Trionfi (Trittico teatrale): Carmina Burana, Catulli Carmina, and Trinfo di Afrodite

Editorial Reviews
Amazon.com
Jochum's Orff is about as good as it gets, full of the vibrant energy that suffuses the works in this triptych, but he also makes the most of the music's lyric passages. Orff, who ought to know, called Jochum's versions of his work "definitive." Though longtime favorite Carmina Burana is an oft-recorded staple, Jochum's 1952 first version still more than holds its own even with outstanding stereo competition. This set also offers the only compilation of all three works, and if you like Carmina Burana, you'll probably like them, too. They share their more popular sibling's power and rhythmic drive and the excitement offered by endless rounds of prominent percussion, pounding ostinatos, and catchy tunes. Catulli Carmina is based on poems of Catullus. Trionfo, based on poems by Catullus, Sappho, and Euripides, is, like Stravinsky's Les Noces, a wedding cantata. The sound, especially in the first two works, is amazingly fresh; only the lack of stereo and traces of not very troublesome distortion hint at the recording's age. But the excellent soloists come up clear and the big moments have plenty of impact. DG doesn't supply the often bawdy texts, but does provide a scene-by-scene synopsis. It's good to have these classic performances back. --Dan Davis

Trionfi (Trittico teatrale): Carmina Burana, Catulli Carmina, and Trinfo di Afrodite, Music, Carl Orff, Eugen Jochum, Chorus and Orchestra of the Bavarian Radio, Cantata, Choral, Classical, Classical Composers, Classical Music, German/Austrian 20th/21st Century Opera, Opera, Opera / Operetta / Oratorio
Trionfi (Trittico teatrale): Carmina Burana, Catulli Carmina, and Trionfo di Afrodite
Average customer rating: 4.5 out of 5 stars
  • A driven performance.
  • a wonderful music...
  • ribald, raw, and wonderful !
 Trionfi (Trittico teatrale): Carmina Burana, Catulli Carmina, and Trionfo di Afrodite
Carl Orff , Eugen Jochum , and Chorus and Orchestra of the Bavarian Radio
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Braun, HansBraun, Hans | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
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Deutsche Grammophon: MusicDeutsche Grammophon: Music | Specialty Stores | Music
Similar Items:
  1. Carl Orff: Catulli Carmina/Trionfo Di Afrodite
  2. Carl Orff: Carmina Burana
  3. Ives: The Symphonies / Orchestral Sets 1 & 2
  4. Alban Berg: Lulu Suite/The Wine/Lyric Suite
  5. Carl Orff: Die Kluge/Der Mond

ASIN: B00006L77F
Release Date: 2003-01-14

Amazon.com

Jochum's Orff is about as good as it gets, full of the vibrant energy that suffuses the works in this triptych, but he also makes the most of the music's lyric passages. Orff, who ought to know, called Jochum's versions of his work "definitive." Though longtime favorite Carmina Burana is an oft-recorded staple, Jochum's 1952 first version still more than holds its own even with outstanding stereo competition. This set also offers the only compilation of all three works, and if you like Carmina Burana, you'll probably like them, too. They share their more popular sibling's power and rhythmic drive and the excitement offered by endless rounds of prominent percussion, pounding ostinatos, and catchy tunes. Catulli Carmina is based on poems of Catullus. Trionfo, based on poems by Catullus, Sappho, and Euripides, is, like Stravinsky's Les Noces, a wedding cantata. The sound, especially in the first two works, is amazingly fresh; only the lack of stereo and traces of not very troublesome distortion hint at the recording's age. But the excellent soloists come up clear and the big moments have plenty of impact. DG doesn't supply the often bawdy texts, but does provide a scene-by-scene synopsis. It's good to have these classic performances back. --Dan Davis

Customer Reviews:

4 out of 5 stars A driven performance........2007-06-10

This is one of the very few recordings that are or were ever available of Carl Orff's complete Trionfi, a trilogy of dramatic cantatas written between 1937 and 1953, of which the first, Carmina Burana, is the most famous.
The inevitable desire to compare this performance of Carmina Burana to the more well-known one Jochum recorded in 1968 (also for DG) reveals the essential character of this entire recording: the solo singers here are not nearly as smooth or varied in vocal color as on the '68, and the Bavarian Radio Symphony is a much grittier-sounding ensemble than the Orchestra of the German Opera, Berlin. (Language aficionados will also enjoy comparing the different pronunciations of the vulgate Latin and Middle High German lyrics between the two.) On the other hand, this earlier performance has more edge and drive. There is, in fact, a rawness and a rhythmic vitality to the performances of all three works here that, to my ear, serve the music brilliantly. If you want slick and clean, this is probably not the recording to get. But if you want a performance with sonic bite and gripping interpretation, this one delivers.
NOTE: All three works are recorded in mono, albeit with rather high fidelity.

5 out of 5 stars a wonderful music..........2006-07-04

...with a competent conductor, admirable interpreters and an unique orchestra. I recommend this item strongly. Extraordinary.

5 out of 5 stars ribald, raw, and wonderful !.......2004-12-26

Rousing and wild, this is a fabulous recording of Orff's "Carmina Burana". It has a lot of lively fire to it, and has not been tamed in the sudden soft/loud changes, making it one of your neighbor's worst nightmares, second only to Wagner operas. "Carmina Burana" is a favorite of Madison Avenue ad-meisters, and is used on TV to sell everything from movie promos to toilet bowls, so even if you have not heard this piece, there are portions (especially the "O Fortuna") that will sound familiar. This piece is written in "dog-Latin and low-life German", based on 13th century songs found in a Bavarian monastery, and is cetainly one of the most unique pieces of 20th century music.

"Catulli Carmina" is based on the erotic poems of Catullus (84-54 BC), and "Trionfo di Apfrodite" on poems by Catullus, Sappho, and Euripides. Both pieces echo "Carmina Burana" somewhat, except they are a little more civilized, but nonetheless interesting.
Eugen Jochum's interpretations are masterful, with much precision and vigor, and the soloists and chorus excellent. The recordings are from the mid 1950s and are in mono, and considering the age the sound is adequate.
The booklet insert contains a track list, and liner notes on Jochum and the compositions.

