Verdi: Il Trovatore; Roberto Alagna/Angela Gheorghiu

Editorial Reviews
Amazon.com
Il trovatore has been one of Verdi's most beloved, enduringly popular operas ever since its first performance 150 years ago. The libretto is notorious as one of the most improbable, confused, and confusing of its kind, but in Verdi's hands its one-dimensional stock figures become flesh-and-blood characters whose fears, hopes, and suffering we can easily identify with. The music encompasses the heights and depths of human emotion, and the vocal writing demands singers of enormous vocal and expressive range. This recording is a bit strange and not entirely satisfying, partly because some of the intrinsically fine singers seem miscast. Angela Gheorghiu's voice is lovely, with a velvety warmth and a beautiful high register; the low notes sound uncomfortable and not always in tune. She is best in the lyrical arias. The first one has a touching tremulousness, but generally her Leonora is a little pale. Thomas Hampson is, as always, a commanding presence, but his thoughtful, restrained approach makes Luna's raw, vengeful fury seem contrived and artificial. Ildebrando D'Arcangelo's Ferrando is excellent; Larissa Diadkova sings very well, but does not get inside Azucena's haunted, tormented brooding and hallucinatory madness. Roberto Alagna is most disappointing. He slides, scoops, sobs, and exaggerates everything. Indeed, if truth be told, he yells, but suddenly takes a single note mezza voce for no discernible reason. His Manrico has no subtlety or tenderness, and the constantly high volume seems at variance with the singing style of a "Troubadour." It is the orchestra and chorus who emerge as the ultimate heroes of the recording. --Edith Eisler

Tracks:

Ebben?...Ne Andro Lontana
Si, Mi Chiamano Mimi
O Soave Fanciulla
Ah, Fors'e Lui...Sempre Libera - Frank Lopardo
Pace, Pace, Mio Dio
O Dieu! Que De Bijoux!...Ah! Je Ris De Me Voir Si Belle (Air Des Bijoux)
Celui Dont La Parole Efface Toutes Peines...
Vive Amour Qui Reve (Aubade)
Chiedi All'aura Lusinghiera
Donde Lieta Usci Al Tuo Grido D'amore
Merce, Dilette Amiche
Come In Quest'ora Bruna
Teneste La Promessa...Addio Del Passato
Tacea La NOtte Placida...Di Tale Amor
Muzica

Customer Reviews:

Not enough.......2006-02-20

This album hardly shows up what this gorgeous coloratura can do. It's slow, has a easy listening feel to it, but totally lacks a moment to remember.

Essentially Crap.......2006-01-15

I don't understand this woman's appeal. Honestly I do not get it. Maybe I was just spoiled by my voice teacher who pointed me in the direction of truly great sopranos (Callas, Sutherland, Pons) but I can not find the "beauty" in this woman's voice that is so amazing to others.

Let me tell you a story. When I was 14, I scooped and swooped my way through songs just like Ms. Gheorghiu loves to do (her Sempre Libera and Jewel Song are nothing but that *shudder*). But my vocal teacher trained that habit out of me real quick because scooping and swooping is simply a mark of bad musical technique. My teacher use to say "If you can only get there by scooping, THEN DON'T GO THERE." Good advice for Ms. Gheorghiu.

Honestly she is one of the most boring, bland singers on the market today and this is a bland, boring cd as well. And that's saying a lot 'cas there are a lot of bad sopranos and bad cds floating around in recent years. Personally I am going to stick with the before-I-was-even-born singers such as Callas, Sutherland, Freni, Pons, our recently departed Nilsson, Horne and if I have to choose a Lyric Soprano of today I will gladly take Fleming over Gheorghiu any day of the week. At least Fleming has the intelligence to stay with her lyric roles instead of foolishly trying to sing roles that are completely out of her range. I mean CARMEN?! Ms Gheorghiu, you are NOT Caballe. Which is probably why Gheorghiu also can not pull off Ebben? with any real conviction. Uuuggghhh!

Please!! Buy Fleming or Freni or Callas. Don't waste your time on a second string soprano like Gheorghiu who will lose be forgotten in a few years. She is not worth the money!!!!

