Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin

Editorial Reviews
Amazon.com essential recording
This dates from near the beginning of Maria Callas's recording career. It was for many fans their first encounter with her, and it contains some of the most beautiful singing she ever did before a recording microphone. Set in 17th-century England, during the struggle between the Puritan supporters of Oliver Cromwell and the Cavalier royalists who supported the Stuart dynasty, this opera focuses on the problems of Elvira, a young Puritan woman in love with Arturo, a member of the Cavalier faction. Complications arise, Elvira believes she has been betrayed by Arturo, and she loses her mind. Her mad scene (a kind of music for which Callas developed a formidable technique) is the opera's musical and dramatic climax, but by no means the only reason for getting to know it. While the role of Elvira towers over the others, ensemble singing is a strong part of I Puritani's appeal. Callas's voice was in its top form for this recording, and her superb acting skills convey many subtle shades of anguish. She dominates the performance, but her supporting cast is better than those she usually got before becoming a major international star, and they work well together. --Joe McLellan

Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin, Music, Vincenzo Bellini, Orchestra e Coro del Teatro alla Scala, Tullio Serafin, Maria Callas, Giuseppe di Stefano, Nicola Rossi-Lemeni, Rolando Panerai, Angelo Mercuriali, Aurora Cattelani, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Bellini: I Puritani
Average customer rating: 5 out of 5 stars
  • Hauntingly beautiful music and superb interpretations!
  • Ravishing beauty
 Bellini: I Puritani

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin
  2. Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata
  3. Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
  4. Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
  5. Bellini - I Puritani / Sutherland

ASIN: B0000E3HLZ
Release Date: 2003-12-02

Tracks:

  1. Sinfonia
  2. All'Erta! All'Erta!
  3. O Di Cromvel Guerrieri
  4. A Festa!
  5. Or Dove Fuggo Io Mai?
  6. Ah! Per Sempre Io Ti Perdei
  7. T'Appellan Le Schiere...Bel Sogno Beato Di Pace E Contento
  8. O Amato Zio, O Mio Secondo Padre!
  9. Sai Com'Arde In Petto Mio
  10. Odi...Qual Suon Si Desta?
  11. Ad Arturo Onore
  12. A Te, O Cara, Amor Talora
  13. Il Rito Augusto Si Compia Senza Me
  14. Com'Io, Vi Unisca
  15. Son Vergin Vezzosa
  16. Sulla Virginea Testa
  17. Ferma. Invan Rapir Pretendi
  18. E Gia Al Ponte, Passa Il Forte
  19. Ah, Vieni Al Tempio, Fedele Arturo
  20. Ma Tu Gia Mi Fuggi?

Tracks:

  1. Ah...Dolor! Ah, Terror!
  2. Qual Novella?
  3. Cinta Di Fiori E Col Bel Crin Disciolto
  4. E Di Morte Lo Stral Non Sara Lento
  5. O Rendetemi La Speme...Oui La Voce Sua Soave Mi Chiamava
  6. Vien, Diletto, E In Ciel La Luna!
  7. Il Rival Salvar Tu Dei
  8. Se Tra Il Buio Un Fantasma Vedrai
  9. Riccardo! Riccardo!
  10. Suoni La Tromba
  11. Son Salvo, Alfin Son Salvo
  12. A Una Fonte Afflitto E Solo
  13. Qual Suon! Alcun S'Appressa
  14. Son Gia Lontani!
  15. Fini...Me Lassa!
  16. Ch'Ei Provo Lontan Da Me?
  17. Vieni Fra Queste Braccia
  18. Alto La! Fedel Drappello
  19. Cavalier, Ti Colse Il Dio
  20. Credeasi, Misera!
  21. Suon D'Araldi?

Customer Reviews:

5 out of 5 stars Hauntingly beautiful music and superb interpretations!.......2004-07-03

I Puritani is one of Bellini's three greatest operas (the other two being Norma and Sonnambula). Its melodies are extremely moving. Under the baton of the great Serafin they can easily make one cry, especially when you have artists like M. Callas and G. di Stefano singing the main roles. I'm not a fan of these singers but this is by far their most effective performance on disc!

