Lucrezia Borgia

Track Listings

1. Preludio

2. Nella Fatal Di Rimini (Orsini )

3. Tranquillo Ei Posa ( Lucrezia )

4. Com'È Bello! ( Lucrezia )

5. Ciel! - Che Vegg'io- ( Lucrezia - Gennaro)

6. Di Pescatore Ignobile (Gennaro )

7. Gente Apressa ( Lucrezia )

8. Maffio Orsini, Signora Son Io (Orsini )

9. Nei Veneto Corteggio To Ravvisasti (Duca)

10. Vieni La Mia Vendetta (Duca)

11. Addio, Gennaro ( Orsini - Livorotti - Vittellozo - Petrucci - Gazella )

12. Qui! Che Fai- ( Rustighello)

13. Non Far Motto, Parti, Sgombra ( Rustighello - Scherani )

14. Tutto Esiguisti ( Duca)

15. Cosi! Turbate- (Duca)

16. Soli Noi Siamo (Duca)

17. E Si Avverso A Gennaro Chi Vi FÈ( Lucrezia)

18. Oh! A Te Barda, A Te Stesso Pon Mente ( Lucrezia)

19. ( Duca)

20. ( Duca)

See all 35 tracks on this disc

Lucrezia Borgia, Music, Donizetti, Sutherland, Horne, Bonynge, Aragall, Classical, Classical Music, Opera / Operetta / Oratorio

Renée Fleming: Bel Canto
Average customer rating:

Yes, she DOES sing a High G!

Intriguing and powerful voice

A beautiful voice, but the wrong stylistic approach...

The Voice God

A Bel Canto Cake: Enjoy

Renée Fleming: Bel Canto
Gioacchino Rossini , Patrick Summers , and Orchestra of St. Luke's
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006589U
Release Date: 2002-08-27

Tracks:

Bellini/La sonnambula: "Ah!..se una volta sola"
Bellini/La sonnambula: "Ah!..non credea mirarti"
Bellini/La sonnambula: "Ah! non giunge uman pensiero"
Donizetti/Maria Padilla: "Abbracciami"
Donizetti/Maria Padilla: "Il piu tenero suon d'arpa morende"
Donizetti/Maria Padilla: "Ah! non sai qual prestigio si cela"
Rossini/Semiramide: Introduzione
Rossini/Semiramide: "Bel raggio lusinghier"
Rossini/Semiramide: "Dolce pensiero di quell'istante"
Bellini/Il pirata: Introduzione
Bellini/Il pirata: "Ah! s'io potessi dissipar le nubi"
Bellini/Il pirata: "Col sorriso d'innocenza"
Bellini/Il pirata: "Oh sole! ti vela di tenebre oscure"
Rossini/Armida: "D'Amor al dolce impero"
Rossini/Armida: "Gli augei tra fronde e fronde"
Rossini/Armida: "La fresca eta sen fugge"
Rossini/Armida: "Ah! si, godete amanti"
Donizetti/Lucrezia Borgia:"M'odi, ah m'odi, io non t'imploro"
Donizetti/Lucrezia Borgia: "Figlio!...Figlio!...Ola, qualcuno!"
Donizetti/Lucrezia Borgia: "Era desso il figlio mio"

Amazon.com

Surely Renée Fleming's soprano must be one of the most beautiful voices before the public today. Though renowned for her interpretations of Mozart, Strauss, and Verdi, as well as for her commitment to contemporary music, she says that the bel canto repertoire has always been central to her career. On this recording, which features scenes and arias from operas by Bellini, Donizetti, and Rossini, she proves that she has achieved total, effortless technical mastery of the uniquely difficult vocal writing characteristic of the style. Every note is perfectly placed. Her runs, including scales over a huge range in both directions, are as clear and evenly paced as a chain of exquisite pearls. Her leaps always land in the center of the pitch. Her intonation is flawless.

Fleming also displays her emotional affinity for the drama, pathos, and lyricism of the music and her ability to identify with her larger-than-life heroines. Chosen from familiar and unfamiliar operas, the music is beguilingly beautiful, ranging from peacefully pastoral to darkly menacing. However, some listeners may feel that Fleming's tendency to overinflect, overphrase, make long pauses, and put swells on long notes, especially in the slow arias, undercuts the music's simplicity and the directness of her expressive communication. The performances are based on the latest scholarly research into the "bel canto" style regarding historically correct ornamentation (only in repeats) and the problems of balancing textual fidelity with imaginative freedom. The Orchestra of St. Luke's gives splendid support, with outstanding solos, especially from the winds. --Edith Eisler

Album Details

Bel Canto is Shrink Wrapped as a Strictly Limited Edition, with a Bonus Disc of Four Unreleased Tracks of Popular Favorites By: Bach, Handel, Mozart and Debussy

Customer Reviews:

Yes, she DOES sing a High G!.......2007-03-21

When I was reading the other reviews of this album, I saw people talking about Renee Fleming going up to a High G (that is G above High C), and I was a bit skeptical...I was used to hearing her in the roles that climax on High B-Flat or High C. But now that I have the album, I can verify that she does indeed go that high! She just touches on it, but hey, that counts! My favorite selections from this album are "Ah! Non Giunge" when she sings a brilliant high E-flat, and because I just love that bouncy little aria. And "Era desso il figlio mio"... that's the one where she sails up to a High G...and She ends the piece with another glorious High E-Flat. Her melismas are delectable. And her high notes are not grating or shrill. Her tone quality is, as usual, plush and sumptuous...and the way she turns the musical phrases so poetically is just amazing. I'm SO glad she made this CD!

Intriguing and powerful voice.......2007-01-21

Renee Fleming has an interesting voice and is obviously an accomplished bel canto singer. Her voice seems to have a heavier, darker sound than many sopranos who essay the coloratura corpus. The sound is very rich. While I'm not sure that I would call her voice ravishing or beautiful, it is clearly up to the task of producing a compelling sound.

This CD begins with a scene from Bellini's "La Sonnambula." Her version of "Ah! Non giunge uman pensiero" is nicely done. She displays an agile voice. She hits the high notes well. Other versions feature trills; hers does not. However, later cuts on this CD surely show that her trill is one of the better ones today. I had never heard even small selections from Donizetti's "Maria Padilla" before. However, Fleming does a very good job. In the final part of the scene that she sings, "Ah, non sai qual prestigio si cela," she trills wonderfully. I have been acquiring CDs and listening to contemporary bel canto singers lately and, to this point of those to whom I have listened, she has one of the best trills around.

"Bel raggio lusinghier" from Rossini's "Semiramide" is nicely sung. Again, she is agile, can hit the high notes, and displays good coloratura technique. The high notes are wonderfully wrought; appoggiaturas well crafted. A number of other reviewers comment on her high note to conclude the cut from Donizetti's "Lucrezia Borgia." She nailed it pretty well, as those others noted.

And so on. No need to go through each cut one by one. All in all, a very good CD. Her darker, heavier voice combined with her vocal agility and coloratura technique make for a very interesting work. She clearly has some of the better coloratura technique among sopranos working in the vineyards of opera today.

A beautiful voice, but the wrong stylistic approach..........2005-11-16

I remember hearing Renee Fleming's first CD - I was instantly struck by the extremely beautiful lyric sound, and the ease with which Ms Fleming sang repertoire that required a high tessitura. I was reminded very much of Kiri Te Kanawa's tone, atlhough at the time, of course, Ms Fleming didn't have the polish of Te Kanawa.

The voice itself is a miracle. It is one of the beautiful voices of this age. But increasingly, I have become disenchanted with the WAY in which Renee Fleming uses her voice. Endowed with such a lovely voice, with a rich and even legato quality throughout, one would think that bel canto repertoire would suit Ms Fleming perfectly. And I think potentially it does... If you do not already possess the full opera recordings of Rosmonda d'Inghilterra (Donizetti) and Armida (Rossini), with Fleming in the title roles, I would like to recommend that you purchase them. They are very beautiful - stunningly so.

A small digression... My CD collection, I should mention (just casually), is nearly 3000 CDs strong, all of which are classical, and the majority of which are vocal (opera, oratorio, Lieder, operetta, early music, French chansons, etc.). The bel canto portion of my collection is substantial. I am also a bel canto singer myself. I speak, thus, with a knowledge of bel canto style, with particular reference to the ways in which the composers would have expected singers to handle their works.

So I hope readers will understand that when I say that Ms Fleming isn't performing on this CD with appropriate bel canto style, I am not speaking out of ignorance, malice, or uninformed opinion. The liner notes shed light on Renee Fleming's approach: she mentions that "like the great singers who premiered these works, we must use our own musical intelligence and imagination to make this music come alive. For someone like myself, trained as a jazz singer, this comes as a liberating reveltion."

Yes. That puts the finger on the major difficulty here. Of course the arias and scenas need to give interpretation and wonderful ornamentation in the repeats of cabalettas, etc. - but NOT, please God, with jazz in mind. The two fields are completely different. This explains to me why Ms Fleming's later recordings fail to satisfy me as much as her earlier ones. I was surprisingly enchanted by her Schubert album, in which I thought a lot of careful interpretative work had gone, and those two earlier full recordings of bel canto operas were superb. How had that wonderful bel canto technique gone astray in this recording? I think - I may be wrong - but I think that Renee Fleming is now relying almost entirely upon her own idea of how bel canto should be sung, rather than being given detailed guidance from an experienced conductor who's both au fait with the requirements and not intimidated by Ms Fleming's very beautiful voice and star billing.

I did buy this CD with great anticipatory pleasure, and I was disappointed because I had such high hopes. I am sorry, because I adore Ms Fleming's voice, but the swoops and the bathos of the interpretations are not moving to me. I so much want Ms Fleming to record bel canto in the future with a great conductor guiding her to avoid the mannerisms that may seem very expressive to Ms Fleming, but strike many listeners as only detracting from the creamy and lovely tone.

Three stars from me, because the voice is unquestionably beautiful.

I do hope that Renee Fleming decides to follow the guidance of some bel canto specialists.

For more authentic bel canto soprano singing, I recommend the peerless Edita Gruberova (still singing wonderfully), the beautiful Sumi Jo, and the great classic recordings of Callas, the young Caballe, and the young Joan Sutherland.