Imprescindible: Lo mejor de Angela!.......2004-06-26

Este recopilatorio que propone DECCA es completisimo (78' de musica) y de compra obligada tanto para los amantes de ANGELA GHEORGHIU como para aquellos que aun no la conozcan. El programa incluye fragmentos de Boheme (las dos arias y el duo, con Alagna) La Wally, La Traviata (las dos arias), Il Trovatore, La Forza del Destino, Cherubin, Herodiade, Faust, L'elisir d'amore (un duo, de nuevo con Alagna), y la cancion popular 'Muzica'
Las interpretaciones de Gheorghiu son en todos los casos de primerisima fila, destacandose especialmente en 'La Forza del Destino' (antologico su 'Pace, Pace mio Dio'), 'La Traviata' (alocada en 'Sempre libera' y conmovedora en 'Addio del passato') y 'La Wally' (emotiva y desgarradora)
Los acompañamientos son tambien siempre de primer nivel, e insisto, este disco es de compra obligada para todo amante de la opera.
Las grabaciones provienen todas de albums ya editados antes por Decca, entre 1994 y 2000.

One of the best!.......2004-05-27

This is a wonderfully put together compilation displaying some of her best performances. The selections from Traviata are fine examples of what put her on the map. Her aria from Forza is stunning. And she is a wonderful Mimi. I think this CD explains what all the raves have been about. For those who don't know her work this CD would be a great place to begin. I am a huge fan so I am biased. However I do think she one of the best singers and actress singers working in opera today. I highly recommend this CD!

Angela Gheorghiu & Roberto Alagna - Verdi per due

Average customer rating:

Verdian voices that love each other
Sensitive, compelling performances
A well presented and very listenable album

Angela Gheorghiu & Roberto Alagna - Verdi per due
Giuseppe Verdi , Berliner Philharmoniker , Claudio Abbado , Angela Gheorghiu , Roberto Alagna , London Voices , and Berlin Philharmonic
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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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Roberto Alagna & Angela Gheorghiu - Duets & Arias
Roberto Alagna - Verdi Arias / Gheorghiu, Berlin Phil., Abbado
Verdi Heroines
Roberto Alagna ~ Serenades
Angela Gheorghiu - Arias

ASIN: B00000DFNW
Release Date: 1998-11-03

Tracks:

E Dessa! ... Un Detto, Un Sol ... - Angela Gheorghiu
Ma Lassu Ci Vedremo - Angela Gheorghiu
Oh Belle, A Questa Misera ... - London Voices
All'Armi! ... Che Ascolto! - London Voices
Cielo Di Stelle Orbato ... - Angela Gheorghiu
Vieni A Mirar La Cerula - Angela Gheorghiu
Gia Nella Notte Densa - Angela Gheorghiu
Pensando A Me! ... E Dolce Raggio Celeste Dono - Angela Gheorghiu
Giovanna, Ho Dei Rimorsi ... - Angela Gheorghiu
E Il Sol Dell'Anima ... - Angela Gheorghiu
Che M'Ami, Deh, Ripetimi - Angela Gheorghiu
Addio! Speranza Ed Anima - Angela Gheorghiu
La Fatal Pietra Sovra Me Si Chiuse ... Immenso Ftha ... - London Voices
O Terra, Addio - London Voices
Qual Mare, Qual Terra Da Me T'Ha Diviso ... - Angela Gheorghiu
Qui Nel Bosco? Solinga? Smarrita? ... - Angela Gheorghiu
Lassu Risplendere Piu Lieta E Bella - Angela Gheorghiu
Miserere ... Quel Suon, Quelle Preci - London Voices
Libiamo, Ne' Lieti Calici - London Voices

Amazon.com

Today's most glamorous husband-and-wife opera team offer a recital in which energy and enthusiasm more than compensate for lack of polish. Seldom do artists on a studio recording throw themselves into each "scene" as if they were onstage actually performing an opera, as these two do here. Abbado and the Berlin are second to none when it comes to accompanying Verdi, and when needed, extra soloists and chorus are included to complete the production. Although a number of Verdi's most famous moments are included, lesser-known music (e.g., I Lombardi and I Masnadieri) proves equally challenging and dramatic. Fine sound, from the Jesus Christus-Kirche in Dahlem (Berlin). --Paul Turok

Customer Reviews:

Verdian voices that love each other.......2003-12-09

Although French tenor Roberto Alagna and Romanian soprano Angela Gheorghiu are each formidable artists in their own right, when they sing together they create something truly extraordinary. Much of this is no doubt due to the couple's real-life marriage, although even many operatic married (or otherwise romantically involved) couples rarely give the sense that their voices and artistries are 'married' the way these two do. Their voices are just astonishing - his warm earth and sun darkening into bronze, hers melting sweetness and starlight. Even more important is their musical sensitivity and complete immersion into the drama. All these qualities make Alagna and Gheorghiu ideal Verdi interpreters even if their voices are smaller and more lyric than what many would think of as right for the composer. To put the icing on the cake, the singers have Claudio Abbado's magisterial support in the pit, full of authority, imagination, finesse and sensitivity.