The feeling Maria Callas injects into Elvira's words (Qui la voce...o rendete mi) is unbelievable! I usually prefer her in exciting cabalettas but here she is superb! M. Caballe is the only other soprano I can thing of, who could ever be so moving in Bellini's music (she recorded the opera with Kraus but unfortunately, a bit late in her career). In the faster, "firework", sections, Callas is exciting if not as brilliant as J. Sutherland. Di Stefano is heard here in his short-lived prime with a voice of exceptional warmth and beauty! The "a te, o cara" fully epitomises this legendary tenor. His uncovered high notes already annoy sometimes but after all, these belonged to his style of singing. Panerai also had a handsome voice and he definitely is a plus in this recording.

Should this be your only studio Puritani recording? No because it's incomplete, in monophonic sound and the second Sutherland recording, complete and with an all-star, bel-canto expert cast is available. On the other hand, Serafin's reading of the score, the young Callas and Di Stefano are a marvel to listen to and make this EMI set a must! Note that this release offers no libretto but the price is great!

5 out of 5 stars Ravishing beauty.......2004-06-15

This remastering of Callas' first complete recording of an opera for EMI is a jewel beyond price. Instead of launching her career as Tosca or Violetta Callas chose a part she had made operatic history with. In 1949 she was singing Wagner's Brünnhilde (To high acclaim) and was considered a dramatic soprano when a soprano fell ill and Tullio Serafin, this greatest of all conductors, begged her to study the highly florid part of Elvira. Maria, trusting her mentor, accepted and while singing Brünnhilde rehearsed Elvira (!) and then sang both Brünnhilde and Elvira in the same week leaving critics spellbound, running out of superlatives and their expectations for upcoming performances running high. It's like letting Beverly Sills sing Brünnhilde and Birgit Nilsson sing Elvira. But Callas, this true prima donna assoluta, did it. When Callas recorded the part of Elvira in the studio her approach to the role was gentler, even more fragile and yet of the darkest, most intense colours. This Elvira's "Qui la voce suave" isn't just beautiful easy listening but a masterpiece of inflections, phrasing and details. The fascinating scales and the white-hot E-flat in the end will leave you spellbound for sure. Now what about the rest of the cast? I absolutely love di Stefano as Arturo. True, he was never a tenor to spill high Cs like Lauri Volpi, Kraus or Gedda but his sunny tone, flawless legato, intense phrasing and full voice definitely are big +++++++ on his behalf. Sure, Edgardo was written for Rubini but I absolutely love di Stefano's way of singing this taxing role, he's the most vivid, passionate Arturo on disc. Rossi-Lemeni is in topform as well, as he was every time he was partnering Callas (Another example would be the Anna Bolena they did together). Panerei sings a glorious Riccardo, maybe his greatest effort on disc. Serafin conducts with the experience of a true maestro di belcanto, absolutely magnificent. This is, by far, my favourite recording of "I Puritani". It's being in excellent sound and incredibly cast made it a legend and this remastering at such a price is a steal! Don't miss this wondrous performance!
Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin
Average customer rating: 4.5 out of 5 stars
  • For Callas and DiStefano fans
  • The Callas-Sutherland Catfight explained for newbies
  • Excellent rendition of this opera
  • The colour of tears, the colour of madness, the colour of joy
  • A Supreme Elvira
 Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin
Vincenzo Bellini , Orchestra e Coro del Teatro alla Scala , Tullio Serafin , Maria Callas , Giuseppe di Stefano , Nicola Rossi-Lemeni , Rolando Panerai , Angelo Mercuriali , and Aurora Cattelani
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
  2. Ponchielli: La Gioconda (complete opera) with Maria Callas, Fiorenza Cossotto, Antonino Votto, Orchestra & Chorus of La Scala, Milan
  3. Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
  4. Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan
  5. Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin

ASIN: B000002RXQ
Release Date: 1997-08-19

Tracks:

  1. I Puritani: Sinfonia
  2. I Puritani: Act One, Scene One: All'erta!
  3. I Puritani: Act One, Scene One: O Di Cromvel Guerrieri
  4. I Puritani: Act One, Scene One: A Festa!
  5. I Puritani: Act One, Scene One: Or Dove Fuggo Io Mai
  6. I Puritani: Act One, Scene One: Ah! Per Sempre Io Ti Perdei
  7. I Puritani: Act One, Scene One: Tappellan Le Schiere... Bel Sogno Beato Di Pace E Contento
  8. I Puritani: Act One, Scene Two: O Amato Zio, O Mio Secondo Padre!
  9. I Puritani: Act One, Scene Two: Sai Com'arde In Petto Mio
  10. I Puritani: Act One, Scene Two: Odi... Qual Suon Si Desta?
  11. I Puritani: Act One, Scene Three: Ad Arturo Onore
  12. I Puritani: Act One, Scene Three: A Te, O Cara, Amor Talora
  13. I Puritani: Act One, Scene Three: Il Rito Augusto Si Compia Senza Me
  14. I Puritani: Act One, Scene Three: Com'io, Vi Unisca
  15. I Puritani: Act One, Scene Three: Son Vergin Vezzosa
  16. I Puritani: Act One, Scene Three: Sulla Virginea Testa
  17. I Puritani: Act One, Scene Three: Ferma, Invan Rapir Pretendi
  18. I Puritani: Act One, Scene Three: E Gia Al Ponte - Passa Il Forte
  19. I Puritani: Act One, Scene Three: Oh Vieni Al Tempio - Fedele Arturo
  20. I Puritani: Act One, Scene Three: Ma Tu Gia Mi Fuggi?

Tracks:

  1. I Puritani: Act Two: Ah... Dolor! Ah, Terror!
  2. I Puritani: Act Two: Qual Novella?
  3. I Puritani: Act Two: Cinta Di Fiori E Col Bel Crin Disciolto
  4. I Puritani: Act Two: E Di Morte Lo Stral Non Sara Lento
  5. I Puritani: Act Two: O Rendetemi La Speme... Qui La Voce Sua Soave Mi Chiamava
  6. I Puritani: Act Two: Vien, Diletto, E In Ciel La Luna!
  7. I Puritani: Act Two: Il Rival Salvar Tu Dei
  8. I Puritani: Act Two: Se Tra Il Buio Un Fantasma Vedrai
  9. I Puritani: Act Two: Riccardo! Riccardo!
  10. I Puritani: Act Two: Suoni La Tromba
  11. I Puritani: Act Three: Son Salvo, Alfin Son Salvo
  12. I Puritani: Act Three: A Una Fonte Affitto E Solo
  13. I Puritani: Act Three: Qual Suon! Alcun S'Appressa
  14. I Puritani: Act Three: Son Gia Lontani!
  15. I Puritani: Act Three: Fini... Me Lassa!
  16. I Puritani: Act Three: Ch'ei Provo Lontan Da Me?
  17. I Puritani: Act Three: Vieni Fra Queste Braccia
  18. I Puritani: Act Three: Alto La! Fedel Drappello
  19. I Puritani: Act Three: Cavalier, Ti Colse Il Dio
  20. I Puritani: Act Three: Credeasi, Misera!
  21. I Puritani: Act Three: Suon D'Araldi?

Amazon.com essential recording

This dates from near the beginning of Maria Callas's recording career. It was for many fans their first encounter with her, and it contains some of the most beautiful singing she ever did before a recording microphone. Set in 17th-century England, during the struggle between the Puritan supporters of Oliver Cromwell and the Cavalier royalists who supported the Stuart dynasty, this opera focuses on the problems of Elvira, a young Puritan woman in love with Arturo, a member of the Cavalier faction. Complications arise, Elvira believes she has been betrayed by Arturo, and she loses her mind. Her mad scene (a kind of music for which Callas developed a formidable technique) is the opera's musical and dramatic climax, but by no means the only reason for getting to know it. While the role of Elvira towers over the others, ensemble singing is a strong part of I Puritani's appeal. Callas's voice was in its top form for this recording, and her superb acting skills convey many subtle shades of anguish. She dominates the performance, but her supporting cast is better than those she usually got before becoming a major international star, and they work well together. --Joe McLellan

Customer Reviews:

4 out of 5 stars For Callas and DiStefano fans.......2007-01-04

This is a beautiful CD. It is unmistakably Callas and there is a breathtaking aria by DiStefano. The sound quality is not great (but not poor). A pleasure for Callas fans!