The Voice God.......2005-09-08

I've been a lover of opera for the past 5 years, and I'm 20 now. Never have I been so utterly blown away from a recording, and I have many. After purchasing this CD, I quickly bought 4 of her other recordings, as well as her film. After listening to "Bel Canto" I am sure that you will be convinced, as I am that Renee Fleming is hands down this generation's greatest soprano. Every selection on the CD is amazing, especially the scene from Lucrezia Borgia where she hits a high G above high C. You can feel the passion and drama through her voice, it pierces your heart it's so beautiful! For me, this CD was truly an epiphany. I did not realize that the human voice could be so beautiful, and now singing is all that I want to do! I highly recommend this CD for anyone who wants to hear unbelievable singing.

A Bel Canto Cake: Enjoy.......2005-07-27

Renee Fleming is today's leading American opera diva and her many albums attest to her versatility and superb musicianship. Among these albums, the recent jazz album Haunted Heart, (Fleming originally intende to sing jazz)Strauss- Der Rosenkavalier, Arabella and Cappricio as well as Four Last Songs, Mozart Don Giovanni (in the role of Dona Ana) Nozze Di Figaro (Countess)Cosi Fan Tutte (Fiordiligi)The Schubert Album, and such successful roles as Violetta in Traviata, Massenet's Manon and Dvorak's Rusalka. Not to mention she sang for such films as Lord of the Rings (in Elvish) and Bride of the Wind about the composer Gustav Mahler's ambitious composer wife Alma. Fleming has established herself as the most beautiful voice of recent years in the opera scene. I didn't know of her until she rose to prominence in the late 90's (she is also credited in the Mass In C by Beethoven in the movie Immortal Beloved). Fleming is primarily a lyric voice, whose purity and focus on tone is more important to her than dramatic effect. In this way, she is only following the tradition of the techniques of such sopranos as Elisabeth Schwartkopff, Leontyne Price, Montserrat Caballe and Joan Sutherland. She does have an ethereal beautiful voice, and this album - bel canto - is a showcase for gorgeous legato, pianissimi and coloratura trills and roulade fireworks.

Bel canto literally means "beautiful singing" and Renee Fleming brings that meaning back. Because of the illustrious efforts of such singers as Beverly Sills, Shirley Verrett, Leyla Gencers and inevitably Maria Callas, bel canto has now been a vehicle for dramatic intensity. Callas was never afraid to sound ugly or gritty to bring out the dramatic portions in the opera. But Renee Fleming knows she has a miraculous voice of sheer beauty of sound and she pleasures our ears with the sound of it. But one also sees her own efforts to sound as dramatic as she can sound. In La Sonnambula, Bellini created a vehicle for beautiful lyric sopranos with coloratura prowess. Singers like Anna Moffo made it sound gorgeous but Callas sang it and unearthed its dramatic power. Fleming attempts the Callas effect and even at times sounds like Montserrat Caballe, especially in such arias from Il Pirata (an opera Caballe recorded and performed on stage). She sounds creamy, golden, full-voiced, with gleaming high tops and rich chest registers, effectively colorizing all the melodic lines. I have not heard singing like this in a long time, and again Montserrat Caballe comes to mind. Just listen to how she sings Lucrezia Borgia, especially in the outburst "E sperto! " (He's dead!) the dramatic moment when Lucrezia discovers she has poisoned her own son. Fleming is also exceptional in Rossini's Semiramide. This is not her first experience singing Rossini. She has sung Il Vaggio A Reims, a rare Rossini opera. Bel canto is truly challenging, and it was for her, but she stepped up to the challenge and came out on top.

What's in the future for Fleming ? I would love for her to take on heavier roles, but she is herself very cautious about ruining her voice. Lyric sopranos like her can easily break if not properly trained. While she has sung Handel well and modern operas like "Ghosts of Versailles" I fear she will never take on the roles I long for her to sing - Tosca, Norma, not even Madame Butterfly. Mirella Freni, a voice quite like Fleming's managed to transition to heavier repertoire well- she sang Butterfly and Tosca with flying colors. Perhaps Fleming will continue to sing purely lyric roles- more Desdemonas, more Tatianas in Eugene Onegin or perhaps the heroine in Queen of Spades. But perhaps she can step outside herself and sing Elisabeth Valois in Don Carlo, or perhaps Lucia Di Lammermoor (why hasn't she sung that ? It's tailor made for her)Who knows what she has in mind but whatever it is, she will sound brilliant.

Average customer rating:

Wicked Funny Music
Gift Idea
Octoberfest fun
A great CD!

Opera's Greatest Drinking Songs

Manufacturer: RCA
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Binding: Audio CD

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ASIN: B000003FV4
Release Date: 1995-04-11

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La Traviata: Brindisi
Martha: Lasst mich euch fragen
The Student Prince: Drink, Drink, Drink
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Cavalleria Rusticana: Intanto, amici
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Rigoletto: La donna obile
What Shall We Do With The Drunken Sailor
Das Lied von der Erde: Der trunkene im fr
Wiener Blut: Stoss an!
Lucrezia Borgia: Il segreto per esser felici
Der Freischutz: Hier im ird'schen Jammertal
La Damnation de Faust: Song Of The Rat
Don Giovanni: Finch'han dal vino
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Tafellied
Eine Nacht In Venedig: Solch ein wirtshaus lob ich mir
Otello: Inaffia l'ugola!
The Bartered Bride: Welch Gottesgabe is das Bier
Die Fledermaus: O Fledermaus; Champagne hat's verschuldet

Customer Reviews:

Wicked Funny Music.......2007-05-18

Excellent choices for drunken idiots to sing to. Get some culture while you get smashed!

Gift Idea.......2007-01-17

This was a gift for a man in my life who is a beer conosouir and fluent in German. I fell in love with the cover art because it was so humourous. According to him, the music is also fun and entertaining. This could make an excellent unique gift for someone, even as a joke.

Octoberfest fun.......2000-12-12

My father got this as a joke, ... I heard it and had to have it,, perfect for drinking beer in October. Just a wonderful hearty mix!

A great CD!.......1998-12-12

This CD is so much fun, and has great music! Buy it...you'll love it

Average customer rating:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1
LA SUPERBA!
Madame Caballé is great!!!
Amazing collection!
Cannot be called an "ultimate" collection

Montserrat Caballé: Ultimate Collection

Manufacturer: RCA
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Binding: Audio CD

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ASIN: B00000J914
Release Date: 1999-05-25

Tracks:

La Boheme: Si. Mi chiamano Mimi
Norma: Casta diva
L'Assedio di Corinto: Giusto ciel! In tal periglio
Sapho: O ma lyre immortelle
Semiramide: Serbami ognor... Alle piu calde immagini
Otello: Piangea cantando (Willow Song) -
Otello: Ave Maria
Herodiade: Il est doux, il est bon
Lucrezia Borgia: Tranquillo ei posa... Com'e bello!
Suor Angelica: Senza mamma
Rigoletto: Caro nome
La Sonnambula: Ah! non credea mirarti

Tracks:

La Traviata: E strano, e strano! -
La Traviata: Follie! Follie! -
La Traviata: Sempre libera degg'io
TOSCA: Vissi d'arte
Il corsaro: Egli non riede ancora!
Il corsaro: Non so le tetre immagini
Armida: D'amore al dolce impero
I Pagliacci: Qual fiamma avea nel guardo!
Roberto Devereux: E Sara in questi orribili momenti... Vivi, ingrato
Il Trovatore: D'amor sull'ali rosee
Stabat Mater: Inflammatus et accensus
Adriana Lecouvreur: Io son l'umile ancella
Anna Bolena: Al dolce guidami
Adelson e Salvini: Dopo l'oscuro nembo
I Vespri Sicillani: Arrigo! Ah, parli a un core

Customer Reviews:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1.......2005-12-23

First off this two cd set is for the price of one,that is always great.Montserrat caballe is the star of this cdset,and she demonstrates all that is beautiful in singing,on ever track.Her ave maria from othello is included here.It is one of the best performed arias by caballe ever,she ends it with a heavenly piano top note.Also included is her magical casta diva from norma.Caballe sings all these arias with her legendary sound and breath control.On this set there are plenty of examples of long sustained notes,seemless legato,glorious high notes,and magically floated soft notes.Check out the cover to,there are some great photos of Caballe in opera costumes.These cds have great sound,and play for over two hours,too.

LA SUPERBA!.......2005-11-22

Montserrat Caballe is an amazing person and an amazing singer. In my opinion she has a more beautiful voice than Maria Callas. The high notes she reaches are just fantastic! Her Sempre Libera is the best ever! Her Ave Maria is stunning and her Vissi D arte is really moving. Her voice is so beautiful, it's as if it's an angels voice coming from her.

Madame Caballé is great!!!.......2003-04-06

This collection of Caballé's recordings is fantastic! Her soprano is the most beautiful that has been recorded. L. Price, Tebaldi, Ponselle, and a few others have gorgeous voices, but can any of those voices compare with Caballé's? Caballé's singing throughout is of the highest standard. Her "Ave Maria" is spectacular. "Vissi d'arte, vissi d'amore" has never sounded more beautiful. I love her "Non so le tetre immagini". Such beautiful singing does not come any better than this. Her "Caro nome" is disappointing. She is clearly not suited to this aria. "Inflammatus et accensus" is glorious. The later recordings are nice, but they are not the best Caballé has committed to disc. "Il est doux, il est bon" betrays a slight wobble in her otherwise still beautiful voice. "Dopo l'oscuro nembo" features very respectable soft singing from Caballé. This version does not do justice to Bellini's exquisite orchestration. For a version that does, check out Opera Rara's "The Collection: Volume 2". That version features competent singing from an inferior-voiced soprano, but the orchestra is ravishing. The one reviewer who mentioned the aria from "I Vespri Siciliani" as having "fioriture effects Berio could sign on to" is incorrect. The aria included here is not "Mercè, dilette amiche". That aria is more famous and much more florid than the aria included in this collection, "Arrigo, parli a un core". By the way, Caballé performs this aria ravishingly well. This is a superb testament to one of the all-time greats in opera.

Amazing collection!.......2003-04-05

I will write this review objectively, but I will not avoid praising Caballé when praise is due.