The disc begins with the final Carlo-Elisabetta duet from 'Don Carlo'. This is my favorite opera and I believe that the 'ma lassu ci vedremo' section which concludes this selection is one of Verdi's greatest inspirations. Needless to say, I am extraordinarily picky about the way it is performed, and it is glorious - full of sublimated passion and pain, tenderness and resignation. The title role (in French) is already one of Alagna's greatest stage and recording triumphs, and Gheorghiu is so musically and dramatically intense that you would never believe she learned the duet at Abbado's suggestion 3 days before the recording!

Best of all, however, is the great love duet from 'Otello'. Never before have I heard this music sung so beautifully or with such tenderness and nuance, the lyric voices really making the romance between Otello and Desdemona believable. Admittedly this is probably the most lyric section of the score, and whether Alagna is up to the some of Otello's big outbursts, even in a small theater, is debatable, though Gheorghiu is an ideal Desdemona. Still, Alagna's astonishing pianissimo swell on 'Vien, venere splende' is alone worth the price of the entire disc. No less fine is the ravishing high note with which Gheorghiu ends the scene from 'Simon Boccanegra', where the singers easily go from tender serenade to dramatic urgency to seductive radiance.

The Tomb Scene from 'Aida' is also very effective, although it is true that Gheorghiu's is a more lyric voice than I would like for Aida, her excellent recording of 'O patria mia' on her 'Verdi Heroines' album notwithstanding. Alagna is about as light as I would go for Radames, but as it is really a spinto and not a true dramatic role, he copes very well, darkening his tone. Both artists, as usual, are totally alert to the drama, and this makes up for them possibly having the 'wrong' voices. I only wish this pair of lyric singers could have sung the final B flat in 'si schiude il ciel' pianissimo, as did Zinka Milanov and Jussi Bjorling - I believe Gheorghiu obliges and Alagna doesn't.

Another real treat is the rarities - how many 'love duet' albums include scenes from 'I Lombardi', 'I Vespri Siciliani' or 'I Masnadieri'? Again, all so marvelously sung - especially the rousing cabaletti - that we are convinced these are by no means the 'lesser' works that many critics claim, although it is a pity that the 'Vespri' selection isn't in the original French.

Turning back to more familiar music, having heard Alagna sing the Duke in 'Rigoletto' first at the Met under the flaccid Carlo Rizzi and then on the Sony recording under the hard-driving, pedantic Riccardo Muti, I was delighted to hear how fresh-voiced, dashing and impetuous he sounds in 'E sol dell'anima' here. Clearly all he needs is the right conductor! Gheorghiu's voice is a bit more mature than most people would think of for Gilda, but fully conveys her longing for her lover and her growing sexual awareness. The 'Miserere' from 'Il Trovatore' is also splendid, although not quite as intense as the version on their complete recording. A spirited and ravishing rendition of the famous drinking song from ýLa Traviataý brings the disc to a delighful close.

Besides the luxurious support of the Berlin Philharmonic (as Gheorghiu put it in an interview, 'the Rolls Royce of orchestras'), London Voices makes a splendid choral contribution in their four selections. There is also excellent work from contralto Sara Mingardo, better known in baroque repertory, as Giovanna and Amneris, as well as from the singers who take on Ceprano and Borsa in the 'Rigoletto' excerpt.

The documentation has full texts and translations plus excellent notes written by British voice maven John Steane, who points out the considerable musical and dramatic variety that exists among love duets, even ones written by the same composer. Unfortunately, there is no biographical information at all of any of the artists, let alone typical CD gush (so much for 'the overhyped Alagnas'!). The pictures in the booklet's interior are wonderful, with the couple relaxing in a Berlin park, but the cover's attempt to be 'romantic' is hokey - they look like airbrushed mannequins.

