Bellini: Beatrice di Tenda

Track Listings

1. Preludio

2. Tu, Signor! Lasciar Si Presto (Cortigiani)

3. Ah! Non Pensar Che Pieno

4. Silenzio E Notte Intorno (Agnese)

5. Si- Rivale... Rival Regnante (Agnese)

6. Respirio Io Qui (Beatrice)

7. Ma La Sola, Ohime! Son Io (Beatrice)

8. Ah! La Pena In Lor Piombo (Beatrice)

9. Vedi- La Tua Presenza (Riccardo)

10. E Quali- Quali- Spergiura! Ingrata! (Filippo)

11. Qui Di Ribelli Sudditi (Filippo)

12. Scena 4- Lo Vedeste

13. Ii Mio Dolore E L'ira

14. Parti.... Deh! Perdona

15. Atto Ii-Scena1- Lassa E Puo Il Ciel Permettere

16. Omai Del Suo Destino Arbitra Solo

17. Oh Troppo A Mie Preghiere Sordo

18. Orombello-----Oh Voce E Dessa

19. Al Tuo Fallo Ammenda Festi

20. Filippo.... Tu Ti Appressa

See all 29 tracks on this disc

Tracks:

Prld - Nicola Rescigno
Act One, Scene One: Your Grace, You Are Surely Not Quitting - Enzo Sordello
Act One, Scene One: Ah! Think Not That Power Brings - Marilyn Horne/Enzo Sordello
Act One, Scene Two: Silence And Night All Around - Marilyn Horne/Richard Cassilly
Act One, Scene Two: Yes, Rival...Royal Rival - Marilyn Horne/Richard Cassilly
Act One, Scene Three: Here I Can Breathe Freely - Joan Sutherland
Act One, Scene Three: Yet I Am The Only One, Alas - Joan Sutherland
Act One, Scene Three: Alas, They Have Been Punished - Joan Sutherland
Act One, Scene Three: You See? She Disdainfully - Enzo Sordello/Joan Sutherland
Act One, Scene Three: What Do I Mean, Faithless, Thankless Woman! - Enzo Sordello/Joan Sutherland
Act One, Scene Three: Here You Approve The Crass Objectives - Enzo Sordello/Joan Sutherland
Act One, Scene Four: Did You See Him? - Group One/Group Two
Act One, Scene Four: My Sorrow And Anger, My Futile Anger - Joan Sutherland/Richard Cassilly
Act One, Scene Four: Leave Me...I Beg You! Forgive Me! - Joan Sutherland/Richard Cassilly/Marilyn Horne/Enzo Sordello/Michael Carolan

Tracks:

Act Two, Scene One: 'Orombello Was Deaf Unto My Prayers' - Michael Carolan/Marilyn Horne/Enzo Sordello/Joan Sutherland/Richard Cassilly/Raina Kabaivanska
Act Two, Scene One: 'Orombello! That Voice! It Is She!' - Joan Sutherland/Richard Cassilly/Marilyn Horne/Michael Carolan/Marilyn Horne
Act Two, Scene One: 'For Your Error You Have Made' - Joan Sutherland/Richard Cassilly/Marilyn Horne
Act Two, Scene One: 'Philip! You! Come Closer...' - Enzo Sordello/Marilyn Horne
Act Two, Scene One: 'She Suffers Remorse?' - Enzo Sordello/Michael Carolan
Act Two, Scene One: 'She Welcomed Me Here, Oppressed And Homeless' - Enzo Sordello
Act Two, Scene One: 'She Is At Prayer. Poor Lady, She Must Not Be Disturbed' - Maids Of Honor
Act Two, Scene One: 'I Said Nothing' - Joan Sutherland/Michael Carolan/Richard Cassilly
Act Two, Scene One: 'Oh, If I Am Vouchsafed A Tomb' - Joan Sutherland/Michael Carolan
Final Scene: 'I Said Nothing' - Joan Sutherland/Raina Kabaivanska/Giuseppe Campora

Customer Reviews:

Bellini & Sutherland.......2007-07-20

What you can hear (and it's not too well) is Joan Sutherland and Marilyn Horne singing up a storm. It's too bad that the quality of the reproduction is relatively poor. You can hear the audience applause quite well! But I would assume that this whole opera would sound better on earphones without distracting noises. But for about $12 bucks it was worth it.

