Rossini: Semiramide

Track Listings

1. Sinfonia

2. Si .. Gran Nume .. T'intesi (Oroe)

3. Suoni Festevoli (Popolo)

4. LÀ Da! Gange A Te Primiero (Idreno)

5. Di Plausi Qual Clamor (Popolo)

6. Di Tanti Regi E Popoli (Oroe)

7. Ah! GiÀ Il Sacro Foco È Spento (Tutti)

8. Eccom Alfine In Babilonia (Arsace)

9. Ah! Quel Giorno Ognor Rammento (Arsace)

10. Lo T'attendava, Arsace (Oroe )

11. Bella Imago ( Arsace)

12. Serena I Vaghi Ra! (Coro)

13. Bel Raggio Lusinghier (Semiramide)

14. (Semiramide)

15. (Semiramide)

16. (Semiramide)

17. (Semiramide - Arsace)

18. Marcia

19. Ergi Omai La Fronte Altera (Coro)

20. I Vostri Voti Omai (Semiramide)

See all 44 tracks on this disc

Editorial Reviews
Amazon.com
For golden-throated singing, it would be hard to top this classic recording, featuring two great divas at the height of their powers; for a working definition of the term "bel canto," just listen to Joan Sutherland and Marilyn Horne as they make coloratura magic. Never mind the male singers in this recording, though; they're adequate, but, then, they're not the point. Sutherland's Semiramide is a tad maternal in her character, but the singing makes up for any shortcomings there, while Horne is clearly having the time of her life as the warrior Arsace. Richard Bonynge conducts optimally for his singers. For many years this was the only recording available of this tuneful if slightly static opera, and for the quality of its singing it's still the first choice. Unfortunately, there are numerous cuts in the score, so critical-edition buffs will have to seek elsewhere, or do without. --Sarah Bryan Miller

Album Description

Music can be both calming and relaxing, or invigorating and passionate...this phenomenal 20-CD set is definitely the latter. This amazing collection brings together for the first time the most passionate music of all time, from Ravel's Bolero, Tchaikovsky's Swan Lake, Wagner's Magic Fire Music to Ravel's La Valse, Orff 's Carmina Burana and Stravinsky's Rite of Spring. This is a must have collection for every passionate music lover.

Customer Reviews:

A good gift for novice.......2007-05-12

This was a good gift for somebody learning about Classical music in Japan.

Average customer rating:

What an incredible disc
Rossini tenors
Exceptional Tenor!
Worth a listen
Impressed, but not moved...

Juan Diego Florez ~ Rossini Arias
Gioachino Rossini , Riccardo Chailly , Juan Diego Florez , and Orchestra Sinfonica e Coro di Milano Giuseppe Verdi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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

ASIN: B00005UT5H
Release Date: 2002-01-08

Tracks:

Ah Dov'e, Dov'e El Cimento
Che Ascolto!
Cessa Di Piu Resistere
Vieni Fra Queste Braccia
Concedi, Amor Pietoso
Terra Amica
Oh Fiamma Soave
Si, Ritrovarla Io Giuro

Amazon.com

This disc by the rising young Peruvian tenor Juan Diego Flórez is a winner. He has a light lyric tenor of quality, stunning coloratura technique, and a real feeling for the Rossini style. He shines in these bravura arias, scattering high Cs and Ds with abandon. There aren't many tenors these days who can fearlessly negotiate the perils of arias like "Cessa di piu resistere" from The Barber of Seville with such aplomb. Nor are there many who can capture both the pathos and the fevered intensity of "Oh fiamma souave" from La donna del lago. Even those who might wish for a warmer, sweeter sound in the bel canto repertory than Flórez's brighter, more brilliant tones should welcome this auspicious solo debut. He's helped by the sure hand of Riccardo Chailly at the helm, ensuring stylistically sympathetic performances. --Dan Davis

Customer Reviews:

What an incredible disc.......2006-03-04

This was my first Juan Diego Florez CD and I was just amazed for what I heard the very first time. Such an elegance while singing, bright and powerfull performance and above all a full respect for what rossini wrote. This is a masterpice and every single collector should have it. Juan Diego Florez sing as no one can: he is the number one. These selection of Rossini arias are among the most difficul ones for the tenor voice and Florez is able to sort them with no apparent effort. By the way if you have not yet bought his last disc, and if you have some affection for Latin America, go for it. That disc, "Sentimiento Latino" is full of the most representative songs from Latin America and Florez manages to master them all as no one has done before. What a great artist.