As with most of their other operatic recordings, Alagna's and Gheorghiu's work here is a must listen to anyone who cares about this music or the human voice. You will rarely hear this music served so well by contemporary artists. It turns out this disc is essential for a less pleasant reason as well - I have just read the horrible news that EMI has decided not to continue making studio opera recordings, making it extremely unlikely that we will ever hear Alagna and Gheorghiu together in this repertory on disc again. What a tragedy not only for the singers but also for Verdi, and all the more reason to cherish the beauty we have here.

Sensitive, compelling performances.......2003-06-09

Mr. and Mrs. Alagna sound wonderful in this collection of Verdi duets. The case can be made that Alagna is a lyric tenor, and shouldn't be singing the dramatic roles like Otello and Radames, however, he brings a pleasant, warm tenor that when needed, rises in plangency to the demands of the moment. In the future, he may indeed expand to become a dramatic tenor. In any case, his singing is in no way lacking. Angela Gheorghiu has already reached the status of compelling Verdian soprano, in my mind. She sings with drama, force, and elan.
The duets from I Lombardi and I Masnadieri are particularly nice, as they are not often heard. Bravos all around to Abbado and the Berliner as well.
This is a thoroughly enjoyabled disc.

A well presented and very listenable album.......1999-10-25

Since I first listened to Alagna and Gheoghiu I have always felt that Gheorghiu is the superior artist of the two. This album is presented with gusto and enthusiasm. Both are putting their souls into the music, although Alagna can be a bit brash at times, not unlike Del Monaco a few years ago. In Rigoletto it sounds more like intended rape than seduction! The duet from Otello is beautifully done - it could well be one of their future complete recordings. Overall a well recorded album with favourites as well as lesser known selections. Well worth the buy for admirers of the singers.

Verdi: Il Trovatore; Roberto Alagna/Angela Gheorghiu

Average customer rating:

I'm having a problem with Hampson.
NOT THE GREATEST 'TROVATORE', IT'S A PRETTY GOOD ONE
3.75 Stars to be correct for this Trovatore
Good but not good enough
Excellent

Verdi: Il Trovatore; Roberto Alagna/Angela Gheorghiu
Angela Gheorghiu , Larissa Diadkova , Giuseppe Verdi , and London Symphony Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
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Rossini - L'Italiana in Algeri

ASIN: B000069DQD
Release Date: 2002-09-17

Tracks:

All'erta! All'erta!
Di Due Gigli Vivea Padre Beato
E Il PAdfre?
Sull'orlo Dei Tetti
Che Piu T'arresti?
Ascolta! Tacea La Notte Placida
Quanto Narrasti Di Turbamento M'ha Piena L'Alma!
Di Tale Amor Che Dirsi
Tace La Notte!
Il Trovator! Lo Fremo!...Deserto Sulla Terra
Non M'inganno...Ella Scende!
Di Geloso Amor Sprezzato
Vedi! Le Fische Notturne
Stride La Vampa!
Mesta E La Tua Canzon!
Soli Or Siamo
Condotta Eli'era In Ceppi
Quand'ecco Agl'egri Spriti
Non Son Tuo Figlio
Mal Reggendo All'aspro Assalto
L'usato Messo Ruiz Invia!
Perigliarti Anco Languente
Tutto E Deserto
Il Balen Del Suo Sorriso
Qual Suono! Oh Ciel!
Ardir! Andiam, Celiamoci..Per Me Ora Fatale
Ah! Se L'error T'ingombra
Perche Piangete?..>Degg'io Volgermi A Quei
No! Giammai!...Il Conte!
E Deggio E Posso Crederlo?

Tracks:

Or Co' Dadi, Ma Fra Poco
Squilli, Echeggi La Tombra Guerriera
In Braccio Al Mio Rival!
Giorni Poveri Vivea
Ne Udivi Mai Novella?
Deh! Rallentate, O Barbari
Quale D'Armi Fragor Poc'Anzi Intesi?
Ah Si, Ben Mio, Coll'essere Io Tuo
L'Onda De' Suoni Mistici
Manrico?...Che?...La Zingara
Di Quella Pira, L'Orrendo Foco
Siam Giunti: Ecco La Torre
D'Amor Sull'Ali Rosee
Miserere...Quel Suon, Quelle Preci
Di Te, Di Te Scordarmi!
Tu Vedrai Che Amore in Terra
Udiste? Come Albeggi, La Scure Al Figlio
Mira, Di Acerbe Lagrime
Conte!...N'e Cessi!
Colui Vivra...Vivra! Contende Il Giubilo
Madre, Non Dormi?
Si, La Stanchezza M'Opprime, O Figlio
Che! Non M'inganna Quel Fioco Lume?
Parlar Non Vuoi? Balen Tremendo!
Ai Nostri Ritorneremo
Ti Scosta!...Non Respingermi!
Prima Che D'altri Vivere
Addio! Io Moro!...Ahi, Misera!

