 2: Presago Il Core Della Tua Condanna
Act 4, Scene 2: Vedi? Di Morte L'Angelo
Act 4, Scene 2: O Terra, Addio

Amazon.com essential recording

Behind the pyramids and the elephants, the long lines of prisoners of war and of slaves carrying booty, the choral shouts of "Glory to Egypt," and the splendid brass sounding the Triumphal March, Aida is the story of a love triangle: Aida, an Ethiopian princess who has become a slave in Egypt; Amneris, an Egyptian princess; and Radamès, the Egyptian general they both love (Aida secretly). There are ironies and conflicts: How can she love a man who is the enemy of her country, but who says he has fought and conquered for the sake of her love? It is suitable only for the biggest opera houses and therefore demands voices capable of great power as well as emotional expressiveness. Montserrat Caballé, Plácido Domingo, and Fiorenza Cossotto provide such voices, and Ricardo Muti conducts with a sense of drama and dynastic glory. --Joe McLellan

Customer Reviews:

Marvelous Aida!.......2007-02-27

I love Aida. I own so many recordings that I've lost count as to how many I have in my library. In many ways, I think this is one of Verdi's most beautiful and sophisticated scores. Several conductors have handled (and butchered) the score, yet this recording shows how Verdi should really be sung and conducted. Riccardo Muti is perhaps the best Verdi conductor, even better than Toscanini (but not Serafin). His Verdi collection from EMI shows his talent from making the myriad of colors from Verdi's score emerge in such a way that would captivate the listener. His chosen tempi and dynamics are also very theatrical. The magic he performs with the orchestra brings out the several transparencies in Aida, and for this reason I would choose his conducting over that of Karajan's or Solti's. Granted, Montserrat Caballe is not a very visually appealing Aida, but her voice is magnificent--seamless from top to bottom, producing creamy tone wherever necessary. She isn't a true Aida. For that, you must go to Renata Tebaldi. However, Caballe manipulates her voice so that you would think that she was made for Aida. Placido Domingo sings with golden tone and committment throughout this performance. I think that this is a reference performance for Radames after Bergonzi's magnificent performance with Karajan. I'm sorry, but I never enjoyed Corelli's performance under Mehta. I thought he was past his prime there, and his lack of legato makes the private introspective moments sound overtly loud. His high notes are thrilling though. Piero Cappuccilli, one of the greatest Verdi baritones of the last century, sang an authoritative and brooding Amonasro. As wonderful as Gobbi's performance with Callas is, I think Cappuccilli's voice suited Amonasro better. Ghiaurov is a very looming Ramfis.

However, the main reason for me to purchase this set is for the high-octane performance of Amneris given by Fiorenza Cossotto. This brilliant mezzo soprano, whose career is suprisingly still ongoing, has a voice that was tailored to the temperaments of the Verdi mezzo roles. I think that while Giulietta Simionato may have had a warmer timbre, Cossotto inhabited the psychologies of her characters better. I have never heard a more demented Azucena from any other singer, and my recordings of her Eboli show a singer whose grace and elan are unequalled, even by the great Simionato. Her Adalgisa shows a secure instrument that is fluent in coloratura and brilliant in the top registers. Her Santuzza literally puts several sopranos into shame. Her Leonore from Donizetti's La Favorita is a reference performance, equipped with all the coloratura and very large, brilliant high notes. Her Dalila is simply seductive and powerful. Her Principessa di Boullion is menacing, and her Carmen is rightfully seductive. Her recorded Preziosilla on Levine's Forza is perhaps the most accurate and fun interpretation of the gypsy part I've ever heard. Her Lady Macbeth is fierce, and her Rosina is no pushover. Her Amneris, a role which she essayed frequently in many of the world's great theaters, is perhaps the definitive interpretation of the role. Neither Simionato or Barbieri could touch Fiorenza in the thrilling chest notes and the regal interpretation she gave the role. For her, and of course for the cast and Muti, should you buy this set. While some may find Tebaldi's Aida definitive, no one, in my opinion, can skirt around Cossotto's magnificent Amneris. Buy this Aida. It is an essential for any collection.

Is there any Aida without pluses and minuses?.......2006-06-01

It's peculiar that no single performance of Aida on records has ever attained consensus as 'the one', the closest candidate being the RCA-Decca performance with Leontyne Price and Jon Vickers. After decades of listening to most of the major contenders, here's how I would size them up.