Rossini tenors.......2005-08-26

At last a real Rossini tenor, as rare as hens teeth! Mr Florez has all the right vocal technique and a stunnning head tone to produce the high, light tenor sound needed for these impossible to sing Rossini arias. I hope he continues to sing roles suited for his fabulous voice and avoids the heavy Verdi and Puccini roles. Juan Diego Florez is the real deal.

Exceptional Tenor!.......2005-01-30

Theo made a very good point when describing Juan Diego Florez. He indeed is all the talents of these legendary tenors combined, along with the exemplary skills of the old school of Italian music. Sure, he doesn't possess the warmth of a Domingo or a Gigli, but what would you expect of a Rossinian tenor? Heavy voice that goes up up up? That is quite uncommon for such a beautiful voice of this timbre. Now if there were indeed a tenor with a dark voice who could tackle such material and do just about anything that the operatic repertoire requires of him, yet maintain a limber quality about his voice when tackling the challenging bel canto repertoire, then we would have Callas reincarnated in the tenor voice (LOL!!). But truly, this is a gem of a recital. No other tenor nowadays can perform such challenging material without resorting to unconventional means of singing. He truly revived the real bel canto voice--fresh, light, yet invigorating in drama. Drama, I say, is exemplified here not through the typical verismo style we are acquainted to nowadays. It is rather inflicted upon the soul in the traditional bel canto manner--through embellishments and dramatic singing without sobs or such and so. He does it with grace. His florid lines will astound, amaze, and astonish you. His high notes are chesty yet beautiful. Take my word for it, this is a tenor you will be very sorry to miss if you don't sample the many delicacies he has to offer.

Worth a listen .......2004-10-10

As you may have determined from the other reviews of this CD, Juan Diego Florez is a controversial artist. With a high tessitura, athletic vocal agility, and penetrating vibrato, Mr. Florez's voice might find more fans in Europe than in the US (where the dramatic arias of Verdi, Puccini and Wagner are more popular than the jaw-dropping vocal fireworks that made Rossini famous). For opera fans who were introduced to Rossini's difficult and now rarely-heard music in the 1980s through such great artists as the Mexican tenor Francisco Araiza (e.g., through the opera film 'La Cenerentola' by Jean Pierre Ponnelle), Florez may be a shock. Mr. Araiza's voice was deeper, darker, and more 'masculine' than Florez's voice yet possessed the same amazing agility and range. However, Juan Diego Florez is worthy of praise and recognition. He has an 'easy top' much like Pavarotti, and high notes that avoid the bone-grating 'slide' up to the high Cs and Db's that other tenors have used in Rossini operas. Being young (barely 30), Mr. Florez will have time to grow into his powerful voice. We should all hope that his talent will be recognized by a wider audience and lead to new, more authentic recordings of Rossini's rare and difficult operas such as Semiramide, Tancredi, and Ermione.

Impressed, but not moved..........2003-06-20

I am sorry, but I only feel I can give this cd three stars. Juan Diego Florez pulls off some very diffcult roulades. His voice is definitely more beautiful in some ways than many of the tenore di grazia's to come before him. However, every note of the arias seems to sound the same. Maybe it is only my personal preference, but I have always enjoyed a bit more text painting. Although he has a solid technique, I think this cd set leaves me completely unsatisfied emotionally and I must admit that I do not particularly care for the shrillness of the high notes. I am impressed, but not moved. I recommend buying this cd just to hear a tenor that may be the best of the young tenors that are out there today(technically). However, I like to be reeled in emotionally and really feel connected to the text due to the singer's interpretive skill. Florez does this for me at no point. The singing is not effortless by any stretch of the imagination, but seems to show that a great deal of hard work was put into attaining the high level of technical achievement. Hopefully, he will continue to improve and blow me away with his next album release.