Amazon.com

Il trovatore has been one of Verdi's most beloved, enduringly popular operas ever since its first performance 150 years ago. The libretto is notorious as one of the most improbable, confused, and confusing of its kind, but in Verdi's hands its one-dimensional stock figures become flesh-and-blood characters whose fears, hopes, and suffering we can easily identify with. The music encompasses the heights and depths of human emotion, and the vocal writing demands singers of enormous vocal and expressive range. This recording is a bit strange and not entirely satisfying, partly because some of the intrinsically fine singers seem miscast. Angela Gheorghiu's voice is lovely, with a velvety warmth and a beautiful high register; the low notes sound uncomfortable and not always in tune. She is best in the lyrical arias. The first one has a touching tremulousness, but generally her Leonora is a little pale. Thomas Hampson is, as always, a commanding presence, but his thoughtful, restrained approach makes Luna's raw, vengeful fury seem contrived and artificial. Ildebrando D'Arcangelo's Ferrando is excellent; Larissa Diadkova sings very well, but does not get inside Azucena's haunted, tormented brooding and hallucinatory madness. Roberto Alagna is most disappointing. He slides, scoops, sobs, and exaggerates everything. Indeed, if truth be told, he yells, but suddenly takes a single note mezza voce for no discernible reason. His Manrico has no subtlety or tenderness, and the constantly high volume seems at variance with the singing style of a "Troubadour." It is the orchestra and chorus who emerge as the ultimate heroes of the recording. --Edith Eisler

Customer Reviews:

I'm having a problem with Hampson........2006-01-07

I must admit it. I heard Milnes for the first time in around 1970 while I was a high school kid. While I had been playing classical piano for years with a good deal of success, I didn't think that opera was for "men." Well, Milnes sounded like a man. With thrilling high notes. He made me want to sing. And I still sing. But not like Milnes, of course.

Well, now, to this recording. Hampson has his moments. But during Il Balen, for instance, he sounds like a really fine second tenor who spent the prior night out drinking but had to pull it together for a 10 a.m. performance. Nothing is wrong. But the voice doesn't exhibit a sufficient amount of "oomph." In my opinion.

I have the old recording with Milnes, Price, Domingo, et al. While the sonics aren't up to modern standards, I'll stick with the oldie.

FWIW, I have never been a Price fan. I put up with her recordings because of the quality of the casts recording with her.

NOT THE GREATEST 'TROVATORE', IT'S A PRETTY GOOD ONE.......2005-10-30

For some unexplained reasons, there seems to be a lot of hostility and jealousy where Alagna and Gheorghiu are concerned. I don't understand why. In this operatic glamour-starved generation, there are few singers who can generate the sheer excitement that these two can. They are certainly very attractive people, and they have certainly demonstrated that they can be wonderful together (as their recordings of "Manon", "Boheme", "Romeo et Juliette", and "Werther" have so beautifully demonstrated), but each has had their share of negative press, and, of course, there have been some rather notorious cancellations. Be all that as it may, it is their "Trovatore" recording that is under consideration here. The opera may be a little "advanced" for them at this stage of their respective careers (Gheorghiu, I know, has not attempted this role on stage, and who knows if she ever will?) I hear nothing offensive in Alagna's Manrico, but nor do I hear anything profound. Gheorghiu sings a very beautiful Leonora, certainly one which can be favorably compared to Zinka Milanov or Leontyne Price. There are times when her middle register takes on a Callas-like color, and it's very distinctive. Larissa Diadkova sings a straight forward Azucena, and doesn't resort to the histrionic excesses that are so easy to put into this "blow the house down" role. Thomas Hampson has an incredibly beautiful baritone, almost too beautiful for the villan di Luna, but it's a pleasure to listen to. I agree with other reviewers here who praise the orchestra and chorus under the direction of Antonio Pappano. Both really impact this performance (never have I heard the Anvil Chorus) sound so vivid and colorful)in a big way. No - this is not the greatest "Trovatore" ever recorded, but all in all, it's a pretty good one. A great one? Probably two monophonic recordings": the 1952 Bjoerling-Milanov on RCA, and the 1962 Salzburg-Von Karajan performance with Leontyne Price and Franco Corelli. Sopranos and tenors like those don't exist anymore.