Best conducting: Karajan on both his readings, the first for Decca in the early Sixties, the second for EMI in 1980. He has the glorious Vienna Phil. on both--for richness, depth, drama, and splendor nothing equals them. Karrajan himself provides a continuous outpouring of insights into Verdi's deceptively simple score.

Best Aida: For many, Leontyne Price will always be defined by this role, her signature for two decades and perfectly suited to her voice, with its dusky low range and incredible floated high notes. She sounds much fresher in her first RCA recording with Solti than in the remake with Leinsdorf. For other listeners there is no replacement for Callas and her intense involvement with the role, while Tebadi stands out for sheer lusciousness of voice.

Best Rhadames: Bjorling really didn't have the heft to sing this role onstage, but pairing Milanov in a classic RCA mono recording he sounds, as always, ravishing in style and tone. Vickers attacks the role with incredible intensity but is singularly un-Italian despite his glorious, heroic volume of sound. Among stylish tenors with smaller voices, Bergonzi under Karajan, paired with Tebaldi, wins high critical praise. Domingo, for all his virtues, always seems to come in second best.

Let's say we stop there; it's easy to see why the Price-Vickers-Solti set has such a strong following, and also the Tebaldi-Bergonzi-Karajan set. But complaints have always arisen about both, that Vickers has no Italian style and Solti conducts with brazen vulgarity. In the other set, the grouse is that Tebaldi wasn't in best voice and sounds too imperious, while Bergonzi, for all his polish, isn't a viscerally exciting Rhadames.

This carping opened the way for the 70's EMI set with Caballe and Domingo in their vocal prime. Muti conducts skilfully, moving the drama along quickly and with a refreshing lack of overdone sentimentality. Caballe isn't a spinto-dramatic soprano as called for, but she sings for the microphone with wonderful nuance and pathos (I find her less droopy than she often was). Domingo exhibits perfect tone and style, but his reading is a bit callow compared ot what he would achieve later in his career. In other words, there's no true greatness in any part but the whole hangs together nicely. It must be noted, though, that the bland Capuccilli as Amonasro ruins the drama of the Nile scene.

My review, such as it is, stops here, since other reviewers listed below have detailed the specifics of this recording. But I'd like to offer some notes about all the Aidas I've encountered over the years.

--Aida was Birgit Nilsson's best Italian role, and in her EMI recording she softens her steely tone and makes quite a nice success for herself. She is partnered with Corelli, whose vulgar bawling makes him unlistenable to my ears, but if you admire him, this performance led by a young Zubin Mehta ranks with the Caballe-Domingo one.

--Callas must be listened to on her own, or with Gobbi when he enters as her father in Act 3. Their Nile scene is incomparable, not to be missed. Too bad it's ruined by the entrance of the horribly stentorian, unstylish Richard Tucker, a huge blemish on this recording.

--Abbado should have come through with Aida from La Scala when he was musical director there, but his reading for DG is cautious and bland (the same goes for a live performance on Opera d'Oro with Arroyo and Domingo--they aren't great, either, though very good).

--Aidas who can't really manage the part include Katia Ricciarelli for Abbado and Freni for Karajan in his EMI remake (she's wildly overparted but moving and artistic nonetheless). Aprile Millo for Levine from the Met (Sony) can sing the notes but has nothing interesting to tell us. Heresy to say, but I feel the same way about the revered Zinka Milanov with Bjorling on RCA.

--A Rhadames who can't really sing the part is Carreras under Karajan, but he gives his all trying. Pavarotti sang the role both on stage and on disc (with an unknown and forgettable Aida), but his lyric tenor isn't right. Having said that, I was surprised at how enjoyable his Decca performance is. Domingo has sung the role for Muti, Leinsdorf, Abbado, and Levine. All are very good; probably the best is with Leinsdorf, a shame since the conducting is prosaic and the bloom was off Price's voice by then.

--Uninspired condcuting honors go to Leinsdorf, but I get little out of Levine's hectic, impesonal work on Sony, and the sainted Tulio Serafin on the Callas set is authentic but rather workaday. When it comes down to it, Solti for all his vulgarisms threw himself into his preformance, while Karajan is the greatest maestro to take on the opera, pace the fans of Toscanini, whose fiery reading isn't to my taste, even if it didn't have a second-rate cast and boxy, wooden sonics.