Average customer rating:

King of overtures on display
Dynamic Rossini
High Excitement
Amuse-Bocuse for the Ears!
All the Rossini I need!

Rossini: Overtures (14)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Famous Overtures
William Tell & Other Favorite Overtures
Suppé: Famous Overtures
Suppe: Overtures
Mendelssohn: 5 Symphonies; 7 Overtures

ASIN: B00000425N
Release Date: 1995-06-13

Tracks:

Overtures: Guillaume Tell - G. Rossini
Overtures: Il signor Bruschino - G. Rossini
Overtures: Il viaggio a Reims - G. Rossini
Overtures: La scala di seta - G. Rossini
Overtures: La gazza ladra - G. Rossini
Overtures: Il turco in Italia - G. Rossini
Overtures: L'Italiana in Algeri - G. Rossini

Tracks:

Overtures: Il barbiere di Siviglia - Gioacchino Rossini
Overtures: Torvaldo e Dorliska - Gioacchino Rossini
Overtures: La cambiale di matrimonio - Gioacchino Rossini
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Overtures: Semiramide - Gioacchino Rossini
Overtures: La Siege de Corinthe - Gioacchino Rossini
Overtures: Tancredi - Gioacchino Rossini

Amazon.com essential recording

Rossini's Overtures are absolute jewels of the Classical period. He used them as his musical "calling cards," and with the exception of William Tell, there's absolutely no relationship between the overture and opera it introduces. The famous Barber of Seville overture, for example, was used previously for two tragic operas, including one called Elizabeth, Queen of England! All they were supposed to do was entertain the audience and let them know that the real business was about to begin. And that's just what they've been doing ever since. This comprehensive collection, at two discs for the price of one, will keep you in Rossini for a good, long time. --David Hurwitz

Customer Reviews:

King of overtures on display.......2007-03-07

This 2-disc set contains 14 overtures by the master of this musical form himself, G. Rossini. The music quality is good - standard for digital, the orchestration is clear, and each CD provides about 1 hour of good, lively music. The choice of music is also great, making this set a great buy.

Dynamic Rossini.......2005-04-26

For Rossini lovers, this album gives you a sample of Rossini at his best. The dynamic range of the composer, his verve and vitality delivered in the most popular overtures ever written.
The quality of the recordings is very good, and should satify any and all Rossini fans. I love to kick back, with a set of ear phones and absorb the incredible sound and muscularity of Rossini. Well worth the price of admission.

High Excitement.......2005-03-02

I originally bought the LP versions way back before CDs were introduced. High excitement is the best way I can describe the performances. I have heard nothing since to equal Chailly's energetic read. I haven't gotten this CD version yet, but the first volume one did have better quality miking then the second volume. The price makes it worth just buying the CD instead of trying to digitize my LPs.

Amuse-Bocuse for the Ears!.......2004-09-10

Just as amuse-boche is meant to entertain and tempt the tastebuds for the coming courses in a gourmet meal, so does the overture function in the operatic banquet.

Rossini is one of the greatest overture composers, and here is collection of fourteen of his best!

They are soaring and delightful. Especially captivated by some that were new to me, causing one to want to followup with the opera-- a brilliant way to cause interest in operatic world. These included the likes of Otell, Semiramide and Le Siege de Corinthe.

Amazing and vibrant double CD collection!

All the Rossini I need!.......2003-06-30

As far as I'm concerned, I don't need to search the field for any other Rossini overture CDs--this 2-CD set has it covered. Chailly's interpretations of these pieces are wonderfully exuberant, and the National Philharmonic plays with precision and flair. These CDs have become the standard I use to judge other recordings of Rossini overtures. Granted, they're not perfect: As another reviewer pointed out, Chailly takes some passages differently than we're used to hearing them (the end of the Barber of Seville overture is faster than usual, for example). However, the orchestra is so competent and the conductor so assured that these small, occasional differences are refreshing rather than annoying. As well, there are (very) occasional moments where the orchestra slips a little out of synch, but only because they're having so much fun playing the music. This is Rossini the way it was meant to sound--playful, melodious and energetic to the end.