4 out of 5 stars The Callas-Sutherland Catfight explained for newbies.......2006-10-23

In the unlikely event that anyone reading this isn't already exhaustively familiar with the subject, I'll volunteer to explain who this Joan Sutherland person is and why she figures so prominently in these reviews of a recording on which she is not heard.

Devotees of operatic sopranos [which I insist on calling them, since I still remember a time when "diva" was supposed to have some negative connotations] can be as fiercely partisan towards their "home team" as any sports fanatic. All the more so since the "sport" in question produces what is arguably the most intense esthetic pleasure to be found in any human endeavor. [There are those who might get something similar from a perfectly timed Michael Jordan dunk - but really it's not even close.] So don't kid yourself - even though the opera house is supposed to be at the opposite end of the civilization scale from the sports stadium, the fans in attendance are just as likely to get rowdy if they don't like a particular call.

Now to stretch this analogy to what is perhaps its breaking point: you can consider Joan Sutherland to be the New York Yankees to Maria Callas's Boston Red Sox. It's not simply that Sox fans passionately detest the Yankees. It's that the Yankees offend their fundamental sense of what the game is supposed to be about. The Yankees have their expensive roster and that galling number of World Series trophies [i.e. Sutherland's technically spectacular voice and long, happy career], while the Sox have *heart* [i.e. Callas's unequalled expressiveness and womanly struggles with weight and disappointed love].

This kind of fan identification - though technically irrelevant to an appreciation of the art - is a significant part of the opera aficionado's experience, so I would never minimize its importance. [Besides, if anyone ever said anything mean about Birgit Nilsson, I would want to scratch their eyes out.] So, from a consumer guidance perspective, it's completely irrelevant that the Sutherland performance is more technically proficient [the importance of which in this style of music can't be simply argued away] or has better sound. *This is Callas*. And it's close enough to her best that you don't have to buy into the Judy Garland/Billie Holiday-ish cult of La Divina [in which the cracked notes of the late career have something of the redemptive suffering of the Seven Stations of the Cross] in order to hear what was extraordinary in her music-making.

5 out of 5 stars Excellent rendition of this opera.......2006-04-07

Firstly, before discussing the singers, one must discuss this version of the opera. It is hardly complete, and even the solo numbers for Callas are heavily cut, often to the point they lose any real direction. To those that think this is because of Callas' poor techique, that is NOT the case. That was the custom of the times. Because Bel Canto operas often have long lovely melodies, and little drama, producers and directors felt cuts were needed to keep the audience's attention. Some cuts were traditional from performances through the years, but NONE of the cuts were ever made with the intent to make the music better, just shorten it.

One will not find the extra number at the end of the opera that Sutherland and Sills both sing, which Bellini wrote for a version of the opera he completed for Italy and for Malibran. The "Son Vergin vezzosa" of this version was included in the first production because Grisi could sing it well. Because of length of performance do to popularity of the numbers (and audience requiring repeats), some sections in the Act III duet were cut, and other cuts made as well.

None of those cuts ruined the structure of the pieces of the opera, these cuts do. "Son Vergin" is so cut and slashed it ends before it really has a chance to being. And the mad scene is omitting much, though all the long slow parts are in tact. It is the finale of the entire opera that is butchered to death. After the famous "Credeasi Misera", the opera just ends! Any development that could come out of that extremely cut ending (lacking the additional aria that Sutherland and Sills both sing) is cut even worse by removing an entire 3 pages of the score. And excepting the final notes, the lead singers sing NONE of the notes or interjections that would render some sense to what is happening. Again, a common practice of the time so that the singers could save their voice for a high note ending.

As a conception of the opera and what Bellini intended, this is certainly an extremely flawed version.

Yet, in spite of the lack of understanding of that time period in keeping music intact, there are wonders that come out of this recording that are simply jewels worth the experience.

Firstly, the conducting and reading of the score by Serafin is incredible. He makes each phrase telling, have meaning, and flow with such emotion. Even with this heavily cut version of the opera, with cuts that ruin the progression of the musical thought, he works magic. His understanding of this type of music, of this type of opera, is incredible. Would that many modern conductors would listen to his recordings and learn. He also supports his singers well, and NEVER overshadows them. Every thing blends into a perfect whole.