Disc One: "Carmina Burana" (1937), soloists: Elfride Trotschel, soprano, Paul Kuen, tenor, Hans Braun, baritone.
Total playing time is 55'39.
Disc Two: "Catulli Carmina" (1943), soloists: Annelies Kupper, soprano, Richard Holm, tenor.
"Trionfo di Afrodite" (1953), soloists: Annelies Kupper, soprano, Elisabeth Lindermeier, soprano, Elizabeth Wiese-Lange, soprano, Richard Holm, tenor, Ratko Delorko, tenor, Kurt Bohme, bass.
Total playing time is 76'38.
Carl Orff: Trionfi
Average customer rating: 5 out of 5 stars
  • The best version of Carmina Burana I've ever heard
  • The 20th centuries greatest collection
 Carl Orff: Trionfi

Manufacturer: Berlin Classics
ProductGroup: Music
Binding: Audio CD

All Works by OrffAll Works by Orff | Orff, Carl | ( O ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
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CantatasCantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
Modern & 20th CenturyModern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
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GermanGerman | Languages | Opera & Vocal | Styles | Music
CantatasCantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000035OC
Release Date: 1995-02-13

Tracks:

  1. Carmina Burana, Fortuna Imperatrix Mundi: 1. O Fortuna - Rundfunkchor Leipzig/Horst Neumann
  2. Carmina Burana, Fortuna Imperatrix Mundi: 2. Fortune Plango Vulnera - Rundfunkchor Leipzig/Horst Neumann
  3. Carmina Burana, I. Pirmo Vere: 3. Veris Leta Facies - Rundfunkchor Leipzig/Horst Neumann
  4. Carmina Burana, I. Pirmo Vere: 4. Omnia Sol Temperat - Karl-Heinz Stryczek
  5. Carmina Burana, I. Pirmo Vere: 5. Ecce Gratum/Uf Dem Anger - Rundfunkchor Leipzig/Horst Neumann
  6. Carmina Burana, I. Pirmo Vere: 6. Tanz - Rundfunkchor Leipzig/Horst Neumann
  7. Carmina Burana, I. Pirmo Vere: 7. Floret Silva - Rundfunkchor Leipzig/Horst Neumann
  8. Carmina Burana, I. Pirmo Vere: 8. Chramer, Gip Die Varwe Mir - Rundfunkchor Leipzig/Horst Neumann
  9. Carmina Burana, I. Pirmo Vere: 9. Reie/(Andante Poco Esitante)/Swaz Hie Gat Umbe/Chume, Chum.... - Rundfunkchor Leipzig/Horst Neumann
  10. Carmina Burana, I. Pirmo Vere: 10. Were Diu Werlt Alle Min - Rundfunkchor Leipzig/Horst Neumann
  11. Carmina Burana, II. In Taberna: 11. Estuans Interius - Karl-Heinz Stryczek
  12. Carmina Burana, II. In Taberna: 12. Olim Lacus Colueram - Horst Hiestermann/Rundfunkchor Leipzig/Horst Neumann
  13. Carmina Burana, II. In Taberna: 13. Ego Sum Abbas - Karl-Heinz Stryczek/Rundfunkchor Leipzig/Horst Neumann
  14. Carmina Burana, II. In Taberna: 14. In Taberna Quando Sumus - Rundfunkchor Leipzig/Horst Neumann
  15. Carmina Burana, III. Cour D'Amours: 15. Amor Volat Undique/Siqua Sine Socio - Celestina Casapietra/Rundfunkchor Leipzig/Horst Neumann
  16. Carmina Burana, III. Cour D'Amours: 16. Dies, Nox Et Omnia - Karl-Heinz Stryczek
  17. Carmina Burana, III. Cour D'Amours: 17. Stetit Puella - Celestina Casapietra
  18. Carmina Burana, III. Cour D'Amours: 18. Circa Mea Pectora - Karl-Heinz Stryczek/Rundfunkchor Leipzig/Horst Neumann
  19. Carmina Burana, III. Cour D'Amours: 19. Si Puer Cum Puellula - Rundfunkchor Leipzig/Horst Neumann
  20. Carmina Burana, III. Cour D'Amours: 20. Veni, Veni, Venias - Rundfunkchor Leipzig/Horst Neumann/Dresden Kapellknaben/Konrad Wagner
  21. Carmina Burana, III. Cour D'Amours: 21. In Trutina - Celestina Casapietra
  22. Carmina Burana, III. Cour D'Amours: 22. Tempus Est Iocundum - Celestina Casapietra/Karl-Heinz Stryczek/Rundfunkchor Leipzig/Horst Neumann
  23. Carmina Burana, III. Cour D'Amours: 23. Dulcissime - Celestina Casapietra
  24. Carmina Burana: Blanziflor Et Helena: 24. Ave Formosissima - Rundfunkchor Leipzig/Horst Neumann
  25. Carmina Burana: Fortuna Imperatrix Mundi: 25. O Fortuna - Rundfunkchor Leipzig/Horst Neumann
  26. Catulli Carmina, Praelusio: Eis Aiona/In Te Habitant Omnia Gaudi/O Res Ridicula/Sublata Lucerna - Rundfunkchor Leipzig/Horst Neumann

Tracks:

  1. Catulli Carmina, Actus I: I. Odi et Amo/II. Vivamus, Mea Lesbia/III. Ille Mi Par Esse Deo Videtur... - Ute Mai/Eberhard Buchner/Rundfunkchor Leipzig/Horst Neumann
  2. Catulli Carmina, Actus II: VI. Jucundum Mea Vita/VII. O Mea Lesbia - Ute Mai/Eberhard Buchner/Rundfunkchor Leipzig/Horst Neumann
  3. Catulli Carmina, Actus III: VIII Odi Et Amo/IX. Amabo, Mea Dulcis Ipsitilla/X. Ameana Puella... - Ute Mai/Eberhard Buchner/Rundfunkchor Leipzig/Horst Neumann
  4. Catulli Carmina, Exodium: Eis Aiona Tui Sum! - Rundfunkchor Leipzig/Horst Neumann
  5. Trionfo Di Afrodite: I. Canto Amebeo Di Vergani E Giovani A Vespero In Attesa Della Sposa E Dello... - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  6. Trionfo Di Afrodite: II. Corteo Nuziale Ed Arrivo Della Sposa E Dello Sposo - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  7. Trionfo Di Afrodite: III. Sposa E Sposo: Za Telexaman Onar Kyprogenaia/Espere, Espere Panta Phereis. - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  8. Trionfo Di Afrodite: IV. Invoazione Dell' Imeneo - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  9. Trionfo Di Afrodite: IV. Inno All' Imeneo/V. Ludi E Canti Nuziale Davanti Al Talamo - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  10. Trionfo Di Afrodite: V. La Sposa Viene Accolta/Claustra Pandite Ianuae/Flere Desine, Non Tib' .... - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  11. Trionfo Di Afrodite: V. La Sposa Viene Condotta Alla Camera Nuziale/Tollit' , O Pueri Faces - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  12. Trionfo Di Afrodite: V. Epitalamo: Lam Licet Venias/Ille Pulveris Africi - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  13. Trionfo Di Afrodite: VI. Canto Di Novelli Sposi Dal Talamo - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...
  14. Trionfo Di Afrodite: VII. Apparizione Di Afrodite - Isabella Nawe/Eberhard Buchner/Renate Krahmer/Regina Werner/Karl-Heinz Stryczek/Horst Hiestermann...

Customer Reviews:

5 out of 5 stars The best version of Carmina Burana I've ever heard.......2006-08-02

We own several versions of Orff's Carmina Burana, including this one, Robert Shaw conducting the Atlanta Symphony Orchestra and André Previn conducting the LSO. This recording features a great orchestra well-balanced with a great chorus and soloists for the finest recording I've yet heard. Since there are so many versions that have been recorded, I would never have guessed that Kegel and the Leipzig Radio Symphony Orchestra and Chorus would trump the rest if not for a friend's excellent recommendation.