First off, this compilation is amazing! I have always thrilled to hearing Caballé's voice and this compilation is no different. I am amazed at Caballé's instrument; such extraordinary purity combined with great power! Even when she sings pianissimo, she can be clearly heard! Her voice literally fills up the room. These arias really show off her remarkable voice. Of special note is her rendition of the hauntingly beautiful "Non so le tetre immagini". Amazing! Her "D'amor sull'ali rosee" is exquisite, but she sings it too softly. Her trill is quite weak. Voices like hers don't respond well to being forced to trill. The tracks from the 1990's show off the remarkable preservation of her voice. The voice retains its purity and beautiful timbre, but is now heavier and darker. "Sempre libera" is not that good. Her coloratura is not up to par with Verdi's demands and she cannot hit the high E-flat at the end. However, she sings the main part of Violetta's aria very well, with supple, gorgeous tone and ravishing pianissimos. "Ah! non credea mirarti" is ravishing, but it is missing its energetic cabaletta. Presumably, it was cut because Caballé could not deal with the coloratura. Caballé's legato lines in this aria are superb. Her version of the "Lucrezia Borgia" Prologue is masterful. Elizabeth's last aria from "Roberto Devereux" is noble and touching. She is not quite Sills, but that aria benefits from a spinto voice instead of a soubrette one. Her aristocratic phrasing is very well used throughout the selections, with a few exceptions. Her "Willow Song" is beautiful, first time on CD. However, she fails to completely show Desdemona's despair. Some parts were good, but the whole thing failed to touch the heart. Her phrasing here is too indulgent. I have to say that I prefer Sutherland's touching version on her "The Art of the Prima Donna" recording. However, I loved "Ave Maria". Caballé sounds most beautiful when singing softly and this selection really shows her in the best light. Her cadenzas are intoxicatingly beautiful. "Caro nome" is not really her aria. The coloratura is suspect and some of the staccati are replaced with upward flourishes. She avoids the last short passage of staccati. Her phrasing in this aria is way too indulgent and she really fails to suggest Gilda's innocence. Even Sutherland is better at portraying Gilda's girlish qualities. Her "Armida" aria has some nice coloratura. She does the runs really well and is fearless in the triplet passages. For some reason, she does not sing the second "fronde" in the first line of the third stanza nor does she sing the last line of this stanza, "i muti abitator". She also does not sing the last line of the fifth stanza, "il tempo vorator". Caballé's first recorded version of "Vissi d'arte, vissi d'amore" is included here. This just may be the most beautiful version of this aria ever recorded. It certainly is Caballé's best version of the aria. The climax is handled in one breath by Caballé. She diminuendos the big high note twice in the same breath. Amazing! The rolling of the "r" in "Signor" after the last diminuendo is quite nasal and reminds us that the sound we are hearing is coming from a human throat. It also shows that these diminuendos are natural and not studio produced. She infuses Tosca's aria with real feeling and piety. The compilation ends with a knockout reading of "Arrigo, parli a un core". Caballé is at her best in this aria. She sings softly to stunning effect. This version may be the most beautiful of this particular aria ever recorded. RCA has done Caballé justice with this wonderful collection. Caballé is truly a remarkable artist with a million-dollar voice. Brava!

Cannot be called an "ultimate" collection.......2003-02-05

This is a prime example of the a major recording label being fickle with the goods, in order to force you to continue buying other recitals and full-length studio recordings. Of course, any Caballe fan would already want to own those other recordings anyway, so the point is moot.

Other reviewers here have cried out against the exclusion of one of her most essential and artistic roles, Imogene from Il Pirata. I would like to emphatically express the same. In fact, I would even have settled for the exclusion of Casta Diva, in favor of Col Sorriso di Innocenza.

Some other stellar recordings not represented her are the Sleepwalking Scene from MacBeth, and Pace, Pace Mio Dio from La Forza del Destino. Also worth mentioning is her O Patria Mia from Aida. She might not be Leontyne Price or Martina Arroyo, but she gives a superb reading of this wonderful aria.

Of course, brevity does require some editing- a true "Ultimate" Caballe collection would span four or five CDs, at least- but to include late-career and less-than-best selections at the expense of others is a crime.

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.

And so on.

Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.

One Of The Greatest Voices of All!.......2006-01-29

I am not the only one who regards Marilyn Horne's voice as exceptional. During the seventies and eighties she was regarded by The New York Times Music Critic as possessing the greatest voice of our time. One only has to sample this "golden" collection to prove how right he was. Her "mezzo" handles Handel and Rossini like no other. Brava all the way (To say nothing about Dalila's famous aria!) And I must even mention her "Jeannie With the Light Brown Hair". This is a two CD that is a MUST for those who appreciate the glories of the human voice (To say nothing about the warmth and spirit than accompany it.)

Not 100% satisfied with the selections, but what artistry!.......2004-11-03

Decca's release of this career-spanning Marilyn Horne recital contains many "golden" nuggets, but isn't the absolute best representation of her artistry, in my opinion.

There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.

In summary:

The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!

From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.

Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.

The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.

After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.

The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!

Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.

The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.

All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.

Vive Madame Horne !.......2004-01-09

Je suis soufflée, et tout bonnement reconnaissante à Decca pour avoir sorti cette compil qui rend si bien honneur à une des mes interprètes préférées. Voix de velours, aisance dans le grave et médium unique au Monde, Marilyn a été, dans toutes ses incarnations, un pur produit américain, certes, mais quel produit ! Bien évidemment son timbre si particulier, que d'aucuns ont défini androgyne, peut plaire ou non... Ce qui compte c'est l'apport émotionnel qu'elle donne à tout ce qu'elle chante, et sans que cela n'enlève rien à la pure beauté de sa voix à la technique sans faille. Merci Mme Horne, pour nous avoir livré une des plus mémorables leçons de chant de l'histoire, et joyeux 70ème anniversaire (car il n'est pas déplacé que de dire votre âge, étant donné la vitalité qui vous caractérise depuis toujours).

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Great Voice
Florez shines in enticing variety, versatility of repertoire
Third album by Florez
Florez in another dazzling disc!
Muy bien cantado...Pero falta algo

Great Tenor Arias

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

ASIN: B0002K6ZWU
Release Date: 2004-09-14

Tracks:

J'ai Perdu Mon Euridice
Pietoso Al Lungo PiantoAlfin M'arride Amore...Deh! Lasciate A Un'Alma Amante
La Speranza Piu Soave Gia Quest'Alma Lusingava
Eccomi Finalmente...Feste? Pompe? Omaggi? Onori?
Loin De Son Amie Vivre Sans Plaisirs
Languir Per Una Bella
La Donna E Mobile
Pria Che Spunti In Ciel L'aurora
Com'e Soave Quest'Ora Di Silenzio Al Mio Dolente Cor... Anch'io Provai Le Tenere Smanie D'un Puro Amore
Avete Torto!...Firenze E Come Un Albero Fiorito

Amazon.com

Here the remarkable young Peruvian tenor Juan Diego Florez not only offers us what we've become accustomed to---gorgeous, graceful singing of very difficult bel canto gems (in this case, high-flying, virtuosic arias from Rossini's Semiramide and L'Italiana in Algeri. He also ventures into unknown waters. He sings an aria added by Donizetti for an Italian production of The Daughter of the Regiment ("La figlia" rather than the usual "La fille") which turns out to be just right for his voice, and he charms with his crisp diction and youthful approach. Paolino's aria from Cimarosa's Il matrimonio segreto is a substantial piece of bel canto writing, with some nice coloratura fireworks near the end which Florez sails through with ease, and Rinuccio's ditty from Puccini's Gianni Schicchi---perhaps the most heavily orchestrated piece he's sung and stylistically the opposite of anything else on the CD---is also tossed off with true élan. On the other hand, Florez has a lot to learn about the Gluckian style, judging from his Romantic approach to Orphée's aria, and his French could use some brushing up if he's going to sing anything from Halévy's La Juive, although the vocal hurdles that the composer put in the tenor's way do not seem to bother him at all. A surprising disappointment is "La donna e mobile," which is over-sung and charm free. But can any tenor around be expected to sing all of these (and a few others, too) perfectly? Florez remains a true delight, his sound beautiful, his production easy from top to bottom. Despite reservations, highly recommended. --Robert Levine

Customer Reviews:

Great Voice.......2007-05-13

This young tenor is a worthy successor to Carreras, he will be a superb singer.

Florez shines in enticing variety, versatility of repertoire.......2005-03-14

An altogether delightful disc. The arias on here that do not require heavy pryotechnics are delightful and reveal a very pleasant insouciance of tone and character that are very fitting, only very intermittently offset by a slight hardness of tone on top. The aria from Semiramide and cabaletta to the charming Cimarosa aria serve up the fireworks, so common on the first disc and perhaps the one that followed it, for those listeners who are attracted to this disc by having heard especially the first and highly brilliant all-Rossini outing. Rossini is also well represented here by a charming romanza and lively cabaletta from Italiana in Algeri.

Several rarities are included, unlike with the above, and he makes something very charming and inviting of the selection from Verdi's Un giorno di regno (Verdi's rarely performed comedic second opera). The alternate Italian aria from Fille du regiment is a welcome supplement to his having recorded the more famous aria for Tony on his second recital disc. The aria from Donizetti's Lucrezia Borgia (an easy equal to Lucia in inspiration) is also a highlight, Florez's insouciance of manner here particularly telling, as it has fatal consequences for his character and all this character's buddies in this opera. Eleazar's aria, or one of them, from Halevy's La Juive reveals the possibility of a little greater reach into repertoire that approaches the dramatic for this tenor - but one senses as well that he will and can, should take his time getting there. The tribute to Firenze from Gianni Schicchi at or toward the end of this recital is compelling enough to convince the most hardened travel cynic buying this disc to call the airlines/hotels, inns to book for there right away. The "Che faro" from Orfeo (but sung in French) is an ideal vehicle from which Florez can deliver such a sublime and heartfelt lament, as heard here, albeit a bit too closely recorded.