As for Callas, there is little to say. I enjoy her singing immensely and always have, even as a child when I actually heard her in her last Normas in Paris, and her Tosca in London. I have no problems admitting her voice was flawed, it was not beautiful at all, and at times it was simply UGLY. But her understanding of technique, of how to use the voice, what was musical and appropriate and what was not, was unbelievable. She says that Serafin taught her all she knew about a recitative, but did she ever learn and master what she was taught to perfection.

Her understanding of what Bel Cant is was not only evident in her recordings, but in her own words when teaching at Julliard. She knew how to make many small breaths appear as one long seamless whole, she knew the art of phrasing, and she used incredible musicality when performing. Was she perfect? By no means. Was she the most polished singer? Not in the least. But she knew how to tern a phrase and make it live. Some have talked about her "using flute notes" in their reviews. What they mean to say is her habit of using pianissimo when singing coloratura, or reducing the volume of the tone to sing very difficult passages. Yes, she did that. No, Joan Sutherland does not do that. Callas was a creature of her training, and she as trained by a great colorature soprano (at least of her day), and was therefore taught the way to turn a phrase and use a quieter tone when singing coloratura passages, the reason for doing so was so the voice didn't need to use a cover through the passagio in quick scales and trills. ( a cover should be used only in full voiced singing, and not with coloratura since it often makes it very heavy sounding; since Sutherland covered all the time, no matter what she was doing and knew how to use that cover to her advantage, avoiding the cover was not something she had to worry about)

What makes Callas great is her use of technique to bring out the drama she feels within, and there, she has no peers at all.

As for di Stephano, he is fine in this role, even if he is quite wrong for it. His D's are more than strained. His high F is not there at all but is replaced with a D Flat. Though that shows he couldn't handle the note Pavarotti can (and he wouldn't have sing that note in falsetto as Pavarotti did simply because at that time no one would have accepted it as proper at all, when in reality, Rubini, the creator of the role of Arturo sang everything above a G in a head voice), it hardly ruins the music, for the repeat of that high-lying phrase using the D flat instead of the F actually works better musically in some ways.

The basses were fine but I did find Rossi-Lemeni barks too often, and has a very rough legato line because of harsh blasting consonants.

All in all, it is a great performance, but if one wants a real representation of the opera, not just great singers (and in this case, mostly Callas) buy the recordings of Joan Sutherland/Pavarotti or Sills/Gedda and you will get the opera more complete (including all the reworked parts that are in the Malibran score). As for which is best? I really have no clue, as I love them all, and own them all, and listen to them all, depending on which mood I am in. If for emotional connection, I listen to Callas; if emotion with good technique, Sills; for just plain dazzling display, Sutherland.

My operatic world have room for them all.

5 out of 5 stars The colour of tears, the colour of madness, the colour of joy.......2006-03-13

"I Puritani" is a splendid opera. One doesn't listen to it for a lifelike plot, after all, but for some of the most ravishing music ever written, and some beautiful characterisation which emanates from the music itself.

While this is my favourite Puritani, because of the marvellous Maria Callas in the role of Elvira, I also own and delight in other recordings of this opera. I see no point in downgrading other singers' performances - Callas's achievements do not need that. I do not need to despise other singers in the role - Callas's beautiful and emotionally powerful singing is not given anything extra by scorning others.

On the contrary... I adore all beauties in music, and respect all the work that great singers have put into bel canto music such as is found in Puritani. Beverley Sills is a marvellous Elvira; Anna Moffo is incredibly beautiful in the role; Mirella Freni is heartbreakingly lovely as Elvira; Joan Sutherland (particularly in her earlier recording) was stunning in the role; Gruberova is a dream Elvira... and it goes on.

For all that, Callas remains my favourite. I can hear the aching truth of Elvira's emotions in the voice of Callas. I hear Callas not as Callas, but as Elvira. There really is no better recording of this gorgeous opera, and each note, each phrase has meaning in the superb artistry of Callas.

Di Stefano is fine in the role of Arturo, and the other singers are equally adept. The conducting by Serafin is magnificent - I think no other conductor understands Bellini as Serafin does.

I refuse to part with any of my "Puritani" recordings - but this one, above all, is the most frequently played of them all.