5 out of 5 stars The 20th centuries greatest collection.......2000-06-13

Carl Orff's Carmina Burana is an extremely wonderful piece. A must for classical collectos the O Fortuna is recognizable to just about anyone and the level at which the choir performs is simply outstanding
Boito: Mefistofele
Average customer rating: 5 out of 5 stars
  • A discovery of pleasure
  • We don't get to see recordings like this issued anymore
  • Beautiful!
 Boito: Mefistofele

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Boito, Arrigo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
ASIN: B000006M8U
Release Date: 1985-06-17

Customer Reviews:

5 out of 5 stars A discovery of pleasure.......2005-08-27

I found this opera becuase I was tracking Caballe's recordings... Alas! I listened to it once, and twice and a million times! I didn't know anything about this opera and it is now one of my favorites... I've read about its shortcomings, etc... Who cares! It has the geat prologue, the coral parts, and the great solos and duets... Everything is here if one wants to enjoy, I guess.
This was my first MEFISTOFELE, I got many more afterwards, but I keep coming back to this and to the DVD from San Francisco Opera (thanks for that visual feast!).
What can I say about the singers here? First rate! Sound is great too.

5 out of 5 stars We don't get to see recordings like this issued anymore.......2003-11-26

In our day and age when corporate interests, contracts, and big egos prevail over the interests of Art, can anyone imagine a collaboration of four megastars for a complete opera recording? The most we're ever likely to get is a tired husband-and-wife cutesy that EMI supplies in abundance lately - a venture that attests to corporate interests before anything else. However, back in 1985, when Decca wasn't busy recording another installment of the Watson tragedies, it issued this incredible complete recording of Boito's most known opera with two leading lyric sopranos - Montserrat Caballé and Mirella Freni as Helen of Troy and Marguerite respectively. To make the set better still, Nicolai Ghiaurov and Luciano Pavarotti, both in very good voice, are cast as Mephistopheles and Faust. Sadly, this recording wasn't available for the longest time, and people turned to inferior versions instead. Well, you have got to hurry and get this set before it becomes unavailable once again.

For me personally, the purchase decision was mainly influenced by the fact that conductor Oliviero de Fabritiis cast the most demonic-sounding basso in history - Nicolai Ghiaurov - to sing the title role. Well-known for his several recordings of Gounod's version of the devil, Ghiaurov's recordings of Boito are scarce. His interpretation is of larger-than-life, no-holds-barred type; he fires all the canons of his huge basso for the maximum effect. His Mefistofele is definitely a ruler of its own kind, defiant and triumphant. As the title character, he holds the action together and forcefully propels it forward.
Mirella Freni's gorgeous silky soprano is incredibly suited for the role of Marguerite, Gounod's or Boito's equally. Boito's version is more touching and less rebellious than Gounod's, and there's a great achingly beautiful verismo-style aria "L'altra notte in fondo al mare". She also looks the part, and I can't wait until Decca opens up its vaults and we get to see her Marguerite on video. Freni isn't afraid to make an "ugly" sound when the situation calls for it, Marguerite's plight is vividly depicted and her nobility shines as she resist the love that's tingled with evil.
In a brilliant stroke of luxury casting, Montserrat Caballé (an equally good Marguerite in Rudel's EMI recording) is cast as Helen of Troy. While great diva's heyday is often said to be 1960's and 70's, this 1982 recording finds her in excellent vocal shape, easily gliding over Helena's difficult tessitura. Unlike most of her heroines, Helena is very seductive and even ethereal. Needless to say, Caballé's mesmerizing voice is a perfect vehicle for conveying these qualities of a love goddess.
Luciano Pavarotti's bright silvery tenor can sound a bit too youthful at times to portray a world-wary, chivalrous, and seductive Faust. But he heavily draws on the ardent and cajoling resources (familiar to his fans from "Rigoletto") to present a convincing, if not particularly likable character. Boito deliberately keeps Faust in the shadow of Mephistopheles to show that the latter acts like a puppeteer to the former. It's obvious that Faust cannot resist the devil's temptations and plunges into his new feelings heart and soul. The duet "Lontano, lontano", and aria "Dai campi dai prati" are absolutely lovely and sang gloriously.
A lot of critics said that Act IV seems like a strange add-on and takes away from the opera's central story. Well, with these singers, it makes for a great listening experience, regardless of the Act IV relevance.
Oliviero de Fabritiis works up a storm with National Philharmonic Orchestra, and the choruses are first rate.
The recording is early DDD and it's actually pretty good, save for just a couple of moments when singers' voices overwhelm the equipment. Most buyers' choice will be between this set and EMI budget set with Normal Treigle in title role. While the latter set is very good, it does not have a) digital recording, b) a Helen of Caballé's caliber, c) Nicolai Ghiaurov (although Treigle is an excellent, if smaller, basso), and d) Decca's wonderful presentation with 186-page booklet and slip case. These factors combined swayed this customer in favor of Decca's set.

5 out of 5 stars Beautiful!.......2003-04-06

This is a vastly underrated opera. Filled with some of the most beautifully melodic music, this recording is a must for all Italian opera lovers. Yes, the story may lack focus, with a rather strange trip to Helen of Troy in the last act.
The orchestra is in top shape under the baton with Fabritiis. He conducts with strength and sweep.
Freni is the star here. In her long scene in act II she sounds like the crazed Margarita, full of passion, anger, tenderness and great breath control. She is so dramatic, dropping into chest register frequently, never covered by the orchestra as so many sopranos are (who don't use chest). Her spoken "Taci" in act II gives me shivers and goose bumps. The death scene is breath-taking!
Pavarotti also gives a magnificent recording, done well before he sang as if he doesn't care. Golden tone and excellent diction help him build the character of Faust. He and Freni blend beautifully in their "Lontano" duet, some of the most incredible singing I've ever heard.
Ghiaurov sings very well, as well. His voice is HUGE and so well suited to devils. A few moments of strain add to the dominance of the character.
Caballe is Elena of Troy. I've never been a great fan of her singing but she is dramatic and passionate. Her duet with Pavarotti is one of my favorite all time melodies that always makes me smile. Her high C at the end is less that perfect (I wish Freni had taken the role as well).
Great recording of a great opera! Highly recommended
Peri - Euridice / Banditelli · Fagotto · Cecchetti · Zambon · Foresti · Bertini · Benvenuti · Zanasi · Ensemble Arpeggio · de Caro
Average customer rating: 4.5 out of 5 stars
  • The first complete opera to have survived in a fine recording
  • Complete opera at mid-price
 Peri - Euridice / Banditelli · Fagotto · Cecchetti · Zambon · Foresti · Bertini · Benvenuti · Zanasi · Ensemble Arpeggio · de Caro
Sergio Foresti , Rossana Bertini , Monica Benvenuti , Furio Zanasi , and Paolo Da Col
Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Baroque (c.1600-1750)Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
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ASIN: B000005AQ4
Release Date: 1996-06-18

Tracks:

  1. Prologue: Io, Che D'alti Sospir Vaga E Di Pianti - Gloria Banditelli
  2. Scene I: Ninfe, Ch'i Bein Crin D'oro - Sergio Foresti/Mario Cecchetti
  3. Scene I: Vaghe Ninfre Amorose - Monica Benvenuti
  4. Scene I: Donne, Ch'a' Miei Diletti - Gloria Banditelli
  5. Scene I: Credi, Ninfa Gentile - Mario Cecchetti
  6. Scene I: In Mille Guise E Mille - Gloria Banditelli
  7. Scene I: Al Canto, Al Ballo All'ombra, Al Prato Adorno - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
  8. Scene II: Antri, Ch'a' Miei Lamenti - Gian Paolo Fagotto
  9. Scene II: Sia Pur Lodato Il Ciel, Lodato Amore - Giuseppe Zambon
  10. Scene II: Tirsi Viene In Scena Sonando La Presente Zinfonia - Paolo Da Col
  11. Scene II: Deh Come Ogni Bifolco, Ogni Pastore - Giuseppe Zambon
  12. Scene II: Lassa! Che Di Spavento E Di Pietate - Rossana Bertini
  13. Scene II: Per Quel Vago Boschetto - Rossana Bertini
  14. Scene II: Non Piango E Non Sospiro - Gian Paolo Fagotto
  15. Scene II: Ahi! Mort'invid'e Ria - Giuseppe Zambon
  16. Scene II: Sconsolati Desir, Gioie Fugaci - Mario Cecchetti
  17. Scene II: Cruda Morte, Hai! Pur Potesti - Monica Benvenuti
  18. Scene III: Se Fato Invido E Rio - Giuseppe Zambon
  19. Scene III: Con Frettoloso Passo - Giuseppe Zambon
  20. Scene III: Io Che Pensato Havea Di Starmi Ascoso - Giuseppe Zambon
  21. Scene III: Se De' Boschi I Verdi Onori - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
  22. Scene III: Poi Che Dal Bel Sereno - Mario Cecchetti

Tracks:

  1. Scene IV: Scorto Da Immortal Guida - Monica Benvenuti
  2. Scene IV: L'oscuro Varc'onde Siam Giunti A Queste - Monica Benvenuti
  3. Scene IV: Funeste Piagge, Ombrosi Orridi Campi - Gian Paolo Fagotto
  4. Scene IV: Ond'e Cotanto Ardire - Furio Zanasi
  5. Scene IV: Dhe, Se La Bella Diva - Gian Paolo Fagotto
  6. Scene IV: Dentro L'infernal Porte - Furio Zanasi
  7. Scene IV: O Re, Nel Cui Sembiante - Gloria Banditelli
  8. Scene IV: A Si Soavi Preghi - Gian Paolo Fagotto
  9. Scene IV: Sovra L'eccelse Stelle - Sergio Foresti
  10. Scene IV: Trionfi Oggi Pieta Ne' Campi Inferni - Furio Zanasi
  11. Scene IV: Poi Che Gl'eterni Imperi - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
  12. Scene V: Gia Del Bel Carro Ardente - Giuseppe Zambon
  13. Scene V: Voi, Che Si Ratt'il Volo - Mario Cecchetti
  14. Scene V: Quand'al Tempio N'andaste, Io Mi Pensai - Mario Cecchetti
  15. Scene V: Chi Puo Del Cielo Annoverar Le Stelle - Mario Cecchetti
  16. Scene V: Gioite Al Canto Mio, Selve Frondose - Gian Paolo Fagotto
  17. Scene V: Quella, Quella Son'io Per Cui Piangeste - Gloria Banditelli
  18. Scene V: Modi Or Soavi Or Mesti - Gian Paolo Fagotto
  19. Scene V: Felice Semideo, Ben Degna Prole - Mario Cecchetti
  20. Scene V: Ritornello Strumentale - Ens Arpeggio/Roberto De Caro
  21. Scene V: Biond'arcer, Che D'alto Monte - Gloria Banditelli

Customer Reviews:

5 out of 5 stars The first complete opera to have survived in a fine recording.......2005-11-01

Opera grew out of the court festivals of late sixteenth century Italy. The nobles were quite interested in all the arts and employed skilled painters, sculptors, poets, and musicians. There was also a great deal of interest in reviving all things Greek because they were seen as the ideal model for all things intellectual. Reviving Greek music involved a great deal of conjecture and imagination because only a few fragments of their music survive and it is by no means agreed upon, even to this day, what they actually mean. One of the groups of Florentine intellectuals surrounded a Count Bardi, which he called the Camerata. They wrote letters to each other, so we have some idea of their thoughts about what it was they were trying to do.

They called what they did the "New Music" or the "Second Practice" and music students learn to call this style monody (solo voice with simple accompaniment). It caused quite a furor among those who were proponents of the older style of counterpoint. One of those who opposed Monteverdi was a fellow named Artusi. Every music student reads his articles against those composers with "smoke in their heads". And of course, Artusi always comes out on the wrong side of history and made to look the fool. However, the art of these composers was shocking and their free use of dissonance compared to the rules of Zarlino and the practice of Palestrina, Ockeghem, Josquin, and others is jarring. However, we have a hard time hearing the difference in these musical styles unless you pay close attention and develop some familiarity with what the argument was all about.

Some of these Second Practice composers came to believe that the Greeks sang their plays from beginning to end. This is almost certainly not true, but the point was they believed it. Composers such as Caccini, Peri, and Monteverdi developed a style of solo singing they felt captured this idea and called it the "stile rappresentativo" (the representative style). It is this recitative style that Caccini and Peri used in developing their art. When you listen to Peri's "Euridice" you will notice that most of it is a very expressive version of what we would call recitative - the almost spoken parts between the arias - and that the aria as even Monteverdi developed it a few years later is almost nonexistent. If you understand that they were trying to recapture the Greek storytelling that they believe was a sung style, this makes a great deal of sense.

In fact, this kind of work was not called "opera" until the mid-seventeenth century (opera simply means "work" as in a work of art). Before that term came into general use, the composers referred to their works as musical fables or music dramas. However, our referring to all of it as opera makes sense given the genealogy of the art form.

Peri's "Euridice" is the first surviving opera we have in complete form. His "Dafne" came first, but is now lost. Caccini was a court rival and was working on his own version of "Euridice" and at the first performance there was apparently a mix of the two composer's works. But the nod is given to Peri and Caccini published his own version, but he completed his version later. It is interesting the Monteverdi also did a version of this myth, but called his "Orfeo".

This is a beautiful recording of this work. It is important to know that even though the complete opera in printed form survives, there is a great deal that is not in the score. A great deal of scholarship and artistic sensitivity has to go into recreating a version of this opera that both succeeds musically and has some claim of authenticity to Peri's intentions for performance.

You will also note the vocal style has nothing to do with Verdi or Wagner. This was for a much smaller hall with only a few hundred of the nobility present. And while it was first performed for a wedding festival and did not please those for whom it was written, it began a four hundred year development of an art form that millions adore and consider to be one of mankind's great achievements. I am one of them.