Carlo Rizzi, not always dependable, gives fine accompaniments here. The engineering does place the voice just a bit too forward, however, yet ironically a voice that has developed full body and better evenness than when his first all-Rossini disc was recorded (yet still certainly too early to tackle the part of Eleazer on stage as of yet), erasing any concerns I may have had at that time. For some readers, any problem with the sound quality here might demote this outing to four stars, but taking the singing, the interesting repertoire chosen for this disc, and the fine, deft accompaniments from Rizzi and the Verdi orchestra from Milan (some alternate band to Muti's peerless one at La Scala? - the endless nature of so much politics in music), have me sticking with five, and with a mind about several other vocal recital discs that have been getting rated too highly on this website.

Ditto. Just received credible correction from Vince Chau of one piece of misinformation I submitted here. The aria that Florez sings from La Juive belongs to the second tenor part of Leopold, not that of Eleazar. While I am on the subject of corrections of my reviews, he also had said that I had incorrectly challenged Gheorghiu's Laggiu nel Soledad for having ended on a high C. Not having been so graphic as that in how I describe what happened there, I had led him to believe and perhaps a few others that I was saying there was no high C in the aria at all, so I have just taken pains to fully explain the situation on the new Gheorghiu Puccini recital by thereby editing my review of it. I would not trade Gina Cigna's ONLY high C TOWARD the end of Laggiu nel Soledad for all the gold in Fort Knox, or Nilsson's or Tebaldi's ...

Third album by Florez.......2005-01-01

This, the young Peruvian tenor Juan Diego Florez' third album, includes more of the bel canto repertory with which he has risen to international fame. Hearing Lindoro's scene from L'Italiana in Algeri, to cite one example, will make the first-time listener realize why. The tenor's firm, even tone, agility in coloratura and secure high notes--all the way up to a solid high D in one selection--are still sources of wonder.

"Great Tenor Arias" also includes forays into other areas of the repertory, from operas which Florez has not yet sung and may never sing on stage. Indeed, one hopes that no one talks him into trying Verdi's Duke of Mantua any time soon--his rendition of "La Donna e Mobile" is solid, if a bit lacking in charm, but the entire role would surely overtax his vocal resources. Puccini's Rinuccio, from the evidence of Florez' take on the aria from Gianni Schicchi that concludes this somewhat short (less than an hour of music) CD, would be a more comfortable fit, but he is already too much of a marquee name to take on what is basically a supporting role.

If this CD as a whole leaves a slightly unsatisfying impression, it is because the experiments by Florez remain just that--vocal explorations rather than performances undertaken out of deep dramatic or musical conviction. In addition, some of the more obscure music, Cimarosa and early Verdi in particular, is not of the highest quality, and here Florez' comparative inability to characterize vocally becomes a liability. All in all, despite the outstanding singing, a newcomer to this tenor's art would probably be better served by starting with one of his two earlier albums, the first of Rossini, the second Bellini/Donizetti.

Florez in another dazzling disc!.......2004-11-25

Juan Diego Florez is definitely on a spin and that well-deserved
journey is the product of fine training, excellent coaching, and a keen sense of pacing in a career that tends to push the gifted ones too quickly. Though Florez' crowning gifts are in the bel canto repertoire, with this recording he just starts there and pushes into the range of more lyrical arias, and to these ears he succeeds in demonstrating how special is this beautiful voice.

Even the decision about lineup of arias on this fine recording is intelligent: Florez moves from Gluck, Cimarosa and Rossini into Donizetti, Verdi and Puccini with great ease. Here is a tenor who can belt out the high notes to please the balcony but who is equally sensitive to the diminuendos and barely audible phrases that mark the true artist.

Dashingly handsome, and physically as well as vocally a fine actor on stage, this CD simply further demonstrates that Juan Diego Florez is one of the brightest tenors before us today. It is interesting to see how many Latin American tenors are suddenly becoming so important - Villazon, Calleja, Alvarez, Florez, etc. Refreshing! GRady Harp, November 2004.

Muy bien cantado...Pero falta algo.......2004-11-07

JUAN DIEGO FLOREZ es sin duda alguna el mejor tenor de la actualidad en su repertorio (Rossini y ciertos roles belcantistas) y sus trabajos discograficos siempre consiguen los mas fervientes aplausos. Yo mismo, ya elogie en su dia aqui sus dos registros anteriores en solitario con este mismo sello.
Pero ahora, en este tercer trabajo, la magia no se produce de igual manera que las veces anteriores: la voz sigue estando ahi, bellisima y con un alarde de agudos bastante importante...Pero el repertorio no es el mas adecuado a la vocalidad de Florez, por lo que le ofrece escasas posibilidades de lucimiento. Un repertorio como este, en la voz de un tenor desconocido que comienza pudo haber sido interesante, pero en la voz de un tenor ya consagrado como es Florez, deja una sensacion de vacio bastante grave. Habra que esperar al cuarto (ya se anuncian "Canciones latinoamericanas" en lo que puede ser un interesante cambio de registrio) para ver si se vuelve a producir la magia.
CARLO RIZZI y la orquesta rinden a un buen nivel, mucho mayor que la orquesta y el director del disco anterior de Florez.

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A Wonderful Bel Canto Opera

Donizetti: Lucrezia Borgia

Manufacturer: RCA Victor Gold Seal
ProductGroup: Music
Binding: Audio CD

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Verdi: Ernani (Complete) [Germany]
Verdi: Attila
Verdi: Stiffelio
Rossini: Otello
Massenet: La Navarraise / Horne, Domingo, Milnes, Bacquier, Zaccaria, Davies, LSO, Lewis

ASIN: B000026H0F
Release Date: 1989-10-17

Tracks:

Prologue: Nella Fatal Di Rimini
Prologue: Nella Fatal Di Rimini
Prologue: Tranquillo Ei Posa
Prologue: Tranquillo Ei Posa
Prologue: Tranquillo Ei Posa
Prologue: Ciel! - Che Vegg'io?
Prologue: Di Pescatore Ignobile
Prologue: Gente Appressa - Io Ti Lascio
Prologue: Maffio Orsini, Signora, Son Io
Act I, Scene 1: Nel Veneto Corteggio
Act I, Scene 1: Viva! Evviva! Viva! Viva!
Act I, Scene 1: Addio, Gennaro.
Act I, Scene 2: Tutto Eseguisti?
Act I, Scene 2: CosTurbata?
Act I, Scene 2: Soli Noi Siamo.
Act I, Scene 2: E SAvverso A Gennaro
Act I, Scene 2: Trafitto Tosto Ei Sia
Act I, Scene 2: Guai Se Ti Sfugge Un Moto
Act I, Scene 2: Infelice! Il Veleno Bevesti
Act Ii, Scene 1: Rischiarata La Finestra
Act Ii, Scene 1: Sei Tu? - Son Io.
Act Ii, Scene 1: Onde A Lei Ti Mostri Grato
Act Ii, Scene 1: A Noi S'invola
Act Ii, Scene 2: Viva Il Madera!
Act Ii, Scene 2: Il Segreto Per Esser Felici
Act Ii, Scene 2: La Gioia De' Profani
Act Ii, Scene 2: Tu Pur Qui? Non Sei Fuggito?
Act Ii, Scene 2: M'odi, Ah! M'odi
Act Ii, Scene 2: Maffio Muore
Act Ii, Scene 2: Era Desso Il Figlio Mio

Customer Reviews:

A Wonderful Bel Canto Opera.......2005-06-22

Lucrezia Borgia was first produced in 1833, 18 months after Donizetti's comic masterpiece, L'elisir D'Amore. The music is quintessential bel canto, dominated by the title role, which needs a firebrand soprano to do it justice.
There are two studio recordings, this one made in 1965, and another one 12 years later with Joan Sutherland, Giacomo Aragall, Marilyn Horne, and Ingvar Wixell. While that is a stellar case, this recording is the benchmark.
Montserrat Caballe was 32 when she made this recording, shortly after she revived this opera in a concert production at Carnegie Hall, and was never in better voice. Shirley Verrett was one of the great mezzo-sopranos, and her performance in the trouser role of Orsini is just riveting. Enzo Flagello was a regular at the Met in the 1960s, and sings a robust and solid Alfonso.
But the revelation here is the soaring voice of the woefully under-recorded Spanish tenor Alfredo Kraus. He was a member of a rare and dying breed--a true "tenor di grazia", a high-flying lyric tenor able to spin a supple legato as well as hit the high Cs and Ds. With perfectly secure and seemingly effortless technique and wonderful phrasing, his duets with both Caballe and Verrett are simply magical. One realizes why many critics consider him one of the finest tenors of the 20th century. Listening to this opera will let you understand what bel canto truly means, and what all the excitement is about. If you enjoy bel canto opera, then this recording is a MUST HAVE.

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Viveca sparkles
Pure pleasure....
More Bravura
Bel Canto Arias; Vivica Genaux
BRAVA! BRAVA! BRAVA!

Bel Canto Arias; Vivica Genaux
Vivica Genaux , Gioachino Rossini , Gaetano Donizetti , John Nelson , and Ensemble Orchestral de Paris
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Vivica Genaux - Handel/Hasse: Opera Arias
Arias for Farinelli
HOMAGE: The Age of the Diva
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Tragédiennes

ASIN: B0000BWTK1
Release Date: 2003-09-16

Tracks:

Nacqui All' Affanno
Cruda Sorte! Amor Tiranno!
Amici, In Ogni Evento...Pensa Alla Patria
Nella Fatal Di Rimini
Il Segreto Per Esser Felici
Popolo, Amici, Sanguinosi Allori... Ah! Si, Da Tanti Affani
E Sgombro Il Loco... Un Bacio, Un Bacio Ancora
Mura Felici
Eccomi Alfine In Babilonia... Ah! Quel Giorno Ognor Rammento
Una Voce Poco Fa

Customer Reviews:

Viveca sparkles.......2007-01-04

If you love Bel Canto and Mezzo Sopranos, you will love Vivica Genaux!

Pure pleasure...........2006-05-19

I have her Farinelli CD, as well. I also saw her on A&E some time ago. My only criticism was her excessive chin movements but, then, I don't get all bent out of shape over Bartoli's grimaces -- and the voice is the thing, after all.

As for Fach, a singer doesn't need to enjoy merely one, although many are restricted to such. What I like about Genaux, aside from the absolutely beautiful tone, is that she is NOT mannered. She has just the right take on every one of these arias. Spare me from the singers who just MUST emote all over the place when simplicity and class are sufficient.