3.75 Stars to be correct for this Trovatore.......2005-02-07

Il Trovatore

Opening: D'Arcangelo - Excellent!! His deep velvet tone lends itself organically to the music of Ferrando. His Abita zingara has the eerie darkness needed to make the 16th notes figures of the aria pulse on the back of the listeners neck. Sull' orio dei tetti as conducted by Pappano is probably the best combo conducted between Ferrando and chorus I have heard. The tempo is just fast enough to engage the listener completely.

Tacea la notte placida - Gheorghiu does a very good attempt at the heavy phrasing of one of Verdi's most vocally challenging arias. Her lower register is not developed enough for Leonora. The role demands more dramatics in the voice than Gheorghiu gave. On the other hand, the cabaletta Di tale amor, with its fast coloratura passages sits better on Gheorghiu's voice than the cavatina.

Infida! Qual voce! - The fastest trio I have ever heard. The orchestra and singers followed Pappano like a hawk. Singing was decent. Alagna seems to scream his way through the trio overpowering the rest. The sliding and crying is not good on the voice. A great attempt is made at the end of the aria when both soprano and tenor take the crowd pleasing high D flat.

Act II -

Stride la vampa: This aria lacks life, focus, color, and intensity. The sound might be there, but everything else is missing. Diadkova has the potential to bring Azucena to life; however, her attempt does not succeed.

Mal raggendo: Great singing in this aria. One can really hear the French ping from Alagna voice in the phrasing. At times he can get over-dramatic, but never loses the intensity.

Il balen: Hampson delivers a lyrically and emotionally charged aria that reminds me of a Sherill Milnes recording with Price, Domingo, Cossotto and Mehta conducting (which is without exception, the ONE to own vocally speaking). Hampson ring is pleasant throughout and his flexibility with the line is excellent. The caballeta afterward is a reminder of the flexibility and complete control that he has over his instrument.

Quintet and double chorus: The quintet is okay. Nothing unusual. I really believe that Gheorghiu could have given more volume to the high notes in order to balance out everyone else. The score does state `con tutta forza'. Ferrando is excellent, Count and Troubadour great. I have not mentioned the chorus once in this review and it is for a reason: They are the best part! All throughout Act I and II they have been almost perfect. The diction, phrasing and near perfection with markings are unbelievable. GREAT JOB!!

Act III

The men's chorus at the beginning of this act is very well done. Also, great conducting and orchestral playing as well.

Giorni poveri - one of the many arias that Verdi wrote for a mezzo. Technically speaking, it is very challenging for the singer to keep the gas going through this aria and through the trio that follows. Diadkova does alright. Once again, it sound very superficial and in some places the listener can hear Azucena tiring vocally. Verdi Mezzos are very seldom nowadays.

Cavatina - Ah si, ben mio : Very well done. Some scooping. Also a very interesting mezza voce on the cadenza. The passion is there and one can hear the acting.

Cabaletta - Di quella pira: Alagna has some lungs! This is perhaps the most adventurous cabaletta I have heard from Mr. Alagna. There are uncalled scoops and unneeded "cries." However, the rest is very bravura singing almost Del Monaco style but a little over the top. The premature high C at the end is a nod to the tenor made by the tenor. Not needed but it doesn't hurt. If you have it, sing it until you crack.

Act IV

This act in particular rest solely on the shoulders of the soprano. It is her moment, the moment where she can bring the audience to their feet. The latter is possible with the right soprano and an educated audience. An example is the unbelievable Leonora portrayed by American soprano Sondra Radvanovsky given last June at L.A. Opera. She commanded the act and brought everyone, I mean everyone to their feet after her D'Amor sull' ali rosee. Everyone talked about her dark and agile voice. Sondra is worth listening to for a true Verdi soprano sound. Now back to business..

D'amor sull'ali rosee - I return to the issue of vocal color. Gheorghiu has lovely tones throughout her singing and her high is as delicate and sensual as a rose. However, there lack the depth that true dramatic sopranos lend naturally that Gheorghiu lacks. She understands the words and has the idea of line, but does not have il colore di donna abbandonata .

Miserere - Better due to the chorus.

