Verismo

Editorial Reviews
Amazon.com
The thirtysomething Argentinian tenor José Cura has been making quite a name for himself, and he is nothing if not controversial. His appeal is undeniable: matinee-idol good looks, a big, interesting, healthy, dark voice, great musical intelligence, and a gift for communication. But he is often badly prepared on stage and was recently severely booed at opera's mecca, La Scala. His last recording, in which he played Samson, found the top of his voice in tentative shape. But if the remarkable work here is indicative of what he can do, let's just hope that he stays on track. The disc opens, very unconventionally, with the Pagliacci "Prologue"--an aria for baritone! Cura sings it with great feeling and a truly burnished tone--indeed, he sounds like a baritone with easy top notes. But it is his tenorizing that is truly fine here. A series of arias by Mascagni, from the little-known Lodoletta to Cavalleria Rusticana (a truly sensitive reading of Turiddu's plea to his mother) is superb, well-nuanced, and richly told. The "Improvviso" from Andrea Chenier is simply magnificent, which makes one wonder why his phrasing is so choppy in the same character's final act aria, "Com'e un bel di di maggio." This brings up another issue: Cura is also the conductor here. Granted, this makes certain that he'll be singing precisely as he pleases, but more often than not, a conductorial voice is different from--and complementary to--the singer. Cura's judgment calls can be off, as they are in this second Chenier solo. But the singing's the thing, and Cura proves himself again and again--the Adriana, L'Arlesianna, and Fedora arias are also exhilarating. This is a major release, and tenor lovers will enjoy the singing as much as they will the unusual program. --Robert Levine

Tracks:

Pagliacci: Prologo
Pagliacci
Pagliacci: Intermezzo
La Boh:
Loreley
Andrea Cher
Andrea Cher
Andrea Cher: Fedora
Andrea Cher: Marcella
Adriana Lecouvreur
Adriana Lecouvreur
L'arlesiana
Germania
Cavalleria Rusticana: Preludio e Siciliana
Cavalleria Rusticana: Addio alla madre
Lodoletta
Guglielmo Ratcliff

Amazon.com

The thirtysomething Argentinian tenor José Cura has been making quite a name for himself, and he is nothing if not controversial. His appeal is undeniable: matinee-idol good looks, a big, interesting, healthy, dark voice, great musical intelligence, and a gift for communication. But he is often badly prepared on stage and was recently severely booed at opera's mecca, La Scala. His last recording, in which he played Samson, found the top of his voice in tentative shape. But if the remarkable work here is indicative of what he can do, let's just hope that he stays on track. The disc opens, very unconventionally, with the Pagliacci "Prologue"--an aria for baritone! Cura sings it with great feeling and a truly burnished tone--indeed, he sounds like a baritone with easy top notes. But it is his tenorizing that is truly fine here. A series of arias by Mascagni, from the little-known Lodoletta to Cavalleria Rusticana (a truly sensitive reading of Turiddu's plea to his mother) is superb, well-nuanced, and richly told. The "Improvviso" from Andrea Chenier is simply magnificent, which makes one wonder why his phrasing is so choppy in the same character's final act aria, "Com'e un bel di di maggio." This brings up another issue: Cura is also the conductor here. Granted, this makes certain that he'll be singing precisely as he pleases, but more often than not, a conductorial voice is different from--and complementary to--the singer. Cura's judgment calls can be off, as they are in this second Chenier solo. But the singing's the thing, and Cura proves himself again and again--the Adriana, L'Arlesianna, and Fedora arias are also exhilarating. This is a major release, and tenor lovers will enjoy the singing as much as they will the unusual program. --Robert Levine

Customer Reviews:

Great verismo instincts, but has Cura declined since 1999?.......2007-04-16

On the strength of this superb CD of verismo arias, one would expect Jose Cura to have replaced Alagna as the 'fourth tenor.' He has a robust lower range, which he displays to remaarkable effect by singing the baritone aria, 'Si puo,' that raises the curtain in Pagliacci. The darkness of Cura's tone can be unsettling--I found him a strange Alfredo in La Traviata, for instance--but a lot of verismo demands powerful chest tones, and Cura has a fine tenor extension, if you think of it as that. Caruso began from a similar basis, I believe. And despite the criticisms, his conducting is quite acceptable--I doubt that anyone would have complained if the identity of the conductor hadn't been revealed on the cover.