I've had this CD since for some time and decided to see what others thought of it -- I'm always interested in other opinions.

Nancy Eckert

More Bravura.......2006-03-23

When I read a review stating that Vivica sang with two little volume on this recording, I found that very hard to believe. Everything I had previously heard of her showed a voice with unlimited power. However, when I purchased this set I agreed that Vivica sings with to little volume and possibly emotion. This is puzzling; I think it must have been an artistic decision that doesn't really work.

However, I can't agree with the other reviewer about this being the wrong repertoire. Most of Genaux's early roles were Rossini and her Bel Canto technique is superb. I love the selection of music, and despite the shortcomings, I really enjoy listening to this CD. I just wish she used a little more emotion and power in the parts that call for it.

Bel Canto Arias; Vivica Genaux.......2005-09-26

Vivica Genaux seems to have a lovely personality not to mention an absolutely fabulous voice both live and on disc, but some of these arias just don't work for her voice, some are just too.....well.... Bel Canto but the arias by Rossini I liked, especially
"Una Voce Poco Fa".
I also feel I should mention that Vivica is NOT a soprano
as "Sergey Tsoy "Dallas Opera"" states in his review, but rather a Mezzo-soprano.

BRAVA! BRAVA! BRAVA!.......2004-12-20

In my opinion, Vivica is a fantastic singer and an outstanding artist. I have heard her singing live in Rossini's La Cenerentola, and it was literally breathtaking. Many sopranos sing well and have beautiful voices, but it is perhaps their choice of vibrato which makes them sound extremely out of tune, weak, irritating, and just ugh! Also, many of them sing just loudly. I am not a singer, but to my ears, Vivica is absolutely the best soprano (or at least, one of a few) whom I have heard live - beautiful, pure, in tune (yes, fortunately and unfortunately it matters, too), great vibrato, wild tempi, rock-solid consistency of musical ideas, convincing stage presence, logical, elegant, and so forth. It is all these things add together, which make a true impression. I still wonder, how is it possible to sing with such clarity, presicion, and beauty? Because it is often either, or. But she somehow combines everything, and that's just marvelous. And also, her tonal quality is so fresh and sounds really out of the ordinary. Although I have never heard her CDs, I have no second thoughts about this particular one, which I have just bought and wait with great impatience until it arrives. Brava to Vivica, for, to my mind, her type of artistry comes in a truly short suply nowadays! It is my personal opinion.

Donizetti: Lucrezia Borgia / Perlea, Caballé

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Incredibly wonderful
Lo mejor de Caballé
Musically rich and swiftly dramatic opera from Donizetti
Musically rich and swiftly dramatic opera from Donizetti
A Touching Tragic Bel Canto Opera

Donizetti: Lucrezia Borgia / Perlea, Caballé
Gaetano Donizetti , Montserrat Caballé , Shirley Verrett , Alfredo Kraus , Ezio Flagello , Fernando Iacopucci , Giuseppe Baratti , Ferruccio Mazzoli , Andrea Mineo , Vito Maria Brunetti , and Robert El Hage
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Donizetti: Caterina Cornaro
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Pacini: Saffo
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Donizetti: Il diluvio universale

ASIN: B000003EPX
Release Date: 1989-09-29

Tracks:

Lucrezia Borgia: Prologue - Bella Venezia
Lucrezia Borgia: Prologue - Nella fatal di Rimini
Lucrezia Borgia: Prologue - Senti. La danza invitaci
Lucrezia Borgia: Prologue - Tranquillo ei posa
Lucrezia Borgia: Prologue - Com'e bello!
Lucrezia Borgia: Prologue - Si voli il primo a cogliere
Lucrezia Borgia: Prologue - Ciel!-Che vegg'io
Lucrezia Borgia: Prologue - Di pescatore ignobile
Lucrezia Borgia: Prologue - Gente appressa - io ti lascio
Lucrezia Borgia: Prologue - Maffio Orsini, signora, son io
Lucrezia Borgia: Act 1- Scene 1 - Nel veneto corteggio
Lucrezia Borgia: Act 1- Scene 1 - Viva! Evviva! Viva! Viva!
Lucrezia Borgia: Act 1- Scene 1 - Addio, Gennaro.
Lucrezia Borgia: Act 1- Scene 1 - Qui che fai?

Tracks:

Lucrezia Borgia: Act 1 - Scene 2 - Tutto eseguisti?
Lucrezia Borgia: Act 1 - Scene 2 - Cosi turbata?
Lucrezia Borgia: Act 1 - Scene 2 - Soli noi siamo
Lucrezia Borgia: Act 1 - Scene 2 - E si avverso a Gennaro
Lucrezia Borgia: Act 1 - Scene 2 - Trafitto tosto ei sia
Lucrezia Borgia: Act 1 - Scene 2 - Guai se ti sfugge un moto
Lucrezia Borgia: Act 1 - Scene 2 - Infelice! Il Veleno bevesti
Lucrezia Borgia: Act 2 - Scene 1 - Rischiarata e la finestra
Lucrezia Borgia: Act 2 - Scene 1 - Sei tu? Son io
Lucrezia Borgia: Act 2 - Scene 1 - Onde a lei ti mostri grato
Lucrezia Borgia: Act 2 - Scene 1 - A noi s'invola
Lucrezia Borgia: Act 1 - Scene 2 - Viva il Madera!
Lucrezia Borgia: Act 1 - Scene 2 - Il segreto per esser felici
Lucrezia Borgia: Act 1 - Scene 2 - La gioia de' profani
Lucrezia Borgia: Act 1 - Scene 2 - Tu pur qui? Non sei feggito?
Lucrezia Borgia: Act 1 - Scene 2 - M'odi, ah! m'odi
Lucrezia Borgia: Act 1 - Scene 2 - Maffio muore
Lucrezia Borgia: Act 1 - Scene 2 - Era desso il figlio mio

Customer Reviews:

Incredibly wonderful.......2004-12-21

Firstly, I have to say, this was the first version of this opera I ever owned, and I fell in love with it instantly. The prologue actually has an additional "caballette" for Lucrezia sung here by Caballe wonderfully. For those who have the Sutherland recording, you will not be treated to this piece for it was not recorded, though I have no idea why as Sutherland could have sung it very well. However, we have Caballe doing it, and she is sublime.

Krauss is incredible, as usual, and he makes the part of Genaro really wonderful to listen to. He also looks the part of a hero, and in performance I am sure was wonderful.

Verrett is incredible. No, she is not Marilyn Horne, nor does she have any really overly shining embellishments (though she does end the prologue with a super high note equal to Caballe), yet, she does more than just lips service to the role, she is definitely exciting. The tempi are also different than when Bonynge conducts the Sutherland recording. The stretta of the Prologue excelerates in tempo, as it should, rather than just staying sort of dull and slow as in the Sutherland recording which adds greatly to the tention of the scene.

One finds this with all the strettas that end each act (especially in the Lucrezia/Gernaro duet ending act 1). I think the conductor really understands the purpose of the stretta in Bel Canto opera, and he masterfully handles it here. The increased speed may tax the singers somewhat, but one is NEVER aware of it in this recording, as they are all troupers and handle it with ease.

The opera closes with the famous scene for Caballe (after Genaro, her son, is dead). This version is published in some published scores, in others the trilling sections are not there (the Royal addition, which by the way contains the extra caballetta in the prologue which is not contained in other printed editions of the score, but has a slightly different version of this final aria, one that was sung by the great dramatic soprano of that day Therese Tietjens; the differences are interesting, but the aria is not simplified; were I conducting the work I would have the singer sing the version used by Tietjens then the more familiar version in the repeat).
I recommend this recording to anyone interested in this wonderfully dramatic and melodic opera. It is sad that it is neglected so, as in many ways it outshines the more famous Lucia.

All the singers are masterful, and the presentation holds together super well creating a "whole" rather than a collection of "favorite arias."

Lo mejor de Caballé.......2004-04-26

Con este rol a Montserrat Caballé se le abrieron las puertas de todos los grandes teatros del mundo como nueva superestrella de la ópera.
El disco de RCA nos presenta a Montserrat en estado de gracia, su voz suena muy fresca y en toda su amplitud. Perfecta para Donizetti, gran control del aire, legato impecable y fraseo belcantista. Es sin duda la mejor Lucrezia de la discografia, superando ampliamente a Sutherland.
Shirley Verret muy joven tambien entrega un Mafio Orsini de antologia, su voz fresca y a la vez oscura se presta para las agilidades y juventud del personaje, lo mismo su interpretacion.
Alfredo Kraus es le gran cantante de siempre, muy estilista y cuidado. Por su Parte Flagello sea quizá la parte mas débil del elenco, con una voz poco atractiva pero convincente en su parte pese a todo.
Los puntos en contra o mejorables de esta grabacion son varios. Primero que nada Caballé, gran cantante pero que se ve tentada a abusar de sus recursos, como el pianissimo sostenido hasta el ultimo aliento en el final del primer acto, impactante, sí, pero innecesario. Adolesce del trino belcantista que el papel de Lucrezia requiere en varias partes. Esto si bien la sigue manteniendo en alto novel le perjudica en el estilo. Es poco convincente estilisticamente una soprano belcantista sin trino.
Su interpretacion muchas veces se vuelve superficial y esto es un defecto que conservara durante toda su carrera.
Para mi gusto personal la grabacion hubiese sido mejor si en lugar de Alfredo Kraus hubiese estado Alain Vanzo que fue quien acompañó a Caballé en la presentacion en el Carnegie Hall. Kraus suena mas limpio y quizá mas cuidado pero Alain Vanzo posee una voz mas bella y mucho mas atractiva, ademas de una gran tecnica y estilo. Su interpretacion es mucho mas convincente y suena menos frigido que Kraus.
A pesar de esto sigue siendo una magnifica grabacion.
Disfrutenla.

Musically rich and swiftly dramatic opera from Donizetti.......2003-08-19

Even though a somewhat neglected masterpiece, the opera LUCREZIA BORGIA (La Scala, Milan, 1833), from Gaetano Donizetti, will never fail to please audiciences around the world, because Lucrezia is an alluringly melodramatic character.

This digitally remastered CD (1989) from the original recording of the opera in May 1966, in RCA Italiana Studios, Rome, is a jewel to treasure for those interested in good "bel canto" music.