The most intimate of stories amidst spectacle sing with musical splendor!.......2005-11-11

What a cast? The only soprano if memory serves me that equals Caballe's beautify and dramatic offering is Zinka Milanov on the RCA/BMG label. As good as Barbieri is on that recoding Cossotto is the Amneris....she owned this role along with Azucena and la favorita...Domingo is dramatic and beautful in tone as always. Cappuccilli is also a worthy part of this great quartet. There are other great Aida's but this is special along with the Milnov, Barbieri recording! Both belong on your CD shelf along with Leontyne Price in one of her great Aida recordings

HYPERBOLICAL AND GRANDIOSE.......2003-09-16

That was how Shaw characterised Verdi, bracketing him with Victor Hugo. Shaw also sensed a falling-off in spontaneity in Aida, its place being taken by increasing sophistication. I doubt if he would have had such reservations if he had heard this tremendous performance, one of the most thrilling you will ever hear. To get it going, Domingo's Celeste Aida is, well, celestial, and he is in superb voice throughout. Caballe sings like an angel from paradise. I remember her interviewed on TV by Bernard Levin years ago, and she almost winced as she said 'For Verdi you need so much VOICE'. There is no doubt about it, Verdi's demands on the human voice are inhuman, and I was lost in admiration at the entire cast and their majestic response to the whole wonderful but monstrous challenge set to them. At least one thing is simple in Aida and that is the plot-line, which makes a nice change compared with, say, Trovatore, and the characters, strongly drawn though they are both by Ghislanzoni and the composer, are not complex like Rigoletto or Iago.

I suspect that singers who can surmount the musical challenge as triumphantly as these do just find that they are acting superbly as well. The conducting helps just a little of course. Verdi's orchestral conception has now advanced beyond the 'big guitar' stage and the sumptuous sound Muti obtains and the strong forward thrust of his tempi creats an enthralling sense of grandeur. I had to listen to this Aida without interruption, just carried along by the sheer power of it. Loss of spontaneity? -- not a bit of it. The Requiem was still to come, and nobody has ever found any loss of spontaneity in that. For all the heartbreaking tenderness and pathos the final impression left is of an overpowering drama.

JUSTIFIES ITS FAME! Powerful, beautiful and exciting!.......2003-02-27

Having listened to most of the famous Aida recordings, I've concluded that this comes closest to the ideal Aida performance in studio. All the singers on this set were at their best in their early '70s when this set was recorded. Their rich, powerful, secure voices and temperament are perfect for the roles.

Although I prefer Caballe in bel canto, as Aida she is superb, full of lyricism. Moreover, Caballe gives here one of her most dramatic studio performances. She doesn't have young Tebaldi's heavenly spinto sound but Montserrat's golden tone is almost equally affective. Notice Caballe's amazing vocal technique; the endless breath, the even registers and the seamless phrasing.

Domingo sings one of his most famous roles. He and Caballe have similar creamy voices and this makes the Aida-Radames duets very successful. He repeated the role in studio many times later but his partnership with Caballe produced the best results. Cossotto, Cappuccilli and Ghiaurov are flawless and remain my favourite Amneris, Amonastro and Ramfis. Muti conducts with grandness and lyricism and creates a masterful AIDA.

Customer Reviews:

A VERY SPECIAL EVENING AT THE MET.......2007-04-06

The 1972 Gala that honored the retirement of the late Sir Rudolf Bing was one of the first big international opera galas of note. I was a mere high schooler when highlights of the gala were aired on television, hosted by Rise Stevens. An LP of highlights was released (a slew of copies were produced domestically with a defect on the second side that had to be recalled). Shortly after this DGG announced a SECOND LP of highlights that would include additional items, including Dorothy Kirsten, Joan Sutherland, Luciano Pavarotti and others from the same gala. It never materialized.

When DGG announced the CD version, I was ever hopeful those unreleased items would finally see the light of day. Sadly, that's not the case. What we have left is a mixed bag. Arroyo expressive but unsteady, a young Domingo with Caballe sounding undermiked, Nilsson ripping the roof off, Price skipping the recitative and not in best voice, Tucker and Merrill trying to outshout each other, Resnik hamming it up, Zylis-Gara and Corelli's only evidence of Otello on record with the fans ruining the beautiful orchestral ending of the duet. Despite all my negatives, this CD is evidence of a very special evening in New York when the operatic lights shone a lot brighter than they do now, the likes of which will never be seen or heard again. It would get five stars if the missing items had been included.

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