Enjoy! There is a very helpful booklet with these disks to help you understand the history and the libretto is provided in English and Italian.

4 out of 5 stars Complete opera at mid-price.......1999-03-18

As Peri's Dafne of 1598 is largely lost this work of 1600 counts as "the first ever opera" (CD Box). With Gloria Banditelli as Euridice obviously this is a subtantial release for lovers of early opera.

Recorded in Bologna in 1992. Full libretto and English translation. Total time 101'40.
Renaissance of the Spirit: the music of Orlando di Lasso and his contemporaries
Average customer rating: 4.5 out of 5 stars
  • Stylish and perfectly historically aware performances in gorgeous sound
  • A question of "arrangements" but very good otherwise
 Renaissance of the Spirit: the music of Orlando di Lasso and his contemporaries

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Perotin / The Hilliard Ensemble
  2. Machaut: La Messe de Nostre Dame; Songs from Le Voir Dit
  3. Obrecht: Missa O lumen ecclesiae; Missa Malheur me bat /ANS Chorus * Bali
  4. The Recorder: 4 Centuries of Recorder Music
  5. Heinrich Isaac: Missa De Apostolis

ASIN: B00004TDYM
Release Date: 2000-05-23

Tracks:

  1. Passan Vostri Triomphi
  2. Lauda Anima Mea
  3. Recorder Piece No. 18
  4. Tibi, Christe, Splendor Patris
  5. Pavane And Gaillarde
  6. Ave Maria
  7. S'io Fusse Ciaul'et Tu Lo Campanile
  8. Respice In Me
  9. Recorder Piece No. 10
  10. Pater Noster - Ave Maria
  11. Tutto Lo Di Mi Dici, 'Canta, Canta'
  12. Ave Maria
  13. Petrarca 10, I Vo Piangendo
  14. Bona Est Oratio Cum Ieiunio
  15. Dapoi Che Sotto 'I Ciel Cosa Non Vidi
  16. Peccavi
  17. Par Ch'hai Lasciato De Non T'Affaciare
  18. Recorder Piece No. 20
  19. Credo
  20. Benedictus Dominus Deus
  21. Omnia Tempus Habent

Customer Reviews:

5 out of 5 stars Stylish and perfectly historically aware performances in gorgeous sound.......2005-07-13

Erik van Nevel is a performing musician who also teaches choral conducting, chamber music and early music performance practice at the Lemmens Institute in Leuven. He conducts workshops and courses and master classes for choral and ensemble singers, as well as conductors, focusing both on general choral and conducting technique and on more specific performance practices.

There was a period when performances of Renaissance works performed on instruments or with instrumental doubling of vocal parts came to be frowed upon in preference to a capella performances. Around the time this recording was released things had come full circle and both approaches came to be embraced. Erik van Nevel is clearly a scholar fully aware of the latest thoughts in these matters and the listener can rest assured that in matters of performance practice he knows perfectly well what he is doing. The suggestions of ignorance from the previous reviewer should be turned instead on the reviewer himself.

Recordings by Erik van Nevel tend to be terribly difficult to get a hold of, even though he is as good as or better than many of other better known performers in the field of Renaissance polyphony. So this recording should be heartily welcomed by all lovers of Renaissance music. The selection of music here is all wonderfully chosen to illustrate the musical tendencies amongst Lassus' contemporaries, although the much earlier composers Févan, Dufay and Ciconia also make something of a surprise appearance too. So even the slightly hodge podge anthological nature of the CD fails to detract from the fact that most of these works are otherwise unobtainable and above all immensely rewarding to listen to. Particularly noteworthy are the 'Respice in me' by Rogier, the Gombert 'Ave maria' and the de Monte 'Bona est oratio cum ieiunio' just to name a couple of works.

Given that van Nevel's performances can be quite revelatory, he really does deserve to be recorded much more often than he is. And when he has been recorded it has always been in boxy limited sound, so the spectacular audiophile recording he receives here is an embarrassment of riches. A DSD processing system was used along with the usual expertise of the Telarc recording team. The sound-staging is stunning, with wonderful detail, and the typical DSD refinements in sound. It is like taking the cotton wool out of your ears. This may be the most sumptuously recorded Renaissance music CD available today.

Ivan Moody on Goldberg early music magazine had this to say:

"This is a brilliantly accomplished recording in which a smaller group of players from I Fiamminghi shows a real grasp of the idiom of this repertoire. Currende sing with passion and conviction, and are not afraid to allow the darker, meditative aspect of much of this music come out (try Clemens's Ave Maria, for example, or de Monte's Bona est oratio cum ieiunio, for example, where the long-breathed lines of this penitential work are really shaped so that the ensuing harmonic flow seems effortless). I Fiamminghi impress by their slick rhythmic phrasing, their unanimity and their smoothness of sound: the sensation on hearing the very first chord of the first track (an instrumental rendition of Lassus' Passan vostri triomphi) is that one has walked into a velvet cathedral of sound."

Telarc - please can we have more!

4 out of 5 stars A question of "arrangements" but very good otherwise.......2000-06-20

Spanning the years 1430-1600, the Telarc (CD 80521) offers up to 21 examples of Spanish music that provide 67 minutes of absolutely gorgeous orchestral and vocal renditions of pieces known mostly to specialists and scholars. In fact, the featured group, I Fiamminghi, is named after the Italian name for musicians from Flanders who enhanced the Renaissance with their compositions. For "a more authentic performance," four recorders and a lute were added to the usual complement of players. For the vocal selections, they are joined by the Capella Corrende under Erik Van Nevel.

Although the liner notes are silent on this point, the press release quotes conductor Rudolf Werthen thus: "It is interesting when music of the 'past' is performed in a 'contemporary' way.... The alternation of our arrangement with works in their original form...provides the audience with a deeper perception of the compositions that form much European music." I leave it to my betters to determine how "contemporary" treatment of Renaissance music "works" in this context; but it might give a pause to any teacher wishing to use this CD as an educational tool. For myself, I find it very pleasant if somewhat over-consistently serious.
Gluck: Orfeo ed Euridice
Average customer rating: Not rated
    		Gluck: Orfeo ed Euridice

    Manufacturer: Preiser Records
    ProductGroup: Music
    Binding: Audio CD

    All Works by GluckAll Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
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    ASIN: B00006L6Y7
    Release Date: 2003-02-25
    Orfeo & Euridice (Abridged)
    Average customer rating: 4.5 out of 5 stars
    • A record to cherish.
    • The first recording of Gluck's opera by Glyndebourne and well rememorable!
    		 Orfeo & Euridice (Abridged)
    Gluck , Ferrier , Stiedry , and Glyndebourne Festival
    Manufacturer: Dutton Labs UK
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Opera & Vocal | Styles | Music
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    ASIN: B0000666B2
    Release Date: 2002-10-08

    Tracks:

    1. Chorus 'Ah, Se Intorno A Quest'urna Funesta'
    2. Recitative 'Amici, Quel Lamento'
    3. Recitative 'Euridice! Euridice! Ah! Questo Nome Sanno'
    4. Aria 'Piango Il Mio Ben Cosi'
    5. Recitative 'Voi Del Regno Delle Ombre'
    6. Aria 'Dalla Cetra Tua Dolci Tuoni'
    7. Aria 'Gli Squardi Trattieni'
    8. Recitative 'Che Disse? Ch'Ascoltai?'
    9. Prelude
    10. Chorus 'Chi Mai Dell'erebo'
    11. Solo & Chorus 'Deh! Placatevi Con Me'
    12. Chorus 'Misero Giovane, Che Vuoi, Che Mediti?'
    13. Ballet & Chorus John Francis (Flute)
    14. Aria 'E Quest'asilo Ameno E Grato'
    15. Aria 'Che Puro Ciel!'
    16. Chorus 'Torna, O Bella, Al Tuo Consorte'
    17. Recitative 'Ah! Vieni O Diletta'
    18. Duet 'Vieni Con Me O Cara'
    19. Recitative 'Ah, Dovess'lo Saper'
    20. Aria & Duet 'Che Fiero Momento!'
    21. Recitative 'Ah! Per Me Il Duol Ricomincia'
    22. Aria 'Che Faro Senza Euridici?'
    23. Recitative 'Il Duol Del Cuore Mio'
    24. Chours 'Trionfi Amore'
    25. Trio 'Gaudio, Gaudio Son Al Cuore'
    26. Ballet & Final Chorus

    Customer Reviews:

    5 out of 5 stars A record to cherish........2004-06-24

    Had Fate not decreed otherwise, the legendary Kathleen Ferrier would have had the opportunity of recording her finest role of Orfeo - in full - on LP, thus superseding this Glyndebourne production but, tragically, her life was cut short in 1953, when long-playing microgroove recordings were just starting to come into their own.
    However, this beautifully remastered CD of the recording made in June 1947 is still a joy to hear, and despite the abridgements, occupied seven 78rpm discs in the days when a handtruck was needed to shift a 'complete opera' set (I believe Don Giovanni ran to 24 discs)!
    In this Italian Ricordi version - which is actually much closer to Gluck's 1774 Paris revision of Orph?e et Eurydice (for tenor) than the later Berlioz adaptation - the tempi are surprisingly acceptable for the time and compare more than favourably with the recent 'authentic' Minkowski Orph?e released on Archiv. While the necessary cuts are regrettable - although the Act I 'Addio, addio o miei sospiri' would've challenged Ferrier's coloratura abilities - the omission of the too well-known Dance of the Furies from Act II was no loss!
    In the days when even the Royal Opera, Covent Garden, performed their repertoire in English, Ferrier and her colleagues' Italian (specially learned for the production) sounds a little mannered, but that is unimportant and certainly doesn't effect the quality of the singing.
    I have many examples of Gluck's greatest opera, ranging from the original 1762 Orfeo, through the 1774 Paris, 1859 Berlioz and now 1889 Ricordi (back to Orfeo) and Kath Ferrier's performance has quickly become one of my favourites, ranking with those of tenors L?opold Simoneau and David Hobson, and well ahead of the recent Richard Croft/Marc Minkowski effort.
    Whatever the perceived shortcomings - technical and otherwise - to modern ears, this is a precious example of a great artist in her greatest role and we are fortunate that it is now available intact on CD.

    4 out of 5 stars The first recording of Gluck's opera by Glyndebourne and well rememorable!.......2004-02-05

    This recording of Gluck's masterpiece would never be a dissappointment to the listener. Though the conductor tends to quaver the rhythms a great deal and the numbers may not sound so smoothly run. The changing of Kathleen's Italian was an error for the conductor's part. He seemed to be overly critical of Kathleen's style and vocal talents. The other two ladies sing the parts to satisfactory degree. I don't mind the cutting and the abridging. I wished Dutton would have produced more abridged Gluck operas.
    Opera Highlights (Box Set)
    Average customer rating: Not rated
      		Opera Highlights (Box Set)

      Manufacturer: Delta
      ProductGroup: Music
      Binding: Audio CD

      All Works by GluckAll Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
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      ASIN: B000001VUW
      Release Date: 1994-03-08

      Tracks:

      1. Overture - Budapest Philharmonic Orchestra
      2. Pres des remparts - Krystyna Szostek-Radkowa
      3. La garde montante - Budapest Philharmonic Orchestra
      4. Parlez-moi de ma mere....Ma mere je ma - Andras Molnar
      5. Habanera - Budapest Philharmonic Orchestra
      6. Les dragons d'Alcara/Danse boheme - Budapest Philharmonic Orchestra
      7. Votre toast - Nicolai Ghiaurov
      8. La fleur que tu m'avais jetee - Andras Molnar
      9. Intermezzo - Marche des contrebandiers - Budapest Philharmonic Orchestra
      10. Je dis que rien ne - Liliana Vassileva
      11. Aragonaise - Budapest Philharmonic Orchestra
      12. A deux cuartos - Sofia National Opera Chorus
      13. Ballet Music - Budapest Philharmonic Orchestra
      14. Les voici! Voisi la Quadrille! - Sofia National Opera Chorus

      Tracks:

      1. Overture - Marcello Viotti
      2. Hier Soll Ich Dich Denn Sehen, Konstanze - Jerrold Van Der Schaaf
      3. Solche Hergelauf'ne Laffen - Kurt Rydl
      4. Singt Dem Grossen Bassa Lieder - Bamberg Symphony Orchestra Chorus
      5. Marsch, Marsch, Marsch! Trollt Euch Fort - Kurt Rydl
      6. Durch Zartlichkeit Und Schmeicheln - Jeanine Thames
      7. Ich Gehe, Doch Rate Ich Dir - Kurt Rydl
      8. Martern Aller Arten - Sylvia Greenberg
      9. Welche Wonne, Welche Lust - Jeanine Thames
      10. Wenn Der Freuden Tranen Fliessen - Jerrold Van Der Schaaf
      11. Ach Belmonte! Ach Mein Leben - Sylvia Greenberg
      12. Im Mohrenland Gefangen War - Wilfried Gahmlich
      13. O, Wie Will Ich Triumphieren, Wenn Sie Euch Zum Richtplatz Furhren - Kurt Rydl
      14. Nie Werd' Ich Deine Huld Verkennen - Bamberg Symphony Orchestra Chorus

      Tracks:

      1. E Soffito...E Pareti - Giacomo Aragall
      2. Dovunque Al Mondo/Quale Smania Vi Prende! - Anna Tomowa-Sintow
      3. Viene La Sera/Bimba Dagli Occhi Pieni Di Malia - Anna Tomowa-Sintow
      4. E Izaghi Ed Izanami - Anna Tomowa-Sintow
      5. Un Bei Di Vedremo - Anna Tomowa-Sintow
      6. Una Nave Da Guerra/Scuoti Quella Fronda Di Ciliegio - Anna Tomowa-Sintow
      7. Coro A Bocca Chiusa - Sofia National Opera Chorus
      8. Io So Che Alle Sue Pene/Addio, Fiorito Asil - Giacomo Aragall
      9. Con Onor Muore - Anna Tomowa-Sintow