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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Renée Fleming - Signatures ~ Great Opera Scenes / Sir Georg Solti

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:

Excellent performance and recording
Very Nice
Sparkling Performances

Rossini: Complete Overtures

Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

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ASIN: B00009KV0W
Release Date: 2003-08-12

Customer Reviews:

Excellent performance and recording.......2007-02-02

If you like Rossini, this is an a must-have recording. Sure, he tended to write the same pieces over and over again, but they are utterly delightful. These performances by Neville Marriner and his personal orchestra are precise, and the fun inherent in many of these works does not get lost in the shuffle. The orchestra is blessed with excellent woodwind players; just listen to the oboe on some of the really fast passages.

Nice recorded sound. I really don't have anything bad to say about this entire package. It's almost a desert island recording for times where Mahler or Beethoven might be a little (or a lot) heavy.

Very Nice.......2005-03-17

Yes, these overtures may be cliched, but every classical collector should probably have them. Marriner, as usual, gives great performances, and the sound quality is very good.

Sparkling Performances.......2003-09-15

I only have glowing things to say about this set of Rossini overtures. First of all, Rossini's overtures are brilliant gems. They are light, fun and full of life!! Secondly, Marriner's conducting is marvellous. The performance sparkle like precious diamonds. Everything is very enjoyable, there's not a single boring number, unlike many other discs you purchase. And to top it off, it comes at a terrific bargain price. 3 very full CDs - 75 mins, 30 mins and 65 mins - of top notch music at seven dollars a piece is incredible.

Average customer rating:

The Incomparable Bartoli Offers Great Interpreting
Very good singing!
Worthy Introduction to Mme. Bartoli
beautiful singing except for the last aria
A fun compilation of arias and songs!

Cecilia Bartoli - A Portrait
Wolfgang Amadeus Mozart , Gioachino Rossini , Giulio Caccini , Guiseppe Giordani , Alessandro Parisotti , Ion Marin , Christopher Hogwood , Riccardo Chailly , György Fischer , Lesley Schatzberger , Cecilia Bartoli , and The Academy of Ancient Music
Manufacturer: Decca
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Binding: Audio CD

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Similar Items:

Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs
Cecilia Bartoli - Mozart Portraits
Cecilia Bartoli - Mozart Arias
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet

ASIN: B000004288
Release Date: 1995-09-19

Tracks:

La Clemenza di Tito: Parto, parto, ma tu ben mio
Cosi fan tutte: Temerari!...Come scoglio
Cosi fan tutte: In uomini, in soldati
Le nozze di Figaro: Voi che sapete
Le nozze di Figaro: Giunse alfin il momento...Deh vieni
Don Giovanni: Batti, batti, o bel Masetto
Ch'io mi scordi di te?
Se tu m'ami
Caro mio ben
Amarilli
D528: La pastorella
D510: Vedi quanto adoro ancora ingrato!
Belta crudele
Semiramide: Bel raggio lusinghier
Maometto II: Giusto ciel, in tal periglio
La Cenerentola: Nacqui all'affanno... Non pita

Customer Reviews:

The Incomparable Bartoli Offers Great Interpreting.......2007-04-11

Cecilia Bartoli is nearly unparalleled in her talent. The great mezzo-soprano is widely and rightly regarded as the great operatic voice of this generation, and this record will do nothing to change that opinion.

We hear Mozart, Schubert, Rossini, and more, sung with the voice of a angel on one hand, and with power and majesty on the other. She interprets with skill and finesse, and her knowledge of the music helps to inform her performances.

For anyone who's been wanting an introduction to opera, or to Cecilia Bartoli, buying this CD is a great way to start.

Very good singing!.......2007-03-21

Cecilia Bartoli has a wonderfully rich, textured mezzo voice. This CD shows her skills to good effect. Some illustrative cuts. . . .

"Voi che sapete" from Mozart's "Le Nozze di Figaro" is richly sung. She displays a lush mezzo voice. This aria is smoothly sung; a very nice version. Her sumptuous voice interprets this piece nicely. A very satisfying version.

From "Don Giovanni," we have "Batti batti, o bel Masetto." Her rich voice does justice to this piece. There is also a nice characterization in play. Poignantly sung.