5 out of 5 stars A Supreme Elvira.......2005-06-03

It was fate that brought Elvira and Maria Callas together when soprano Margherita Carioso (who died only a year or two ago! Can you believe that?) was indisposed for the performance and was discovered by Serafin during her run of Walkures in Fenice. His wife had heard her singing the Qui la voce mad scene and immediately asked Serafin to give her a listen. He didn't realize that she didn't know the part yet, only the aria from her studies with Hidalgo, and to her complete surprise he signed her up for a run of Elviras in the middle of a series of Brunhilldas, and so the Callas legend began with this dramatic soprano who sang the leggero role of Elvira. But that is another story.

There exists a copy of her I Puritani in Mexico with di Stefano, which finds her in spectacular voice. However, as astonishing as the recording may be, it doesn't have the sensitivity that this recording with Serafin has. Under the baton of Guido Picco, the inner beauties of Bellini's score is not realized. Under Serafin, a greater dramatic canvas is laid out for Callas' genius. The many coloratura sopranos who handled the part before Maria sang the role to showcase the many runs and trills to impress the operatic audience, but Callas renewed the part with dramatic insight and a darkness that other sopranos could never explore. The mad scene alone is worth the price of this recording, and I find that it has more meat to it than the Cetra recordings. Her voice is freer in this recording than most of the recordings that she made for EMI in the years to come. Hers is an Elvira of madness, of delirium, something that only Callas can touch, and it is because of this that I would highly recommend it to you to listen to her Elvira. Accompanying her in this recording is Giuseppe di Stefano, a legendary lyric tenor who effectively sings Arturo's part with an ardour that he compensated for in the Mexico performances. The opera is conducted by Serafin, a master of bel canto, and I would just like to say that this recording is as essential as Puccini if you want to hear truly good music.
I Puritani (Maria Callas La Scala 1953)
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    		I Puritani (Maria Callas La Scala 1953)

    Manufacturer: Capitol
    ProductGroup: Music
    Binding: Audio CD

    Bellini, VincenzoBellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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    ASIN: B000026CEN
    Release Date: 1990-10-25
    Famous Voices of the Past: Maria Callas
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      		Famous Voices of the Past: Maria Callas

      Manufacturer: Preiser Records
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      Binding: Audio CD

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      GeneralGeneral | 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: B00020PVKW
      Release Date: 2004-08-31
      Bellini: I Puritani [Germany]
      Average customer rating: Not rated
        		Bellini: I Puritani [Germany]
        Callas , Di Stefano , Panerai , Rossi-Lemeni , Mercuriali , and Serafin
        Manufacturer: Documents
        ProductGroup: Music
        Binding: Audio CD

        GeneralGeneral | Classical | Styles | Music
        ASIN: B00018QJ74
        Release Date: 2006-05-03

        Music Review:

        1. Berlioz - La damnation de Faust / von Otter · Terfel · K. Lewis · von Halem · PO · Chung
        2. Bolcom - A View from the Bridge / Josephson, Malfitano, Turay, Lyric Opera of Chicago, D. Russell Davies
        3. Brahms: Symphony 1/Triumphlied
        4. Brahms: Violin Concerto; Sonata No. 3
        5. Bravo! Virtuoso and Romantic Encores for Violin
        6. Britten: Four Sea Interludes/Passacaglia/Bridge: Suite The Sea/Bax: On The Sea-Shore
        7. Bruckner: Symphony No.8 [Import]
        8. Bruckner: Symphony No. 9 [Enhanced]
        9. Carpenter: Adventures in a Perambulator / Symphonies 1 & 2
        10. Coloratura Assoluta [Import]

        Music Review

        music review

        Music Review

        Rock Music rock-music-47

        Beethoven: Piano Sonatas, Op. 31, Nos. 1 - 3

        Century Classics, Vol. 10: 1500-1600

        Webco Classics, Vol. 2

        DJ Darkzone Presents Clubmasters [Import]

        Curtain Call

        Cada Vez Mas [Import]

        Crash

        Alarm Ep-20th Anniversary [Import]

        Chanticleer: A Portrait

        Chill With Me

        Boogaloo Is Here

        Colección 78 R.P.M.: 1928-1931 [Import]

        FREEDOM: The Golden Gate Quartet & Josh White at The Library of Congress (1940)

        Tribal Dance