With nothing but praise for this gorgeous recital, I'm sorry to report that Cura's promise seems unfulfilled eight years later. He hasn't made outstanding opera sets to date, although he has certainly made some glamorous DVDs. The voice has darkened further and the top notes aren't as secure. He doessn't express joy with his voice, which can make his portrayals rather somber. His dramatic flair seems subdued also. I don't keep up with every detail of Cura's career, but presently he seems overshadowed by Villazon, a much less powerful but equally artistic tenor. Let's hope the lull is only temporary.

Verismo at it's best.......2005-03-25

I am amazed at the many utterly and overly negative comments posted regarding this CD.

Let me be clear about this. Jose Cura is NOT, nor will he EVER be, a lyric tenor!
It is my impression that too many reviewers of this particular CD are not quite aware of the this fact, and tend to compare Cura to other, far more lyrical tenors.

See, that's the beauty of Grand Opera. The composers wrote different operas for different voice types. Cura's voice is perhaps the penultimate spinto voice of the modern opera scene.
It is upon this very precept that I base my evaluation of this CD.

Now, on the actual CD.
With the exception of the fact that, indeed, Cura should have left the conducting to someone more qualified other than himself, this CD offers the listener the best Verismo selections available by a contemporary tenor.

In reviewing the comments regarding this CD I am reminded of the terrible critizism leveled upon the late Mario delMonaco during his lifetime.
Judging by contemprary reviews of the late Maestro, his was the worst tenor voice ever, and save for the sheer volume of his voice, and his Hollywood looks, he would never have had a career.
It wasn't until after delMonaco retired, and moreso until after his death, that the very critics that once denounced him as unworthy of his status, hailed him as one of the greatest dramatic tenors of all time!

I say this only to illustrate my point regarding the bad press this CD has received.
Having said this, Cura does an excellent job with this material.
His voice and phrasing often harkens memories of both delMonaco and Corelli, yet his interpretation is uniquely is own.

My favorite selections here are "Vesti La Giubba" from I Pagliacci, "Amor Ti Vieta" from Fedora, "Lamento Di Frederico" from L'arlesianna and "O Lola" as well as "Addio alla Madre" from Cavalleria Rusticana.
These selections highlight Curas prowess as the pre-eminent dramatic tenor of today beyond reproach.

On a final note, I often see that Cura is being hailed as Domingos' successor in both vocal quality and acting ability.
That's utter hogwash in that Curas' voice is much closer to that of delMonaco in both weight and power and acting wise, I doubt that we'll soon see another tenor as prodigiously gifted as was Domingo in that regard.

Jose Cura is a great DRAMATIC tenor folks. There's nothing lyrical about him and that's precisely why I appreciate his style and, subsequently, this CD.

Hurrah for Yu Qiang Dai.......2005-01-28

It was a big shock to hear Yu Qiang Dai's debut cd. He is, I think, the best lirico-spinto tenor nowadays. He has a lovely voice, which is very well produced. The center is wonderful, the lower notes are good, the high notes are shining and of fantastic quality... the singing through the passage is very well handled. He is an itelligent musical interpreter and singer, with an interesting and appealing line and sense of style. Very good dynamic changes. He offers some of the absolutely best renditions of some arias (nessun dorma and cielo e mar, for example) that I have heard in many years.

He still has to work his Italian (specially the consonants) and his French. But there were great historical tenors with bigger idiomatical problems.