After many listenings.......2006-12-26

Bought recently (Puritani has yet to be shipped) 3 live early recordings of Sutherland in Bellini operas. The Norma (1972) is wonderful. The Beatrice (1961) alas is not. Muddy, murky sound. I listened to this CD set over and over for 3 or 4 days. All I could really identify as Sutherland was her signature leaps to the last note in arias. The rest was (it seemed to me) inaudible. Except the "bonus" (I hate calling it that, it's so phony and cheesy) track, a 2nd recording of the final scene recorded about 3 months later, that was I thought a better clearer recording. In fact, after immersing myself in this opera for so long, I actually began to feel that I didn't like Sutherland at all and wondered why I ever did. Yma Sumac could have leapt to the high notes. I began thinking that was all there was to her. Then sigh I put on a regular studio recital, and there she was again. La Stupenda. It was a pleasure and a relief. Unless you really like old recordings and don't care about the quality of the recording (the sound), I don't recommend this, no matter how young Sutherland was when she sang it.

PLEASE get a pitch pipe!.......2006-09-22

As much as I LOVE Sutherland, I know she did not sing "several high e naturals" in this performance! I haven't listened to this recording in a while, and I have another live one from la Scala; she sings a high e''' at the end of a scene in one of the two performances (and her studio recording). All those e'''naturals are, in fact, e'''flats! Although, there is one more of them besides the ones that most of you think are e'''naturals. I am not discounting Dame Joan, just stating mere facts. Her studio recording includes TWO sustained e'''naturals...her first aria is sung in the correct key of E, not E-flat, as in the 2 live recordings. I have perfect pitch; I can't help but know exactly what pitch she sang in her recordings. For those of you interested, there is a live recording of "Der Schauspieldirektor" (1957?!?)that has at least one high f'''! AND one KILLER e'''flat!!!!
All the above aside, this recording of BELLINI'S "Beatrice di Tenda" is simply amazing, thanks to Sutherland AND a young, sublime Horne.

Exceptional!.......2003-12-05

Like all live recordings, there are drawbacks regarding the technical aspects of the sound reproduction. With all the live recordings now available, I am sure most of us who buy them are used to listening through the distortions. This recording has remarkably few such distortions.

Bellini wrote this opera in a hurry (or a hurry for him, for his librettist wasn't too swift at getting the book to him), and it was a failure when it was performed. There are a number of different versions of some of the arias, so those following with a score may find that the vocal line is completely different in places where Sutherland is singing than the scores you may have. That is not a mistake on her part, she simply chose one of the other versions (all contained in the manuscript of the score) to sing. Of course, she embellishes as is her habit. The singing is simply outstanding, and it is filled with life. There is one thing we are robbed of constantly in her studio recordings, and that is the life in her voice. One friend of mine simply can't see what all the fuss over her singing was all about. True, she had great technique but the voice always sounded "dull" in his view. When I had him listen to this recording, and he was able to hear an approximation of what her performance sound was, he was taken back. It truly was a huge voice: vibrant, full, warm, and telling. I had the opportunity to hear her live many times, and I was always disappointed in her studio recordings to some degree. Like has been said by many, huge voices are the hardest for the recording industry to capture faithfully.

Sutherland's sound opens up the further away from it you get. A well balanced voice should do that. The voice focuses somewhere out there. Her sound is truly a wash of sound that fills the theatre. We are getting that experience somewhat in this case.

Marylin Horne does a wonderful job, too.

This is truly a beautiful opera, and it is worthy of fame, even if the original audience didn't like it. This recording is a great one to add to your library, however, it is expensive, and if you are not one that likes the "live sound" I would recommend that you come to this opera via the studio recording Sutherland made later. It doesn't have the lush full exciting sound of the live recording, that is her voice doesn't reflect that (the typical studio sound is what you get), but you will have the more balanced clean sound that recordings are noted for. In either case, you are getting some super singing. The difference between the two that will be much noticed is the conducting. Bonynge understand the style better than this conductor, and captures the flavor of Bel Canto much better.

Sutherland not even her most die hard fans have heard.......2003-07-30

The high E that drops into the trills on high B. and she repeats it slightly lower, but still in the highest strastosphere.... In her cabaletta.Is that singable? I would say it is if you are La Stupenda. She holds a high E natural over a gigantic orchestra for about 8 seconds and chorus and not even blinks an eyelash. That is the La Stupenda of her youth. Even Bellini would never imagine a voice like hers. A divine achievement that eclipses anything in the last century, at least.