Monserrat Caballé (soprano) give us an accurate and sweet-sounding performance as Lucrezia. Alfredo Kraus (tenor, with his delicious turns of phrase & mournful tone) is outstanding as Gennaro (Lucrezia's son from a previous marriage who is ignorant of his mother identity).

Shirley Verrett (mezzo-soprano) as Maffio Orsini ( young nobleman, friend of Gennaro) is very good in the melodious & cheerful aria: "Il segreto per esser felice" (The secret to be happy/for happiness)(CD 2, Track 13). Although, Marilyn Horne, in my opinion, is the best for this role.

Difficult to resist. Musically rich and swiftly dramatic. Donizetti at his best.

Musically rich and swiftly dramatic opera from Donizetti.......2003-08-19

This digitally remastered CD (1989) from the original recording of the opera in May 1966, in RCA Italiana Studios, Rome, is a jewel to treasure for those interested in good "bel canto" music.

Difficult to resist. Musically rich and swiftly dramatic. Donizetti at his best.

A Touching Tragic Bel Canto Opera.......2002-11-04

Donizetti was the leading bel canto opera composer. His melodies, cadenzas, roulades, choruses and lyrical arias were breathtaking and dramatic for their time. Among his famous operas, are of course, Lucia Di Lammermoor, Elisir D'Amore and the three Tudor queen operas, Maria Stuarda, Anna Bolena and Roberto Devereaux. But Lucrezia Borgia is a rare opera that has recently resurfaced. It is the fictitious account of the historic and controversial 16th century Renaissance noblewoman, Lucrezia Borgia, who, as history tell us, was accused of infidelity by a power-seeking Venetian lord. Lucrezia Borgia (a role that requires a dramatic and coloratura soprano) carries the whole opera with excellence, especially by the diva, Montserrat Caballe who was part of the effort to revive bel canto operas. Lucrezia's son, with another man, is unaware that a masked woman at a festival is truly his mother. When she begins to spend time with him, Lucrezia's husband, by then her fourth, begins to suspect infidelity. These suspicions are further motivated when Lucrezia's enemies who seek power in Venice slander her name by cutting of the B in Borgia at the sign post of her palace, leaving Orgia or "orgy" in Italian. Lucrezia extracts her revenge by inviting her son and his friends (her enemies) to a banquet. Dark, funereal music predicts a tragic outcome. There is a brindisi with a touch of irony (they are going to drink poison and die). But nevertheless, in the true tragic tradition, Lucrezia's revenge backfires. It is her son who drinks the poison and dies in her arms, and only then does he learn that Lucrezia is his mother. The dramatic aria that follows, sung by Lucrezia, beginning with her melodramatic exclamation "E Sperto!" "He's dead!", is full of high scales and descending depths of sadness. This is a great opera, although I'm quite sure there are superior singers to Caballe's performance here. Try any of the following sopranos (considering they sung the role) Renee Fleming, Joan Sutherland, Maria Callas, Beverly Sills. A Five Star Opera.

Donizetti - Lucrezia Borgia / Caballé · Vanzo · Paskalis · Perlea

Average customer rating:

Great but there is an even greater Lucrezia...
Caballe triumphant in "Lucrezia Borgia" revival
A legendary debut!
FABULOUS PERFORMANCE
An "emotional typhoon"

Donizetti - Lucrezia Borgia / Caballé · Vanzo · Paskalis · Perlea
Gaetano Donizetti , Jonel Perlea , Montserrat Caballé , Alain Vanzo , Kostas Paskalis , Jane Berbié , Arnold Voketaitis , L.D. Clements , Adib Fazah , Mauro Lampi , Vern Shinall , Jerold Siena , and William Wiederanders
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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

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Rossini - La Donna del Lago / Caballé, Bonisolli, Hamari, Bottazzo
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Donizetti: Caterina Cornaro
Gaetano Donizetti - Maria Stuarda
Donizetti: Roberto Devereux

ASIN: B00000K0W2
Release Date: 1999-08-17

Tracks:

Prologue: Prelude
Prologue: Bella Venezia! (Gennaro)
Prologue: Nella fatal di Rimini
Prologue: Tranquillo ei posa (Lucrezia)
Prologue: Com'e bello! (Lucrezia, Alfonso)
Prologue: Ciel! ... Che vegg'io? (Lucrezia, Gennaro)
Prologue: Da pescatore ignobile (Gennaro, Lucrezia)
Prologue: Piangete per me? (Gennaro, Lucrezia)
Prologue: Gente appressa. Io ti lasciao (Lucrezia, Gennaro)
Prologue: Maffio Orsini, signora, son io (Gennaro, Lucrezia)
Lucrezia Borgia: Nel veneto corteggio (Alfonso)
Lucrezia Borgia: Vieni, la mia vendetta (Alfonso)
Lucrezia Borgia: Qualunque sia l'evento (Alfonso)
Lucrezia Borgia: Addio, Gennaro (Gennaro)
Lucrezia Borgia: Qui che fai?

Tracks:

Lucrezia Borgia: Tutto esequisti? (Alfonso)
Lucrezia Borgia: Cosi turbata? (Alfonso, Lucrezia, Gennaro)
Lucrezia Borgia: Un temerario osava tests, di giorno (Alfonso, Lucrezia, Gennaro)
Lucrezia Borgia: Soli noi siamo. Che chiedeste? (Alfonso, Lucrezia)
Lucrezia Borgia: E si avverso a Gennaro (Lucrezia, Alfonso)
Lucrezia Borgia: Oh! A te bada, a te tesso (Lucrezia, Alfonso)
Lucrezia Borgia: Trafitto tosto ei sia (Alfonso, Lucrezia)
Lucrezia Borgia: Della Duchessa ai prieghi (Alfonso, Lucrezia, Gennaro)
Lucrezia Borgia: Guai se ti sfugge un moto (Lucrezia, Alfonso, Gennaro)
Lucrezia Borgia: Or via, mesciamo (Alfonso, Gennaro, Lucrezia)
Lucrezia Borgia: Rischiarata e la finestra
Lucrezia Borgia: Dei tu?... Son io. Venir non vuoi (Gennaro)
Lucrezia Borgia: Minacciata e la mia vita (Gennaro)
Lucrezia Borgia: Onde a lei ti mostri grato (Gennaro)
Lucrezia Borgia: Va, se vuoi (Gennaro)
Lucrezia Borgia: Stolti! Ei corre alla Negroni
Lucrezia Borgia: Viva il Madera! (Gennaro)
Lucrezia Borgia: Marrano di Castiglia!
Lucrezia Borgia: Pace, pace per ora (Gennaro)
Lucrezia Borgia: Il segreto per esser felici
Lucrezia Borgia: La gioia de'profani (Gennaro)
Lucrezia Borgia: Tu pur qui? Non sei fuggito? (Lucrezia, Gennaro)
Lucrezia Borgia: M'odi, ah! m'odi, io non t'imploro (Lucrezia, Gennaro)
Lucrezia Borgia: Maffio muore (Gennaro, Lucrezia)
Lucrezia Borgia: Ah! madre, so ognor lontano (Gennaro, Cucrezia, Alfonso)

Customer Reviews:

Great but there is an even greater Lucrezia..........2005-10-24

And that is Caballe five years later at her La Scala debut! I'm not complaining, I loved this Carnegie Hall performance and I'm sure it brings back sweet memories to people who attended it but I find Caballe sounds a bit too girlish. She is stunning but I felt this Lucrezia needs to mature a bit and that she did. This is already evident in her studio recording just a year later where she is the perfect, patrician Lucrezia. On the other hand I really liked the urgency and spontaneity of this evening. I can also hear a slight anxiety and she even takes an additional breath in "m'odi ah m'odi", which is rather unusual for her but it's all because she's transforming from a talented young soprano into a legend. She doesn't show off her top notes as she did at La Scala but is nevertheless exciting.

Vanzo is one of the most elegant tenors and this recording proves how neglected this stylish singer was. He's got the legato, the thrust and the phrasing to make a great Gennaro, at least equal to Kraus. His warm voice blends in magnificently with Caballe's. Berbie's Orsini has got an attitude that reminded me of Oscar in Ballo in Maschera. Paskalis is at times a bit rough and I'd expect Don Alfonso to be slightly more noble-sounding but considering his character, an occasional snarl seems appropriate.

Perlea made cuts, most notably the spectacular finale which is disappointing but the NY audience hasn't got a clue about the opera's score anyway so it doesn't affect them. His conducting I found a bit indifferent but the singing is good enough to compensate.

On the whole, a beautiful, legendary performance. Bel canto would never be the same after this night.

Caballe triumphant in "Lucrezia Borgia" revival.......2005-06-27

Source: Live performance recorded at New York's Carnegie Hall, April 20, 1965.

Sound: On the whole, good to very good. Some voices occasionally slide away a little bit, but that is the nature of live recordings. I find the orchestral sound to be pleasing, if not as icily precise as some digitally-oriented enthusiasts might wish. The audience is generally well-behaved, inflicting very few annoying grunts and coughs. Premature applause floods over the final bars of the performance. Opera d'Oro is often a crapshoot with regard to sound. This recording is a winner.

Text: No score is conveniently available to me, but from the boasting about the completeness of Sutherland's "Lucrezia Borgia," I deduce that this version comes with cuts. I don't especially care. There is plenty here to enjoy.

Documentation: No libretto. The plot is very briefly summarized. There is an offhand reference to a triumph by Caballe, but nothing about any other performer. The orchestra is not identified. Fairly unusually for Od'O, the track lists identify characters who are singing and provide track timings.

Format: Disk 1, Prologue and Act I, Scene one, 52:43. Disk 2, Act I, Scene two and Act II, 65:02.

Forty years ago, the world of opera that lay between "Die Zauberfloete" and "Rigoletto" was a forgotten wasteland to a degree that is hard to credit today. "Lucia," "Il barbiere" and 'L'elisir" were the regular repertory works. "Normas" were scattered here and there, along with some dutifully offered "Fidelios" and a few tentative "Sonnambulas." I remember Metropolitan Opera broadcasts in which poor old Milton Cross struggled manfully to justify presentations of such moldy oldies as "Ernani" and "The Daughter of the Regiment." This performance of "Lucrezia Borgia" is one of the landmarks in the reclamation of the lost world of bel canto. It yielded a new repertory and a new soprano, one who could be mentioned in the same breath with Callas and Sutherland.