      Tracks:

      1. Overture - Chamber Orchestra Of The Hungarian State Opera
      2. Ah, Se Intorno A Quest' Urna Funesta - Julia Hamari
      3. Chiamo Il Mo Ben Cosi - Julia Hamari
      4. Gli Sguardi Trattieni - Maria Zempleni
      5. Chi Mai Dell'Erebo Fra Le Caligini/Mille Pene - Julia Hamari
      6. Dance Of The Blessed Spirits - Ervin Lukacs
      7. Vieni A Regni Del Riposo - Chamber Chorus Of The Hungarian State Opera
      8. Torna, O Bella - Chamber Chorus Of The Hungarian State Opera
      9. Vieni, Appaga Il Tuo Consorte - Veronika Kincses
      10. Che Fiero Momento - Veronika Kincses
      11. Che Faro Senza Euridice - Julia Hamari
      12. Ballet Music - Ervin Lukacs
      13. Trionfi Amore - Veronika Kincses

      Tracks:

      1. Entrance Of The Gods In Valhall - Radio Symphony Orchestra Sofia
      2. Ride Of The Valkyries - Budapest Symphony Orchestra
      3. Ein Schwert Verhiess Mir Der Vater - Reiner Goldberg
      4. Der Manner Sippe - Eszter Kovacs
      5. Wintersturme Wichem Dem Wonnemond - Reiner Goldberg
      6. Magic Fire Music - Budapest Symphony Orchestra
      7. Hoho! Hoho! Hohei! Schmiede Mein Hammer - Reiner Goldberg
      8. Siegfried's Rhine Journey - Yuri Ahronovitch
      9. Siegfried's Death And Funeral March - Radio Symphony Orchestra Sofia
      10. Starke Scheite Schichtet Mir Auf - Eszter Kovacs

      Tracks:

      1. Long Live Boris Federovich - Warsaw National Opera Chorus
      2. Boris's Monologue - Warsaw National Opera Chorus
      3. Varlaam's Scene - Marek Wojciechowski
      4. Boris's Recitative And Aria - Anatolij Kotscherga
      5. Scene Boris/Shuisky - Kazimierz Pustelak
      6. Boris's Mad Scene - Anatolij Kotscherga
      7. Duet - Ryszarda Racewicz
      8. Get Him Here - Warsaw National Chorus
      9. Pale Moonlight - Marek Wojciechowski
      10. Domine, Domine Salvum - Marek Wojciechowski
      11. We, Dimitri Ivanovich - Vitalij Taraschtschenko
      12. Flow, Flow, Hot And Bitter Tears - Krzysztof Szmyt
      13. A Pious Servant Of The Lord - Jerzy Ostapiuk
      14. Farewell, My Son - Anatolij Kotscherga

      Tracks:

      1. Overture - Sofia Symphony Orchestra
      2. Se Qeul Guerriero - Celeste Aida - Jozsef Simandy
      3. Possenthe Ftha - Bulgarian National Chorus
      4. Ritorna Vincitor - Anna Tomowa-Sintow
      5. Chi Mai Fra Gl'immi E I Plausi - Bulgarian National Chorus
      6. Silenzio! Aida Verso Noi S'Avanza - Gisella Passino
      7. O T Che Sei D'Osiride - Sofia National Opera Chorus
      8. Qui Radames Verra - Anna Tomowa-Sintow
      9. Gloria All' Egitto - Bulgarian National Chorus

      Tracks:

      1. Preludio - Roberto Paternostro
      2. Libiamo Ne' Lieti Calici - Fujiwara Opera Chorus
      3. E Strano! - Lucia Aliberti
      4. Lunge Da Lei...../De' Miei Bollenti Spiriti - Peter Dvorsky
      5. Annina, Donde Vieni?/O Mio Rimoroso - Peter Dvorsky
      6. Dite Alla Giovine - Lucia Aliberti
      7. Di Provenza Il Mar, Il Sol - Renato Bruson
      8. Noi Siamo Zingarelle - Fujiwara Opera Chorus
      9. Di Madride Noi Siam Mattadori - Fujiwara Opera Chorus
      10. Di Sprezzo Degno - Fujiwara Opera Chorus
      11. Preludio - Roberto Paternostro
      12. Teneste La Promessa - Lucia Aliberti
      13. Parigi, O Cara - Lucia Aliberti
      14. Ah! Violetta!/Voi.....Signor! - Lucia Aliberti

      Tracks:

      1. Preludio - Sofia Symphony Orchestra
      2. Che Faceste - Bulgarian National Chorus
      3. Nel Di Della Vittoria - Sylvia Sass
      4. Oh Noi Perduti...Schiudi, Inferno, La Bocca - Kolos Kovats
      5. La Luce Langue - Sylvia Sass
      6. Chi V'impose Unirvi A Noi - Bulgarian National Chorus
      7. Studia Il Passo/Come Dal Ciel Precipita - Boris Christoff
      8. Tre Volte Miagola La Gatta - Hungarian Radio and Television Chorus
      9. Ballabili - Prague Festival Orchestra
      10. Patria Oppressa! - Bulgarian National Chorus
      11. O Figli, O Figli Miei! - Peter Kelen
      12. Perfidi! All' Ango Contro Me - Piero Cappuccilli
      13. Vittoria! - Peter Kelen

      Tracks:

      1. Overture - Hanns-Martin Schneidt
      2. Gli Arredi Festivi - Manfred Schenk
      3. Ben Io T'invenni/Anch'io Dischiuso Un Giorno - Anna Tomowa-Sintow
      4. Vieni, O Levita/Tu Sol Labbro - Kolos Kovats
      5. E I'Assiria Una Regina - Bulgarian National Chorus
      6. Va Pensiero, Sull'ali Dorate - Prague National Theatre Chorus
      7. Son Pur Queste Mie Membra!/Dio Di Giuda - Lajos Miller
      Gluck: Orfeo ed Euridice (Highlights)
      Average customer rating: 4 out of 5 stars
      • Beautiful enough
      		 Gluck: Orfeo ed Euridice (Highlights)

      Manufacturer: Delta
      ProductGroup: Music
      Binding: Audio CD

      All Works by GluckAll Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
      GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
      GeneralGeneral | Classical | Styles | Music
      GeneralGeneral | Opera & Vocal | Styles | Music
      Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
      GermanGerman | Languages | Opera & Vocal | Styles | Music
      OperettasOperettas | Opera & Vocal | Styles | Music
      ASIN: B000001VHQ
      Release Date: 1994-03-08

      Tracks:

      1. Ov - Chm Chor And Orch Of The Hungarian State Opr/Ervin Lukacs
      2. Act One, Coro: 'Ah, se intomo a quest' uma funesta' - Chm Chor Of The Hungarian State Opr/Julia Hamari
      3. Act One, Aria e Recitative: 'Chiamo il mio ben cosi' - Julia Hamari
      4. Act One, Aria: 'Gli sguardi trattieni' - Maria Zempleni
      5. Act Two, Coro, Ballo e Aria: 'Chi mai dell'Erebo fra le caligini'/'Mile pene' - Chm Chor Of The Hungarian State Opr/Julia Hamari
      6. Act Two, Ballo: 'Dance of the Blessed Spirits' - Chm Chor And Orch Of The Hungarian State Opr/Ervin Lukacs
      7. Act Two, Coro e Ballo: 'Vieni a' regni del riposo' - Chm Chor Of The Hungarian State Opr/Ervin Lukacs
      8. Act Two, Coro: 'Torna, o bella' - Chm Chor Of The Hungarian State Opr/Ervin Lukacs
      9. Act Three, Duet: 'Vieni, appaga il tuo consorte' - Julia Hamari/Veronika Kincses
      10. Act Three, Aria: 'Che fiero momento' - Veronika Kincses
      11. Act Three, Aria: 'Che faro senza Euridice' - Julia Hamari
      12. Act Three: 'Ballet Music' - Chm Chor And Orch Of The Hungarian State Opr/Ervin Lukacs
      13. Act Three, Finale: 'Trionfi Amore' - Julia Hamari/Maria Zempleni/Veronika Kincses

      Customer Reviews:

      4 out of 5 stars Beautiful enough.......2000-06-19

      This highlights record of one of the best loved operas of Opera's great reformist Gluck is over all nice. All three main roles are sung by females, a great plus for those who do not like countertenors. What might disturb you is that this fact makes it a little harder to separate the voices from each other. On the other hand, the voices are very good here. Julia Hamari producing some lovely sound and varied colour to her Orfeo. Her "che faro..." is just as good as other singers on more expensive versions. Veronika Kincses and Maria Zempleni also does well in their roles. The orchestral playing is a little strangely recorded, sounding very dry (too dry for my taste) and the famous ballet close to the end has, I think, been shortened - I really don't see why, this is lovely music. One might also think that Lukacs' conducting is a little to modest in his search for the score's beauty. But those are small objections to a good recording.

      Another thing to commend this record is the fact that it's a highlight record. If you're not very keen to this music, it usually bores you after an hour or so, but in this way you get the best and the listening is clean pleasure at very good price too.
      Gluck: Orfeo Ed Euridice [Highlights]
      Average customer rating: 3.5 out of 5 stars
      • To me the best recording of Gluck's Orfeo ed Euridice.
      • A disappointment
      • A Stunning "Orfeo"
      		 Gluck: Orfeo Ed Euridice [Highlights]

      Manufacturer: Polygram Records
      ProductGroup: Music
      Binding: Audio CD

      All Works by GluckAll Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
      GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
      Solti, Sir GeorgSolti, Sir Georg | ( S ) | Featured Performers, A-Z | Classical | Styles | Music
      GeneralGeneral | Classical | Styles | Music
      Gluck, Christoph W.Gluck, Christoph W. | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music
      GeneralGeneral | Opera & Vocal | Styles | Music
      Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
      GermanGerman | Languages | Opera & Vocal | Styles | Music
      Horne, MarilynHorne, Marilyn | Divas | Opera & Vocal | Styles | Music
      ASIN: B0000042FO
      Release Date: 1997-09-16

      Tracks:

      1. Ov - Royal Opr House, Covent Garden/Sir George Solti
      2. Act I: Ah! se intorno a quest uma funesta - Nymphs & Shepherds/Marilyn Horne
      3. Act I: Chiamo il mio ben cosi - Marilyn Horne
      4. Act I: Gli sguardi trattieni - Helen Donath
      5. Act II: Chi mai dell'Erebo - Furies
      6. Act II: Deh! placatevi con me - Marilyn Horne/Furies
      7. Act II: Misero giovane! - Furies/Marilyn Horne
      8. Act II: Ballo dell furie (Dance of the Furies) - Royal Opr House, Covent Garden/SIr Georg Solti
      9. Act II: Ballo (Dance of the Blessed Spirits) - Royal Opr House, Covent Garden/SIr Georg Solti
      10. Act II: Quest' asilo ameno e grato - Pilar Lorengar/Blessed Spirits
      11. Act II: Che puro ceil! - Marilyn Horne
      12. Act III: Che faro senza Euridice? - Marilyn Horne
      13. Act III: Gaudio, gaudio son al cuore - Pilar Lorengar/Marilyn Horne/Helen Donath
      14. Act III: Ballo - Royal Opr House, Covent Garden/SIr Georg Solti
      15. Act III: Trionfi Amore, e il mondo intero - Marilyn Horne/Helen Donath/Pilar Lorengar/Nymphs & Shepherds

      Customer Reviews:

      5 out of 5 stars To me the best recording of Gluck's Orfeo ed Euridice........2007-04-29

      >There are several versions of Gluck's Orfeo. As a result they can differ as much as Verdi's versions of Don Carlo and Puccini's of Madame Butterfly.
      >The original Italian version was written for performances in Vienna; singing opera in Italian was still the in thing almost everywhere except in France. The work is very short and missing some of the popular ballet music, including, as I recall, The Dance of the Blessed Spirits. I saw it at the Brooklyn Academy of Music. This version is dull.
      >Gluck revised many of his works. His second version was written for a Parisian audience. It's much longer, has four acts, but there is a problem. The role of Orfeo was rewritten for a very high tenor voice; it's hard to come by a tenor who can sing high notes much of the time.
      >In the 19th century Berlioz put together a version that combined both versions. It is still a four act version, and makes some changes in the orchestration.
      >In 1889 the publisher Ricordi put out a three act version of Berlioz's edition. Ricordi added a bit more music left out by Berlioz but seems to have edited out a little also. This seems to be the version Solti used. It was the standard version for many years. It's in three acts, not four. Recordi came up with the best solution to the different versions.
      >I prefer Solti's not only because it has the best singers but also because it is exciting. I should note that Solti substitutes an aria by Ferdinando Bottoni at the end of Act I for Gluck's. Purists will quibble, but authenticity can carry only so much weight. For example, the older version of Offenbach Tales of Hoffmann as found in Beverly Sills recording is more entertaining than any performance of the complete authentic version that incorporates a lot of recently discovered music. That later version is Wagnerian in length and plodding. The people who modified Offenbach's opera, especially Guiraud, knew what they were doing.
      >At present this recording is out of print in the U.S., but you can pick it up at [..]

      1 out of 5 stars A disappointment.......2005-09-09

      Georg Solti somewhat "lost it" in this recording. One was expecting a dynamic approach to the usual classic conducting of the score but there was none. Not to say that this was "more of the same" conducting-wise but there were no new elements to enrich this masterpiece. Marilyn Horne is an absolute bore paying too much attention to voice production and none to the nuances present in the score. The other singers did much better but not in a significant manner. A definite disappointment!

      5 out of 5 stars A Stunning "Orfeo".......2002-06-23

      This recording is excellent. Marylin Horne's coloratura is thrilling, Pilar Lorengar's singing is some of the most purely beautiful I've ever heard in the role of Euridice, and Helen Donath is the Amore of one's dreams.

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