Despite taking spinto repertoire, Yu never pushes, never tries to make the voice sound darker than it is, everything is always under control, and he takes the chance to give very stylish renditions (for example, of una furtiva lagrima), which is strange for tenors who "want to sing spinto".
The tenor is a fantastic discovery, one of the best ones around. Actually, all my criticism goes to EMI and the production of the CD: no choirs, no solists (for example, for the aria of Cavalleria, where the mother should sing her line), and the acoustic "atmosphere" has made some people to doubt if Yu's voice is really as big as it seems (people who saw his Cavaradossi at Covent Garden say that it is very big, actually).
Not a the best production job by the people of EMI, but five stars (ten if possible) for the singer. Simply wonderful.

what a waste!.......2004-06-06

Initially I was excited: at last, I thought, here is a voice of Del Monaco weight but with infinitely more variety and color. But upon repeated hearing, I came to the conclusion that the varied tone was often simply the result of a poorly modulated voice in which the top and the bottom blended poorly at times with the mid-range. Worse yet, his foolish decision to serve as his own conductor does not serve him well. Often, as in the Fedora aria (which should have suited his voice well) he winds up chopping off the end of phrases because of his choice in tempos or perhaps the difficulty of accompanying oneself. Many of the interpretations are mannered--a good producer or conductor could have helped him avoid these lapses of judgement. The decision to lead with Tonio's prologue (a baritone aria) is embarrasing. Although he does indeed have a baritonal-sounding tenor at times, this doesn't make him a baritone by any stretch of the imagination. As a result, the aria is not even remotely satisfactory--it requires vocal resources a tenor just doesn't have (as well as dramatic resources Cura also does not reliably offer). I'm happy to have the arias from Lodoletta and Germania in modern sound (the Marcella aria really needs another voice type) and in spite of my criticism there are moments of real beauty in Cura's voice. Yet what a pity that humility, self-discipline,and good taste were not given to him in equal parts with beauty of voice. After a month with this record I begin to long for the direct, unselfconscious if rather crude sound of del Monaco. Any number of comparably voiced tenors of the last twenty years, like Giacomini or Martinucci, who were never recorded as much as they deserved were vastly superior to Cura in musicality and self-awareness. Behold the power of a pretty face!

Disappointing after his Puccini CD.......2001-05-20

I was favorably impressed with Cura's debut recital of Puccini arias (recorded June 1997), and on the strength of that favorable impression I bought his Verismo arias CD (recorded July 1999) and his Verdi arias CD (recorded Feb. 2000). I found both disappointing; neither is up to the standard of the Puccini disc. What is alarming is that I believe there has been audible deterioration in his voice in the short period of only two and three years between recording the Puccini disc and recording the next two. He is singing heavy roles usually, and advisedly, taken on by tenors later in their careers (e.g., Samson, Otello), and I hope this promising tenor won't sing himself out prematurely.

Puccini, Giordano, Leoncavallo, Cilea - Verismo / Soviero

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Soprano Soviero scores a hit despite minor difficulties...
Interesting repertoire

Puccini, Giordano, Leoncavallo, Cilea - Verismo / Soviero

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

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ASIN: B000009CWQ
Release Date: 1995-12-12

Tracks:

Adriana Lecouvreur: Cilea, Adriana Lecouvreur
Gloria: Cilea, Gloria
Cavalleria Rusticana: Mascagni, Cavalleria rusticana
Cavalleria Rusticana: Mascagni, Cavalleria rusticana
Risurrezione: Alfano, Risurrezione
Suor Angelica: Puccini, Suor Angelica
Zaza: Leoncavallo, Zaza
Manon Lescaut: Puccini, Manon Lescaut
La Boheme: Leoncavallo, La Boheme
La Boheme: Puccini, La Boheme
Andrea Chenier: Giordano, Andrea Chenier
Fedora: Giordano, Fedora
Madama Butterfly: Puccini, Madama Butterfly
Madama Butterfly: Puccini, Madama Butterfly

Customer Reviews:

Soprano Soviero scores a hit despite minor difficulties..........2000-10-29

Diana Soviero has always been a favorite soprano of mine so I was delighted to discover her VERISMO album. What she presents are selections common and some not so common from the Verismo school. A true 'actress-singer', Soviero's gifts for interpretation are most impressive. While she sings these challenging selections with great detail, the voice isn't always as responsive to the singers demands, resulting in an occasional 'edge' to her upper register and an unruly wide vibrato.