"Lucrezia Borgia" is a prima donna opera and Montserrat Caballe is very much that first lady. Caballe was wonderfully equipped with a lovely voice, warm tone and awesome technical skills, all brilliantly on display in this recording. She also offered an intensity and edge in this performance that sometimes eluded her in subsequent recordings. The Caballe legend is that she entered Carnegie Hall an unknown and came out a star. The tale may be a little shaky in the harsh light of objective fact, but this recording demonstrates that there is some truth in it.

It is my impression that special care was taken to present both the soprano and the opera in polished form, hence one of the all-too rare appearances of Alain Vanzo, the excellent but scandalously under-recorded and under-appreciated French tenor. Vanzo was in fine form, singing with admirable authority, elegance and tone.

As the record of a significant occasion and for hugely impressive singing from the soprano and tenor, this set fully deserves a five star recommendation.

Nevertheless, this recording falls well short of being an ideal performance. "Lucrezia Borgia" is not a two-singer opera. The composer provided good stuff for the seconda donna and the baritone. The second lady has a pants part, the tunefully indiscreet Mafio Orsini, Lucrezia's enemy. The baritone portrays that enduring operatic staple, her jealous husband. Jane Barbie is Orsini, and Kostas Paskalis, the husband. Barbie and Paskalis are prime examples of the sort of people absolutely vital to any opera company. They are the ones who have the music, the words and the staging down pat. They are the ones who are expected to keep the piece going when chaos overwhelms everything else. You might describe them as operatic utility infielders. Competence and professionalism they had, but they came up short on brilliance. From the positioning and structure of Orsini's music, it is clear that the seconda donna is supposed to shine. She has, in fact, an opportunity to dominate at least two scenes. Barbie, misses both opportunities. After her big number in the prologue, she earns that grim thing, a round of polite, half-hearted applause. So, too, with Paskalis. He struts and frets without incurring any particular notice. The rest of the cast, even less discernable than Barbie and Paskalis, are mowed down by poison in job lots.

Donizetti handles this tale of Renaissance revenge with predictable style, grace and musicality. The opera sounds good, no question of that. Donizetti's plot, however, has wandered away from his comparatively genteel customary haunts into craggy Verdian uplands. Donizetti extracts beauty from his libretto. Verdi, on the other hand, would politely have thanked the librettist for this present text as a first draft and then have made the poor hack's life a misery by incessant demands for stronger situations. What a meal Verdi would have made of this, what an in-your-face opera!

A legendary debut!.......2005-04-01

Like one of the comments above, I too have always wondered how Caballe sang for 9 years in Europe and yet had to wait for her American debut to get "the big break". Was Europe tone deaf for all those years? In essence, Caballe, in this performance especially, has it all: beauty of tone, dramatic impact, phenomenal breath control, beautiful pianissimo. Everyone has already said it in the previous reviews. Alan Vanzo, who has to be one of the most underrated tenors of his time, is outstanding. Technique to match that of Caballe's, unstrained from piano to forte. The two of them make this an absolute "must have". I can't imagine what it must have been like to have been in the audience at that performance and to have heard such a beautiful voice, unheralded and virtually unknown. We are ever in debt to Opera d'oro for this release. I hope they find some other blockbusters hidden in their vaults!

FABULOUS PERFORMANCE.......2002-11-22

This is truly one of the greatest bargains available. Opera D'Oro has released many live performances, some of them very valuable, and some of them actually in decent sound, but this is one of their best. Caballe's Carnegie Hall, as well as American, debut, has always been somewhat of a legend. Here one can actually hear why. This performance easily surpasses her studio one. The sheer beauty of voice, her legato, coloratura, heavenly pianissimi, sense of line, and identification with the role are incredible. Her opening "Come e bello" brings the house down, and she actually gets better and better as the night progresses. A must have.
As if this were not enough the Gennaro of Alain Vanzo, much under recorded, especially in bel canto, is nearly as revelatory. The other singers don't quite match up but are quite fine. Perlea conducts excellently as usual. Good sound considering th source. Highly recommended. Could even be your sole Lucrezia Brogia.

An "emotional typhoon".......2002-04-24

First of all, we all must express gratitude to Opera d'Oro for releasing this live recording on their label. Heretofore, it was evidently very hard to find, as stated in the Rough Guide to Opera. To pay so little for such a legendary performance- what a steal.

There are always drawbacks to listening to live recordings versus studio recordings, not the least of which is the person in the audience that feels the need to cough at the most dramatic moments(!) However, live recordings can lend an immediacy that is often missing from studio recordings, and this is the case here. You literally here the audience shift from a tepid, unenthusiastic response in the beginning to roaring applause by the opera's end.

As for Caballe, she blows you away with her arsenal of pianissimi and filati. Caballe is known for her sweet, creamy tone, but she is also capable of great drama, as she expresses in the climatic final scene, where she lifts to the stratosphere.

Of course, Caballe isn't the only star on the stage. Barbie gives a sweet rendition of the organ-grinder-sounding tune "Il Segreto per Esser Felici."

Tracks:

Preludio
Nella Fatal Di Rimini (Orsini )
Tranquillo Ei Posa ( Lucrezia )
Com'Bello! ( Lucrezia )
Ciel! - Che Vegg'io- ( Lucrezia - Gennaro)
Di Pescatore Ignobile (Gennaro )
Gente Apressa ( Lucrezia )
Maffio Orsini, Signora Son Io (Orsini )
Nei Veneto Corteggio To Ravvisasti (Duca)
Vieni La Mia Vendetta (Duca)
Addio, Gennaro ( Orsini - Livorotti - Vittellozo - Petrucci - Gazella )
Qui! Che Fai- ( Rustighello)
Non Far Motto, Parti, Sgombra ( Rustighello - Scherani )
Tutto Esiguisti ( Duca)
Cosi! Turbate- (Duca)
Soli Noi Siamo (Duca)
E Si Avverso A Gennaro Chi Vi F Lucrezia)
Oh! A Te Barda, A Te Stesso Pon Mente ( Lucrezia)
( Duca)
( Duca)
( Duca)
( Lucrezia)
Partir Degg'io Lo Vuol Lucrezia ( Gennaro)
T'armo Qual Dama Un Angelo ( Gennaro)
Rischiarata La Finestra ( Scherani)
Sei Tu- - Son Io (Gennaro - Orsini )
Minacciata La Mia Vita ( Gennaro)
Va, Se Vuio; Tentar M'Caro (Orsini )
Stolti! Ei Corre Alla Negroni! ( Rustighello)
Viva Il Madera! (Liverotto)
Il Segretto Per Esser Felici (Orsini)
Vovi Di Dientro
Tu Pur Qui- Non Sei Fuggito- ( Lucrezia)
Madre, Se Ognor Lontano ( Gennaro)
Era Desso Il Figlio Mio ( Lucrezia)

Customer Reviews:

Giacomo Aragall , the greatest tenor?.......2006-07-23

This recording of Lucretia Borgia is essential listening for the sheer beauty of Aragall's voice. A true tenor, unlike so many of the 'pushed up baritones'that we are forced to listen to,because of the rarity of singers with a high upper register or easy top.In this recording we hear Aragall at his peak and understand why Pavarotti has stated that he would have given everything for this voice. Domingo also says that this voice is the most beautiful. As Gennaro we are priviliged to hear such plangeant tones,colouring of the voice and those top notes ,always true and crystal clear. It is these gifts that have made him the tenor of choice by all lovers of the lyric art.Forget the overhyped Three Tenors ,listen to the real thing and begin a wonderful journey through his historical rscordings.

A very dramatic opera and a dazzling recording!.......2004-07-09

Lucrezia Borgia is one of the biggest challenges for a coloratura soprano, since it demands lots of vocal shades, dramatic skills and a big voice. It's one of those operas written for real dramatic coloratura sopranos. Perhaps that's why so few singers sang the part of Lucrezia successfully. Joan Sutherland, Montserrat Caball?, Leyla Gencer, Beverly Sills and, nowadays, Ren?e Fleming were exciting interpreters of that role, but nobody else excelled singing Lucrezia. All the other roles demand really good singers, particularly Maffio Orsini, a tricky part for the mezzo, and the lyric role of Gennaro. Lucrezia Borgia has some of the most amazing music composed by Gaetano Donizetti and a very involving plot.

Joan Sutherland was still in her very peak when this recording was made. Her coloratura and her phrasing are breathtaking. She does a real show of bel canto singing and drama in her final cabaletta, "Era desso il figlio mio". If someone told you she was 51 years old then, you wouldn't believe! At 51 Sutherland is capable to sing incredible coloraturas and stunning high notes in a way that few or no singer could nowadays. Her perfect breath control allows her to sing some of the longest notes I have ever heard. For example, in "Maffio Orsini, signora, son io", she holds a note for 13 seconds (!!!). When she finishes and you start to think "She's not going be able to sing anymore!", she continues singing above the chorus and the orchestra! With a darker and more mature sound, Sutherland recorded this opera exactly when her voice was in its most ideal form to sing that dramatic role. Being Gennaro's mother and a cruel woman, all we need is a mature and heavy voice, and that's the case of Sutherland's. Her wonderful singing is aided by her intense and wise dramaticism. She gives us a cruel Lucrezia who can be at the same time a tender, hearted mother. When Lucrezia threatens her husband in the duet "Oh! a te bada", she's frightening. However, in her aria "Com'? bello" she sings with tenderness and nostalgia. But her greatest moment is the final scene, where Sutherland conveys all the drama that's necessary and shows an unforgettable performance.