Average customer rating:

Generic Bellini
Not Sutherland's best Bellini recording
The highest notes in this opera
neglected masterpiece

Bellini: Beatrice di Tenda

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000E4Y6
Release Date: 1993-01-19

Tracks:

Preludio
Tu, Signor! Lasciar Si Presto (Cortigiani)
Ah! Non Pensar Che Pieno
Silenzio E Notte Intorno (Agnese)
Si- Rivale... Rival Regnante (Agnese)
Respirio Io Qui (Beatrice)
Ma La Sola, Ohime! Son Io (Beatrice)
Ah! La Pena In Lor Piombo (Beatrice)
Vedi- La Tua Presenza (Riccardo)
E Quali- Quali- Spergiura! Ingrata! (Filippo)
Qui Di Ribelli Sudditi (Filippo)
Scena 4- Lo Vedeste
Ii Mio Dolore E L'ira
Parti.... Deh! Perdona
Atto Ii-Scena1- Lassa E Puo Il Ciel Permettere
Omai Del Suo Destino Arbitra Solo
Oh Troppo A Mie Preghiere Sordo
Orombello-----Oh Voce E Dessa
Al Tuo Fallo Ammenda Festi
Filippo.... Tu Ti Appressa
Rimorso In Lei
Qui M'accolse Oppresso Errante
Prega. Ah No, Nonsia La Misera - Damogelle, Famigliari
Nulla Io Dissi - Beatrice
Ah! Se Un'urna E A Me Concessa - Beatrice
Sediziose Voci... Casta Diva (Norma)
Son Vergin Vezzosa (I Puritani)
O Rendetemi La Speme... Qui La Voce (I Puritani)
Ah, Non Credea Mirarti... Ah! Non Giunge (La Sonnambula)

Customer Reviews:

Generic Bellini .......2007-05-07

When measured against his operas such as Norma, I Puritani, or La Somnambula, or even his operas such as I Capuleti e i Montecchi and Il Pirata, it is easy to see why this is a lesser-known work. Beatrice is a hand-wringing victim, not a blazing heroine like Norma or even unhinged by love like Elvira (I Puritani). True, she's married to a human fiend, (excellently sung by the unknown Cornelius Opthof), and her true love (sung somewhat less ardently than usual by Luciano Pavarotti) turns out to be a [...], but still, most of her music is merely sad and full of self-pity or self-sacrifice at the end.
This kind of music is hard to put any real fire to, and Sutherland doesn't. She makes a gorgeous sound, and she does droopy and pathetic real well, but the whole production sounds a little detached, as if everybody (including the orchestra) wishes they were doing something else. The two exceptions are the aforementioned Opthof, and mezzo Josephine Veasey, who puts some life into the role of the wicked husband's evil mistress.
Maybe it's the material--even the great composers can't be expected to hit a home run every time. This 1966 Decca recording has acceptable sound and there is a libretto, although it doesn't have any essay about the opera itself. It's not bad, it's just generic bel canto.

Not Sutherland's best Bellini recording.......2003-12-16

I have to disagree with every other reviewer here- I find this studio recording to be one of Sutherland's weakest. True, this opera is not as glorious as Norma, I Puritani, or La Sonnambula. However, when compared with Sutherland's other Bellini studio recordings, one must accept that this particular outing has more minuses than plusses. A large part of the problem is the fact that, in 1966, she was in her droopy/spoony period, something that would not improve until later on. True, she does produce some lovely high notes, and the axiom of "Sutherland's less-than-best beats everyone else's" still applies. Unfortunately, one only has to listen to the bonus tracks at the end of the third CD, taken from her first recordings of Puritani, Sonnambula, and Norma, to understand that Sutherland was capable of much better. It's not just a question of her dramatic capability- it's a matter of not wanting to hear at her mushy, droopy worst.

This being SUTHERLAND and not any other run-of-the-mill soprano, it probably is still worth it to own this studio recording. However, if you want to hear Sutherland in top form as a Bellini heroine, try her first recording of Norma (with Marilyn Horne), either recording of I Puritani, or her first recording of La Sonnambula.

The highest notes in this opera.......2003-06-05

Sutherland soars over a huge chorus, ensemble, and orchestra in this tour de force. The sound is great. There are more high
E naturals, E flats, D's, and C's and even a high F in this opera.
That's why Sutherland never sang the role live again after 1962. Because the high notes are so abundant. But this is a studio recording, so the super high notes are nothing for the diva.
A great find. You must have it.

neglected masterpiece.......2003-04-27

Beatrice di Tenda is a beautiful and unjustly neglected opera.
It contains gorgeous melodies, great arias and exciting finales.
Joan Sutherland made the role very much her own in the early
1960's. This first studio recording made in 1966 still stands
well. Sutherland captures the character's sadness and dignity
well with beautiful and poised singing and naturally shines in
cabalettas. The unkown Cornelius Opthof holds himself very well
next to Sutherland with a secure top and incisive phrasing as
the wicked Fillipo. As the second couple we have a fiery Jose-
phine Veasey as Agnese and a very young Luciano Pavarotti as
Orombello. Excellent sound and briskly conducted by Richard Bo-
nynge. Highly recommended to Sutherland/Bellini lovers.