Overall, the soprano meets her tasks head on, delivering a shocking and at times, thrilling delivery with her warm and luscious soprano.

Mascagni's overlooked opera, IRIS, gives us a heart rendering aria in 'Un Di.' Soviero's climactic phrase is most exciting and her tone, lovely. Cilea's 'Io son l'umile ancella' from ADRIANA LECOUVREUR opens the disc with the soprano spinning out a lushness of sound from the haunting pianissimo's to the ascending climax. Rarely can a soprano so successfully negotiate this control, from piano to forte and vice versa. Soviero maintains this quality, giving each selection even more pathos and innate beauty.

Leoncavallo's ZAZA is lovingly plyed out in the aria, 'Dir che ci sono al mondo.' Soviero's delicacy of phrasing and warm lower register (rare in her comtemporaries) makes this aria a particular jewel. That we could see Soviero perform this opera live or at least give us a complete recording would be a dream.

Listen to her emotional 'Solo, perduto, abbandonata' from Puccini's MANON LESCAUT. Her impeccable dramatic abilities are well displayed, especially when she sings the desperate 'tutto finito', breaking off vocally while dipping into that marvelous chest register for heightened effect.

Of course, we have the two arias from Puccini's MADAMA BUTTERFLY. Needless to say, Soviero owns this role and her gift of evoking emotion in her listener are captured within these pieces.

The other selections are deftly carried out with the conviction of a true singer/actress and Soviero is in a class by herself here. While there may be vocal limitations at times, Soviero's grasp for the dramatic needs totally negate any real concerns for a vocal/tonal deficiency. Like Callas, this is an artist with something to say and Soviero succeeds on every level.

Diana Soviero is a first rate singer and how lucky for her listeners, that she has given us these selections from the rich and moving verismo movement.

Interesting repertoire.......2000-02-08

Bravo to Diana Soviero for helping us to understand that there is more to verismo than just Puccini and "Cavalleria Rusticana." Very decent performances of these arias are enough to give this album four stars, but the repertoire is so unusual that this album definitely deserves five. Of course, there are the standards--"Un bel di," for example, or "Senza mamma," or "Io son l'umile ancella." But there are also "Un di (ero piccina)" from the neglected opera "Iris," the aria from LEONCAVALLO's Bohème, and even some completely unheard of gems such as "O mia cuna fiorita" or even "Dio pietoso" by Alfano (gasp! He DID accomplish something besides completing "Turandot").

Opera Explained: An Introduction to Mascagni's Cavalleria rusticana

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Opera Explained: An Introduction to Mascagni's Cavalleria rusticana

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Mario Del Monco - Verismo Arias
Mario Del Monaco
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ASIN: B000026FXY
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A Legendary Voice At Its Best

Enrico Caruso Sings Verismo Arias

Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FAR
Release Date: 1992-09-15

Tracks:

La Boheme, Act I: Che Gelida Manina
La Boheme, Act I: O Soave Fanciulla - Enrico Caruso/Nellie Melba
La Boheme, Act III: Addio, Dolce Svegliare Alla Mattina - Enrico Caruso/Geraldine Farrar/Gina Ciaparelli-Viafora/Antonio Scotti
La Boheme, Act IV: O Mimi, Tu Piu Non Torni - Enrico Caruso/Antonio Scotti
La Gioconda, Act II: Cielo E Mar
Cavalleria Rusticana: O Lola (Siciliana) - Enrico Caruso/Francis J. Lapitino
Cavalleria Rusticana: Intanto Amici; Viva Il Vino (Brindisi)
Cavalleria Rusticana: Mamma, Mamma, Quel Vino E Generoso (Addio All Madre)
Tosca, Act I: Recondita Armonia
Tosca, Act III: E Lucevan Le Stelle
La Boheme, Act II: Io Non Ho Che Una Povera Stanzetta
La Boheme, Act III: Musette! O Gioia Della Mia Dimora; Testa Adorata
Madama Butterfly, Act I: Amore O Grillo Dir No Saprei - Enrico Caruso/Antonio Scotti
Madama Butterfly, Act I: Un Po' Di Vero C'e; Oh Quanti Occhi Fisi - Enrico Caruso/Geraldine Farrar
Madama Butterfly, Act III: Non Ve L'avevo Detto?; Addio Fiorito Asil - Enrico Caruso/Antonio Scotti
Germania, Act I: Studenti! Udite!
Andrea Chenier, Act I: Un Di All'azzurro Spazio (Improvviso)
Andrea Chenier, Act IV: Come Un Bel Di Di Maggio
Manon Lescaut, Act I: Donna Non Vidi Mai - Enrico Caruso/A. Regis-Rossini
Pagliacci, Act I: Recitar! Mentre Preso Dal Delirio; Vesti La Giubba
Pagliacci, Act II: No! Pagliaccio Non Son

Customer Reviews:

A Legendary Voice At Its Best.......2000-06-10

There are two things to remember when listening to this amazing sampling of Caruso's art. First, Caruso lives up to the legend: he was truly the best. Second, when Caruso made these recordings, these classic arias were new. Although he did not create the roles he sings here, he put his stamp on them, and all tenors have had to reckon with his impassioned, ringing interpretations since. This compilation is a great introduction to Caruso's singing.

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Verismo Arias
Mirella Freni
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music

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ASIN: B00000E4X0
Release Date: 1992-09-15

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City of Kings
Verismo
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Release Date: 2006-04-18

Tracks:

Enemy
City of Kings
Last Word
Bad Day
Moment of Clarity
Lorax
Field Report
For the Record
Hope
Legacy

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ENTERPRISING
Reviewer above doesn't know Opera
WOW!!! INCREDIBLE!!!

Rare Verismo Arias
Licinio Refice , Yves Abel , and English Chamber Orchestra
Manufacturer: Verismo Opera Group
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Binding: Audio CD

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Customer Reviews:

ENTERPRISING.......2005-06-07

Opera recitals on CD are in trouble. Just take a look at the current offerings! Most titles consist of newer (majority european) or established (past their prime) singers rehashing the traditional bread-and-butter repertoire. That's one of the reasons why Ms. Follman's CD is so appreciated! True, some of the selections (from Lodoletta, L'amico Fritz and Cecilia) have been recorded by the likes of Tebaldi, Freni and Scotto, but not by anyone recently, and it's good to hear them again. What's even more surprising is realizing how beautiful the music is! Ms. Follman (who realizes that verismo must be sung well, attention paid to musical values, and avoiding superfluous italianate effects such as exaggerated chest tones) and Maestro Abel have found the right combination to make this work, and I hope there will be another CD forthcoming. I agree that Ms. Follman is a spinto soprano (re "pushed" lyric) who has agility, a nice plus (i.e., a spinto who can trill!) I hope there will be an opportunity to hear Ms. Follman in person soon.

Reviewer above doesn't know Opera.......2003-09-26

First off. Ms Follman is a Spinto and sings controlled throughout all 11 cuts. The music is soothing and she would make Puccini proud. If you followed her career, you would no that Ms. Follman sings Tosca's, Butterfly's and Boheme's all over the world. Have you sung on any stage lately? Yves Abel conducts beautifully and brings alive the 88 piece English Chamber Orchestra. What a treat to have so many rare pieces on one CD. The CD insert is written in Italian and English. This CD is a great collection of wonderful Opera that has been lost and Ms. Follman had the ability to bring it back.

WOW!!! INCREDIBLE!!!.......2002-09-11

This CD has it all. A new an upcoming singer and star, soprano Robin Follman sings beautiful arias form the long lost Verismo period. I enjoyed the duet with Philip Webb and the "Amor, celeste ebbrezza'" from Catalani's LORELEY was amazing... I can't wait for the second CD of this new artist...