Rossini's "Belta Crudele" is smoothly sung; her rich voice does well by this piece. An effecting version. She notes of Rossini that he is "a composer to whom I feel particularly close, and in whose coloratura writing I have found a new and different expressive mode."

She takes a crack at Rossini's "Bel raggio lusinghier," normally sung by sopranos. And this does not disappoint. This work, sung by a mezzo, provides an interesting interpretation. She demonstrates agility in her technique; she shows good ornamentation. There is even a decent trill in this work, something that some current coloratura sopranos would long to equal, from my listening.

The final cut on the CD is from Rossini's "La Cenerentola," "Nacqui all'affano. . .Non piu mesta." Very well done. Her coloratura technique is rock solid. A trill during this cut would fill many sopranos with envy. She clearly shows a good coloratura sensibility. This is great stuff!

This is a good introduction to the range of skills possessed by Bartoli. A nice CD indeed.

Worthy Introduction to Mme. Bartoli.......2006-06-18

'Cecilia Bartoli, A Portrait' featuring the very same mezzo-soprano, Cecilia Bartoli is, after reviewing about a half dozen of her other albums, the best introduction to her art. It is not my favorite. Oddly enough, this is her album of French songs, which I prefer to her many collections of Italian pieces. But, this collection, at a very nice 76 minutes and change does a very good job of selecting operatic pieces with good choral and orchesteral backings.

I am not an experienced music or voice critic, but to my ear, compared to the likes of Anne Sophie Von Otter and Renee Fleming, Mme. Bartoli is a pleasantly different take on the operatic genre. She is not quite as powerful as Maria Callas, but then, who is?

beautiful singing except for the last aria.......2004-12-12

I'm not a fan of cecilia bartoli, however I find this
compilation enjoyable.
I love bartoli's rendition of sussana's "deh vieni non tardar" which is normally sung by sopranos.
the other mozart arias, the rossini arias and the songs
for voice and piano are also very good.
I can't stand bartoli's rendition of "naqui allaffanno...non piu mesta". she sings it in such an exaggerate manner, in "non piu mesta" she sounds like a strangled parrot!

A fun compilation of arias and songs!.......2000-05-22

"A Portrait" is a collage of recordings from Ms. Bartoli's career. The highlight for me (from the many enjoyable numbers) is her "Bel raggio lusinghier" from "Semiramide." I highly recommend this fine CD.

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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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:

Prastite Vy, Xalmy
Sily Patainyye
Acerba Volutta
Ah! Quel Giorno Ognor Rammento
Voi Lo Sapete
Mon Coeur S'ouvre A Ta Voix
O Don Fatale
Condotta Ell'era In Ceppi
Divinites Du Styx
J'ai Perdu Mon Eurydice
La Luce Langue
Una Macchia E Qui Tuttora

Amazon.com

Dolora Zajick is a real rarity--a true dramatic mezzo-soprano. Her voice, live and on disc, is huge and lush and absolutely even from the deepest chest tones all the way up to the high B natural. With a sound so ample, she's occasionally unsubtle, but on this recital CD, she sings Dalila's music with great gentleness and allure, while portraying Azucena (in Trovatore), Eboli (in Don Carlo) and the Princess (in Adriana Lecouvreur) with vigor, generous tone, and the correct rage. She also sings the Sleepwalking Scene from Verdi's Macbeth, rising to the high D-flat at its close softly--as Verdi wrote it and almost no soprano (let alone mezzo) can sing it. Zajick manages the coloratura from Arbace's aria in Rossini's Semiramide well enough, but it's clearly not her cup of tea. This is a thrilling recital; listening to it is like viewing a geyser--very, very impressive indeed. --Robert Levine

Customer Reviews:

Refreshing new interpretations..............2005-11-20

.........of many of the old war-horses and some rarities. I first heard Miss Zajick as Eboli in "Don Carlo" at the MET. Not since Simionato and Cossotto have I heard an Eboli of such magnitude and ease. Of course she recorded "O don fatale" here as well and how brilliantly! The Russian pieces as well as the aria by Cilea are little gems in the tiara that is this recording! Semiramide and Alceste prove that not only does she have the BOOM but also the florid abilities to sing Bel Canto. (In "Norma" she outshone Eaglen in the role of Adalgisa) The Verdi-pieces are well known and well done and Orfeo's lament left me yearning for a full recording! A long awaited recital that doesn't disappoint!