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Bellini: Beatrice di Tenda

Manufacturer: Opera D'oro
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Binding: Audio CD

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ASIN: B000066TWY
Release Date: 2002-06-04

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

Average customer rating:

Beyond all description...
An Absolute Must-Have for Any Pavarotti Fan
Wonderful!!!!

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

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Album Description

Disc 1: Donizetti Arias from L'elisir d'amore, Maria Stuarda, Lucia di Lammermoor, La Fille du Regiment, Linda di Chamounix, La Favorita, and Don Paquale

Disc 2: Bellini/Donizetti/Verdi Includes arias from I Capuleti e i Montecchi, Norma, La Sonnambula (1976 Duet Recording), I Beatrice di Tenda, I Puritani, Don Sebastien, Il Duca d'Alba, I Lombardi, I due Foscari, Ernani, and Attila

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Disc 4: Verdi 2 Includes arias from Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello, and Requiem

Disc 5: Puccini Includes arias from La Boheme, Madama Butterfly, and Turandot

Disc 6: Puccini and Verismo Includes arias from Cavalleria Rusticana, Manon Lescaut, Pagliacci, Andrea Chenier, and Tosca

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Customer Reviews:

Beyond all description..........2006-09-19

As a boy, I heard so many hyperbolic references to the legendary Enrico Caruso that I chose to purchase a remastered copy of his "Greatest Hits" when I first began to acquire recordings as a young man. Soon after, I discovered Pavarotti and my life was changed by his music. Caruso ended up in the Goodwill Store. I am convinced that in 500 years, should the earth cool again and the Muslim hoards abate, the civilized world will still tell tales of the greatest tenor. I have often found myself grumpy when searching for recordings of Pavarotti because of the inconsistent fidelity of the recordings. That search for the definitive Pavarotti recordings, regarding both content and fidelity, has ended with the release of this extraordinary collection. Worth it's weight in gold, the Puccinni Volume (#5) alone is enough to send someone like me into hyperspace. I am astounded by the beauty and power of these performances. I will always remember the day, not long ago, when a NPR commentator glibly mentioned between the weather and the night's playlist the terrible words, "Luciano Pavarotti has announced that he is retiring from Opera." I felt as if something indescribably beautiful was fading from the world. Of course, beauty in all of its earthly forms is fleeting at best, but these discs contain a reflection of it that will surely bolster any soul.

An Absolute Must-Have for Any Pavarotti Fan.......2004-01-09

...and that certainly goes without saying. My one tiny little problem with it is that his recordings of "Santa Lucia" and "Caruso" are not on this incredible box-set. Even though I have those recordings on other CDs, I still think those are very important pieces to include on this set (assuming that this set of Pavi hits would be the only compilation that that any fan of this phenomenal tenor would have). He is probably my biggest idol, and he deserves to have been one of the biggest opera stars in history.

Wonderful!!!!.......2002-11-07

This Pavarotti set; The Pavarotti Edition; is a wonderful collection of Arias and songs that cover Luciano's great career. Pavarotti is THE Voice of the 20th Century and this set does him justice. It includes 10 CDs with over 750 minutes of music; Includes Music from All of His roles; has a beautiful 76 page full color booklet; Has a wonderful write up; and includes a bonus CD of Pavarotti's fist album, a 45, from 1964, which has never been released on CD before this set. Every Song is hear, This SET is a must have for every Pavarotti Fan.