Duet between Manrico and Azucena: Best singing that Diadkova has sung on this recording. Her tempi and subtleness with Verdi's writing is excellent. Alagna really understands Manrico. The latter is heard throughout this duet and the whole recording. Aside from the scoops and cries, he does a very good job. He has the instrument.

Conclusion: 3.75 stars out of 5. Chorus is EXCELLENT. I applaud: Ferrando, Conte and Manrico. Disappointed with: Azucena and Leonora. Interesting take on conducting I'll have another listen to make that decision. Enjoy!

Good but not good enough.......2005-01-06

I love this opera, but I was disappointed in this recording, especially the 2nd disc. I have really liked Angela Gheorghiu in her past recordings, but I felt she was trying to make her voice too dark at times which hindered her upper range during the soft passages. It sounds like too much "chest" in the higher register. Thomas Hampson is excellent. A 3D portrayal that made me feel sympathetic towards his Di Luna. He is a true artist who never over produces the tone. A beautiful spinning sound. A very sensitive portrayal. I really enjoyed Larissa Diadkova's Azucena. She does not have the beauty in her extreme upper register and at times becomes pushed. However, I really felt the energy and enjoyed her acting and the natural darkness of her voice. There were many times I like Roberto Alagna in this, but there were times he was over the top with too much tone. And, for me, his high C was held way too long with an obvious crack at the end. They should have redone the aria. I am surprised that the past reviews never mentioned this fantastic chorus. The orchestra and chorus are by far the stars of this production. I will continue to listen and enjoy this recording. It just isn't what I had hoped for and expected. If this is the way that Alagna and Gheorghiu are headed, I wonder how long their voices will last. I already hear quite an edge on Gheorghiu's voice that is very sad to hear. However, when she lightens her voice, it is quite beautiful. I enjoyed this production because of the intimate style all of the artists sang with. It was obvious that they were singing for interpretation and a sound booth instead of the stage. I found that refreshing.

Excellent.......2004-07-17

i am a fan to both Angela Gheorghiu and Roberto Alagna~ though i like Pavarotti a bit more (for tenor), but this is a recording i preferred most..... since for Thomas Hampson and Larissa Diadkova.... puls Gheorghiu and Alagna.... they are the ideal combintion of singers who sing Il Trovatore today~ they are all verdi experts~!!

though the recording of Pavarotti one is good.... but not all the singers did well.... when compare with this.... the singers appeared here is well balanced, technically~

Tracks:

Luisa Miller: Oh! Fede negar potessi...
Luisa Miller: Quando le sere al placido (Atto 2)
I lombardi: La mia letizia infondere (Atto 2)
Aida: Se quel guerriero lo fossi!...
Aida: Celeste Aida
Ernani: Mercdiletti amici...
Ernani: Come rugiada al cespite...
Ernani: Dell'esilio nel dolor...O tu che l'alma adora (Atto 1)
Un Ballo in Maschera: Forse la soglia attinse...
Un Ballo in Maschera: Ma se m'orza perderti (Atto 3)
Otello: Dio, mi potevi scagliar tutti i mali...
Otello: Ma, o pianto, o duol!
Otello: Niun mi tema (Atto 4)
La forza del destino: Introduzione (Orchestra)
La forza del destino: La vita nferno all'infelice.
La forza del destino: O tu che in seno agli angeli (Atto 3)
Macbeth: O figli, o figli miei!
Macbeth: Ah, la paterna mano (Atto 4)
Jsalem: L'r auprde lui m'apelle...
Jsalem: Je veux encor entendre (Acte 2)
Il Trovatore: Ah, sben mio (Atto 3)
Il Trovatore: Di quella pira

Customer Reviews:

A very misleading CD.......2004-05-28

Do you people know that this CD has been tampered with? I mean, the sound and balance are manipulated in such a way as to make Alagna's voice sound much bigger than it really is. The balance is skewed so that both Alagna's voice and the orchestra sound much more powerful than in real life. There are numerous splicing instances and other studio tricks present in this CD. This is NOT an accurate representation of how Alagna sounds in person.

Shame on EMI for using all these fake tricks to fool the listener. I, for one, am NOT fooled.