Terrifying photograph.......2005-06-20

Oh, but the instrument. So opulent. Zajick sings with reckless abandon when appropriate (and often when blatantly not so.) Immaculate diction, chest tones defying mortality, hair splitting, tooth rattling, apartment complex shaking high notes. Oh. But Christ that cover shot. I mean the hair and the camera angle and that obscene chair one must have purloined from my paternal grandmother's old farm in Richmond, Indiana...just a travesty. The voice though...heldenbariton? Coloratura soprano? Who the hell knows. A wholly compelling recital.

It's about time..........2005-04-06

Dolora is one of my idols being a dramatic mezzo myself. I find there just aren't many true dramatic mezzo's worth listening to but Dolora is the real deal, a true power house. I also feel she is ignored by the recording industry. I would love to hear more from her.

Great CD.......2004-07-29

Dolora's voice is viserally thrilling to listen too. Sometimes I think she's a soprano, and sometimes she's a Mezzo. Anyways, a great CD.. Amongst Mezzo land, she has be best high notes in the business.

Dolora is amazing!.......2004-05-25

This CD is awesome! Dolora has an incredible vocal ability! I am a high school student, and several weeks ago, I had the opportunity to actually sing on stage with her at my high school in Orem, Utah. I was blown away by the power of her voice; it made me feel insignificant. She was very kind and encouraging, and offered good advice even though I must have sounded terrible next to her.

Tracks:

Rossini Heroines: Riedi al soglio - Zelmira
Rossini Heroines: Ah, non potrian resistere - Le nozze di Teti e di Peleo
Rossini Heroines: Giusto ciel, in tal periglio - Maometto II
Rossini Heroines: Tanti affetti in tal momento - La donna del lago
Rossini Heroines: Quant'e grato all'alma mia - Elisabetta, regina d'Inghilterra
Rossini Heroines: Fellon, la pena avrai - Elisabetta, regina d'Inghilterra
Rossini Heroines: Ah! che invan su questo ciglio - Maometto II
Rossini Heroines: Serena i vaghi rai... Bel raggio lusinghier - Semiramide

Customer Reviews:

Incredible.......2006-04-06

This is my favorite Bartoli recording. Her rich mezzo-soprano voice feels custom-made for Rossini. I own this CD-it's my second copy, I wore out the first one!

If you are browsing here in search of your first Cecilia Bartoli CD, this is it. It's one of the CDs I can't live without.

5+ stars!

A fine disk of selections from Rossini operas by one of the premier mezzo-sopranos.......2005-12-30

Bartoli is one of the premier mezzo-sopranos currently singing. This music shows off her vocal flexibility and emotional range quite well. Rossini is the right kind of composer for her musical gifts because he allows the voice to sing beautifully and without pushing it to extremes. Bartoli displays her dynamic range, from a whisper to a full forte while maintaining a singing tone. Her range from low notes to high soprano notes is quite impressive and delights the listeners (as she and the composer fully intend).

Here she sings numbers from various Rossini operas with full orchestral accompaniment and some chorus to provide context. However, the point is much less the drama than the vocal display the selection allows Bartoli.

The notes provided that describe each of the works is very helpful as are the supplied lyrics and English translation.

This is a very pleasurable disk and one you can listen to many times and still find new delights. The only thing that I find the least bit difficult is when Bartoli resorts to aspirating vowels (putting an "h" on each note of the vowel) in runs and melismas. She doesn't do it all the time, but it is jarring for me when she does. It is really a flaw, but a minor one given all her great gifts and talents. It just gets in the way, however.

That being said, I still recommend the disk and say, ENJOY! Learn to love opera and it will enhance your life. Really, it will!

Best CD by Bartoli!.......2001-09-04

The most enjoyable Bartoli CD for me was "Potrait".
Other than that, this is one of the enjoyable CDs from Her.
Money worthy CD with Belcanto Style.