Marilyn Horne is the ideal Maffio Orsini. Her incredibly wide range goes from the lowest to the highest notes, and her coloratura is the best we could find at that time (she's far better than Shirley Verrett in Caball?'s recording, though Verrett is also a great artist). Besides, unlike some mezzos that sing Maffio Orsini, Horne can convince when she interprets a male role.
Jaime Aragall has the right voice to Gennaro, and his interpretation really make us feel the loyalty and generosity that are associated to his role. He sings wonderfully Gennaro's aria, showing not only a beautiful voice but a great technique. Ingvar Wixell, in my opinion, is better suited to the role of Don Alfonso than many of the basses that we use to listen to. Some of his music demands high notes that basses can't fit. Thus, I think a lighter voice like Wixell's is the best choice.
Richard Bontnge is always an intelligent and stylish conductor. In most of the operas he conducts, we got to know some orchestral nuances we simply don't notice in other recordings. His conducting is dramatic, heavy, fiery in this opera, and the orchestra creates a very convincing atmosphere. If we didn't have the correct atmosphere, we could find this opera not very interesting, because it really demands a whole dramatic atmosphere.

I recommend this recording as the DEFINITIVE Lucrezia Borgia, because: 1) It's a complete recording (Sills's version has some cuts); 2) The sound is better than Caball?'s version, and far better than Gencer's live recording; 3) Sutherland's voice is the most ideal voice to sing Lucrezia and she's aided by the greatest coloratura mezzo at that time, Marilyn Horne; 4) The singers and the conductor managed to create a special atmosphere and an intensely dramatic interpretation.

Enjoy this fantastic recording!

A Diva's Opera.......2004-05-06

ABOUT THE OPERA:
Donizetti's Lucrezia Borgia, with his Roberto Devereux, were
about the only two operas he wrote that called for a dramatic diva in the soprano heroine role. Donizetti epitomized the height of the Bel Canto period (early 19th century from about 1820-1850). The bel canto operas were mostly Italian in origin, emphasized beauty of singing voice and grand drama set in romantic, historic locales. There was plenty of emotion. Bellini and Donizetti were the real masters of this style. Bellini's Norma calls for a dramatic and powerful soprano voice as well as performance and it's possible that Donizetti, who saw Norma, wanted to write an opera with a powerful soprano in the lead. Donizetti, who was somewhat of a history buff, engaged a librettist who drew from the historic Lucrezia Borgia of the powerful Borgias in Renaissance Italy. She was the sister of the scheming and power-hungry Cesare Borgia, who accused Lucrezia of adultery and who damaged her reputation as a wanton, ambitious woman who was even capable of murdering her own husband for a title of her own. Supposedly, she also poisoned her own son. Donizetti wanted to portray Lucrezia as a powerful but noble woman, like Bellini's Norma. In the opera, though Lucrezia can come off as Machiavellian, her humanity and compassion shines through in her love for her estranged son whom she has never met.
By chance they meet in a masquerade. Her love for her son, her motherly nature, is the redeeming quality of her character.

ABOUT JOAN SUTHERLAND: The diva from Down Under stars in this recording. It's true she's not in her prime, nor is she giving as great a performance as the more illustrious Montserrat Caballe, whose recording of Lucrezia Borgia with Shirley Verrett is genuinely superior and far more acclaimed. But Joan Sutherland fans will enjoy her bravura and the usual dramatics she delivers. In my opinion, she is Lucrezia Borgia. Her acting may have needed better improvement, but somehow in this role, she is right at home. She is a goddess of the lyrical phrase. Her incredible breath control enables her to sing the seemingly endless vocal lines so typical of the bel canto operas and her coloratura is amazing. In many ways, she is doing some of the stuff she has long been acquainted with. There is an excellent recording of Meyerbeer's Les Hugenots in which Sutherland sings Queen Marguerite another diva role. Sutherland was the second Maria Callas, making a name for herself about the time Callas's voice was declining. As Lucrezia Borgia, Sutherland is on fire and I recommend this to any fan of hers.

Viva The Diva: A Listening Pleasure.......2003-10-24

Joan Sutherland was a beautiful Australian opera singer. Her voice is rich, full and big. Her husband conductor Richard Bonynge helped establish her as one of the reigning divas of the 60's and 70's. Together with sopranos Beverly Sills and Montserrat Caballe, Joan Sutherland provided much of the efforts in reviving bel canto operas, particularily those of Donizetti. Before the 60's, bel canto opera and especially Donizetti, was considered beautiful showcases for the singers, elegant ensembles and gorgeous vocals without any dramatic weight or without any real impressive fire. To an extent, this is true. The vocals in many of the soprano arias are very beautiful and pleasurable to hear. Light coloratura interpolated with legato, slow and restrained flowing lines. However, thanks to the efforts of the 60's songbirds Beverly Sills and Joan Sutherland the operas became a lot more. Finally, Donizetti got the recognition he deserved as a composer of dramatic operas.

Although I personally feel that Beverly Sills did the most for reviving these operas and making them real powerful stuff as drama, Joan Sutherland served audiences as a reminder that bel canto is a listening pleasure. To watch her perform, Joan Sutherland did not always convince you in dramatic roles. Try as she would, she just did'nt put as much effort into her acting. If she had, she would have been exactly like Maria Callas who she was trying to emulate. She's been in many dramatic bel canto operas however - Lucia Di Lammermoor and Bellini's Norma. Her Norma has long been considered her signature role and her best and I agree. On recording, at least you get listening pleasure from hearing her voice, even if there is little to no acting.

Lucrezia Borgia is in many ways Donizetti's more demanding works for a soprano. Other than Queen Elizabeth I in Roberto Devereux, the role of Lucrezia Borgia is classified as a highly challenging dramatic character to sing. Lucrezia must come off as scheming, evil and tempting. She is beautiful, vain, impetuous. Who knows how the historic Lucrezia Borgia was like. The Borgias, of course, were dubbed villainous and power-hungry in Renaissance Italy and it was Lucrezia's own relative Cesare Borgia who tainted her name by such accusations as adultery and poisoning her own son. In the opera, although Lucrezia is a fierce woman, she wants to re-connect with her estranged son. This is another side to her character, her lighter side, her motherly side. This is appropriately full for a character in opera, and especially in a diva role. If you've seen Roberto Devereux or heard it on recording, Queen Elizabeth is two sides of a coin- jealousy, rage and awesome majesty and soft romantic love-struck woman. The same goes for Lucrezia- she's both light and dark. This recording only showcases Joan Sutherland's beautiful singing voice. She is fine in some portions but she fails to convey drama and power in many other portions, especially the portions where she is required to be dramatic and to act. Thus, this is only a must have recording if you are a hardcore fan of Joan Sutherland. You may also see her in the DVD release of her live performance as Lucrezia Borgia. I feel she's giving a better performance on the live performance and not on this studio recording.

Here's the best advice I can give you if you want to hear the best Lucrezia: Try to sample different sopranos other than Joan Sutherland who have sang Lucrezia- they are Montserrat Caballe (dramatic, powerful voice, beautiful legato and pianissimo) Beverly Sills (the best dramatic inflection, perfect legato, fantastic coloratura and my personal favorite Lucrezia. For Beverly's rare Lucrezia, which never made it into a recording, you have to buy the recording "Sillsiana" which features Beverly doing a number of bel canto arias including Lucrezia). Finally, for a recent, more updated soprano who has sang Lucrezia, listen to Renee Fleming, who has a recording of bel canto heroine arias. Her Lucrezia Borgia is excellent. Renee Fleming looks the part, is dramatic, convincing, and a mixture of beautiful voice and dark voice. But kudos to all the sopranos who have dared take on the role of Lucrezia, including Joan Sutherland.

Overall, a nice recording.......2003-05-01

Joan Sutherland has the right voice to sing the role of Lucrezia Borgia, but she is not evil enough. She does show some temperament, but it is not enough. She is appropriately tender in the scenes with her son, but you must remember that Lucrezia is a very evil character. Sutherland sings well and the high note she holds in the Act One ensemble is very impressive, but she does not sound like she was in the best voice for this recording. Her recording of "Esclarmonde" made around the same time shows her in more commanding voice. The Prologue is disappointing. Montserrat Caballé is very impressive in the Prologue. Sutherland just does not have Caballé's command of legato and phrasing. The cabaletta is magical in Caballé's masterful hands. In Sutherland's hands, it is merely routine. When she bursts into the party in the last act to announce that she has poisoned Gennaro's friends, she really is not convincing. This role does not have a lot of coloratura for her to impress listeners with. The final arioso, "Era desso il figlio mio" was not as showy as I had imagined. At least Donizetti, who had given into his prima donna's demands for a florid showpiece at the opera's end, did not turn the arioso into a coloratura bonanza. Giacomo Aragall, also known as Jaime Aragall, makes an ardent, if somewhat absent-minded Gennaro. He sings quite well and that big voice of his is a pleasure to hear. Ingvar Wixell makes a very sinister Duke. This recording is surely one of his best. Maybe he was meant for bel canto instead of Verdi and Puccini, two composers whose works he was not suited for. Marilyn Horne makes a fine Orsini. The Brindisi is sung magnificently. She even sings a real trill before the last two lines of the first verse of the drinking song. Richard Bonynge turns in one of his better performances as a bel canto conductor. My advice is to sample before you buy. To really hear how this opera should be sung, get either Caballé's live Carnegie Hall recording or her studio recording. Beverly Sills, while not the dramatic coloratura the title role calls for, makes an impressive Lucrezia Borgia on "Sillsiana", which includes live recordings of several of her opera and recital performances. "Sillsiana" includes almost all of the soprano music from "Lucrezia Borgia".

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1. Preludio
2. Nella Fatal Di Rimini (Orsini )
3. Tranquillo Ei Posa ( Lucrezia )
4. Com'È Bello! ( Lucrezia )
5. Ciel! - Che Vegg'io- ( Lucrezia - Gennaro)
6. Di Pescatore Ignobile (Gennaro )
7. Gente Apressa ( Lucrezia )
8. Maffio Orsini, Signora Son Io (Orsini )
9. Nei Veneto Corteggio To Ravvisasti (Duca)
10. Vieni La Mia Vendetta (Duca)
11. Addio, Gennaro ( Orsini - Livorotti - Vittellozo - Petrucci - Gazella )
12. Qui! Che Fai- ( Rustighello)
13. Non Far Motto, Parti, Sgombra ( Rustighello - Scherani )
14. Tutto Esiguisti ( Duca)
15. Cosi! Turbate- (Duca)
16. Soli Noi Siamo (Duca)
17. E Si Avverso A Gennaro Chi Vi FÈ( Lucrezia)
18. Oh! A Te Barda, A Te Stesso Pon Mente ( Lucrezia)
19. ( Duca)
20. ( Duca)