SUPERBLY PHRASED VERDI.......2003-11-10

I am surprised to find myself giving this record a complete thumbs up. Alagna's voice sounds comfortable in all of the selections, and they range from the lyrical to the outpourings of Otello. But what impressed me most was his musicality, his phrasing in thses demanding pieces. There are hundreds of "Celeste Aida" out there, bringing something new to such a warhorse would seem impossible, but it is done here. The key to much of Verdi's music is the 'arch', Verdi is famous for his arching melodies. Alagna uniquely understands this and phrases the very difficult 'ergerti un trono vicino al sol' in a beautiful arch, with a nice corona on the B flat, he then shows off his breath control by aliding right into the succeeding upward sweep of 'celeste Aida'. Fabulous! And I have never heard it this way before. Every other tenor in my experience goes up to the B flat and holds it for dear life and then swiftly descends on the phrase, never making it one continuous phrase and thus altering the inherent shape of the piece.

The "Ballo" aria is full of detailed expressive touches as Alagna follows Verdi's markings. He is the only tenor I have heard to actually sing with the 'voce cupa' Verdi demands at 'ed or, qual reo pressagio'.

Examples like this arethroughout the recital. This is a musician of the first rank with an attractive voice and personality. Bravo Signor Alagna.

Really interesting........2003-06-04

Roberto Alagna is one of the best (and few really good) tenors of our time.

Since his first performances, he showed the world a beautiful timbre and natural voice control, a correct vibrato, a solid and well emited voice (strange for a french tenor) the ability to sing the dynamics as written, diminuendos on high notes, etc.. He has been in many senses the best tenor to come out in recent years, or at least one of the best two or three in an extremely long time.

The fear that I have felt after hearing his recent performances and recordings, is that he has been trying to make his voice sound darker. I thought the reason could be that he was looking for the chance to take darker and more spinto roles. The problem is that the beauty and purity of timbre get somewhat lost in the process. The other, and bigger, problem is that to succeed doing that, a singer needs a technical background that singers today don't have anymore, which is very dangerous for vocal health.

Here we can hear an Alagna in an amazing gamma of roles, in some of them he fits more than in others. He sings excelent in most part of the album, although a little bit tension can be heard in some moments.

If you look at the track list, you see that there are things that could have been expected, as Ballo in Maschera, or even Luisa Miller, where he sounds as good as expected. But also there are surprises, being the biggest one a couple of OTELLO arias! Then you see, as suspected, Alagna has been darkening his voice colour in order to attack a BIG role. As suspected (and perhaps feared) the big role is Otello. It is very likely that Alagna's goal is to be THE Otello of his generation.
What is the result? For the moment, it works fine. The Otello excerpts here (dio mi potevi.. and niun mi tema) are two of the best moments in this recording.
Well, one thing is to sing a couple of arias and the other thing is to sing the whole opera. Above all on stage. I don't know if the success that Alagna gets here is possible for him to get singing Otello in the theater. He will try (we can be sure of that), so it is only a matter of time to find out.
The problem is that Alagna could see his voice ruined in a small amount of time. Let's hope that won't happen, so we can still enjoy of this great singer. If everything works fine and we are lucky enough, we are seeing the rise of the most popular Otello in the years to come.

A dreadful CD.......1999-12-23

This CD is a good example on how to sing bad! Alagna is the worst tenor I ever heard. EMI wanted to create a new tenor, but I think they failed. His voice is annoying and his technique is poor! A waste of money!

He may be opera's Bad Boy, but the voice is so good........1999-09-28

Here we go again! Before the week is out, some wag will comment viciously on Alagna's display of hairy chest on his new CD cover. (Well, some Verdi arias are rather hairy-chested, aren't they?) What was the last complaint? Oh, yes, there were too many cutesy photos of he and his wife in the last CD "paperwork." Okay, it's out of the way--shall we discuss music, now? Sorry to keep repeating myself, but this is a superb recording. Obviously more disciplined in the studio than on stage, the voice is just incredibly lush, strong, and beautiful. If he keeps it up, he will become another Bergonzi, and that is the highest praise I can give any singer. I like the fact that he doesn't take the easy way out on this CD-there are lots of vocal challenges. Expecting to hear a rather limp Otello, I was surprised by the maturity of the interpretation; he's not ready to do it on stage (if he's smart), but he provided a real fortaste of what that event will be like. Alagna is the most "tenor-ly" of all the newer tenors today: he does not sing toward the tenor-baritone "line," nor is he overly lyrical. Seemingly a true "spinto," he is rapidly becoming the Pavarotti for the next century (which, incidentally, folks, begins Jan 1st, 2001). He and the other great new singers--Bocelli, Cura, Heppner, et al--will no doubt provide us with many years of beauty and excitement in the years ahead.

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