Stunning.......1999-02-24

Everything about this CD is perfect. The music is great, her singing incredible, the production just right. This one will grow on you and sound fresh or different 5 years down the line. Warning: this recording got me into opera!

This is my favorite Cecilia Bartoli recording........1998-10-11

This artist's voice is hypnotic and compelling, very rich and expressive. I recommend this recording even for those who are not opera fans, as I am not. If you enjoy exquisite sound, you should hear this recording-a treat for the connosseur of any type of vocal music. I am presently on my second copy of this recording-I wore the first one out. My personal favorite is track 3, Giusto Ciel...

Average customer rating:

Marilyn Horne scintillates
One Of The Greatest Voices of All!
Not 100% satisfied with the selections, but what artistry!
Vive Madame Horne !

Just for the Record: The Golden Voice

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ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Spectacular Voice of Marilyn Horne: Rossini / Horne
Great Duets & Trios / Sutherland, Horne, Pavarotti
Dolora Zajick - The Art of the Dramatic Mezzo-Soprano
An American Songbook [Australia]
La Stupenda ~ The Supreme Voice of Joan Sutherland

ASIN: B0000TAYR0
Release Date: 2003-11-11

Tracks:

L'amour Est Un Oiseau Rebelle (Habanera)
Mon Coeur S'ouvre A Ta Voix
Eccomi Al Fine In Babilonia
Cruda Sorte!
Hence, Iris, Hence Away
Dove Sei, Amato Bene?
Che Disse! Che Ascoltai!
Addio, Addio O Miei Sospiri
O Pretres De Baal... O Toi, Qui M'abandonne
Elle Est La! Pres De Lui!
Mura Felici
Tanti Affetti

Tracks:

Superbo Di Me Stesso
Il Segreto Per Esser Felici - London Symphony Chorus
Mi Chiami, O Norma!
Deh! Con Te, Con Te Li Prendi
Mira, O Norma
Si, Fino All'ore Estreme
Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
Non Son Tuo Figlio? - Luciano Pavarotti
Mal Reggendo - Luciano Pavarotti
E Un Anatema! - Renata Tebaldi
Nacht Und Traume, D 827
Abendlied
Traume
Jesus De Nazareth
Shenandoah
I Bought Me A Cat
The Lord's Prayer
Somewhere
At The River (Lowry)
Jeannie With The Light Brown Hair

Customer Reviews:

Marilyn Horne scintillates.......2007-05-20

This 2-CD set includes 32 separate "cuts." Thus, it provides a perspective on the broad range of works that Marilyn Horne mastered. While some pockets of work may be given somewhat short shrift (e.g., Rossini), overall this shows off her skills nicely. Born in Bradford, Pennsylvania (one of the coldest places in the nation during winter), she made her operatic debut in 1954. In liner notes copyrighted in 2003, she notes that: "Can't believe it's time for a 70th birthday celebration. . . ." And neither can I, since I recall hearing her perform at the Met (via the old Texaco opera show), and it does not seem all that long ago!

Some cuts well depict her artistry across a range of genres and composers.

The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.

"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.

From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.

Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.

"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.

From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."

Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, with

1. Sinfonia
2. Si .. Gran Nume .. T'intesi (Oroe)
3. Suoni Festevoli (Popolo)
4. LÀ Da! Gange A Te Primiero (Idreno)
5. Di Plausi Qual Clamor (Popolo)
6. Di Tanti Regi E Popoli (Oroe)
7. Ah! GiÀ Il Sacro Foco È Spento (Tutti)
8. Eccom Alfine In Babilonia (Arsace)
9. Ah! Quel Giorno Ognor Rammento (Arsace)
10. Lo T'attendava, Arsace (Oroe )
11. Bella Imago ( Arsace)
12. Serena I Vaghi Ra! (Coro)
13. Bel Raggio Lusinghier (Semiramide)
14. (Semiramide)
15. (Semiramide)
16. (Semiramide)
17. (Semiramide - Arsace)
18. Marcia
19. Ergi Omai La Fronte Altera (Coro)
20. I Vostri Voti Omai (Semiramide)