Bellini - Beatrice di Tenda / Sutherland · Campola · Kabaivanska

Average customer rating:

Very good opera poor CD quality
Sutherland is wonderful!
Been waiting for this one

Bellini - Beatrice di Tenda / Sutherland · Campola · Kabaivanska

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B00004TVC2
Release Date: 2000-07-18

Tracks:

Beatrice di Tenda: Act One: Prelude
Beatrice di Tenda: Act One: Tu, signor!
Beatrice di Tenda: Act One: Ah! non pensat che pieno
Beatrice di Tenda: Act One: Ne piu fia lieta
Beatrice di Tenda: Act One: Silenzio e notte intorno
Beatrice di Tenda: Act One: Ella amata!
Beatrice di Tenda: Act One: Respiro io qui
Beatrice di Tenda: Act One: Oh, mie fedeli!
Beatrice di Tenda: Act One: Ah! la pena in lor piombo
Beatrice di Tenda: Act One: Io fremo d'ira
Beatrice di Tenda: Act One: Qui di ribelli sudditi
Beatrice di Tenda: Act Two: Arte egual si ponga
Beatrice di Tenda: Act Two: Il mio dolore
Beatrice di Tenda: Act Two: Ciascun; non io
Beatrice di Tenda: Act Two: Parti.. Deh, perdona...
Beatrice di Tenda: Act Two: Al castigo a lor dovuto

Tracks:

Beatrice di Tenda: Act Three: Lassa! e puo il ciel permettere
Beatrice di Tenda: Act Three: O, troppo a mie preghiere
Beatrice di Tenda: Act Three: Al tuo fallo ammenda
Beatrice di Tenda: Act Three: Ite entrambi, e poi
Beatrice di Tenda: Act Three: Filippo!... Tu!...ti appressa
Beatrice di Tenda: Act Three: Rimorso in lei?
Beatrice di Tenda: Act Three: Ella viva
Beatrice di Tenda: Act Three: Prega!
Beatrice di Tenda: Act Three: Nulla io dissi
Beatrice di Tenda: Act Three: Angiol di pace
Beatrice di Tenda: Act Three: La veeggo... Ah! se un'urna e me concessa
Beatrice di Tenda: Act Three: Oh! infelice!... Ah! La morte a cui m'appresso

Customer Reviews:

Very good opera poor CD quality.......2006-06-22

I bought the CD as a present for my father.When I got it I was very unplesantly surprised that the sound of the recording is dull( it was made originally in 1961) and it was not digitally retouched although according to the descrition the CD was made in 2000.I contacted the seller regarding the problem no response at all.I dont recommned that CD if you are looking for good sound quality.Ovearall the opera is a masterpiece.

Sutherland is wonderful!.......2001-04-03

Beatrice di Tenda is one of Bellini's most under rated operas. It was written right after Norma and right before I Puritani, his two greatest masterpieces. Unfortunatly, after a poor reception at its opening it was never really given many chances to catch up with its sisters. It was only after Sutherland gave these historic performances in the early 1960's that the opera was re-born. Today it is a rare opera to hear but a treasure to listen to if ever given the opportunity. This recording is terrific, Sutherland is in top form. The only problem is the pace of this performance is too slow and just doesn't sound, to me, like true Bellini. Much better recording are with Joan Sutherland and Pavarti (1966 Decca). Or with June Anderson (opera d'oro 1987), either of these give Beatrice the proper seat beatween her sisters Norma and Elvira.

Been waiting for this one.......2000-08-30

I heard Sutherland as Beatrice in 1961 in New York. She was sublime then, and this recording was done in Milan at about the same period. This shows La Stupenda as she really sounded without all the microphones stuck in her face. Her's was a voice that fills the entire house. And Sutherland sings a wonderful gigantic high e natural in one one her esembles and she holds the note also. And this opera, though not as many coloratura passages, is a showpiece for the Dame because it contains many beautiful choral esembles that allow the Sutherland voice to soar effortlessly over a huge chorus, orchestra and fellow singers. A beautiful opera, way underated.

Bellini: Norma; I puritani; La sonnambula; Beatrice di Tenda

Average customer rating:

A BELLIANIAN SHOWCASE FOR SUTHERLAND
Great voice! Novocaine in the mouth?
Magnificent
Astonishing set!!
Perfect!!

Bellini: Norma; I puritani; La sonnambula; Beatrice di Tenda

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Decca Records Store | Specialty Stores | Music
ASIN: B00005KBJP
Release Date: 2002-05-14

Tracks:

Beatrice Di Tenda: Prld - LSO/Richard Bonynge
Beatrice Di Tenda: Atto Primo, Scena 1: Tu, Signor! Lasciar Si Presto Cosi Splendida Assemblea? - Ambrosian Opr Chor/John McCarthy/Cornelius Opthof
Beatrice Di Tenda: Atto Primo, Scena 1: Ah! Non Pensar Che Pieno Sia Nel Poter Diletto - Josephine Veasey/Cornelius Opthof/Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Primo, Scena 2: Silenzio E Notte Intorno - Josephine Veasey/Luciano Pavarotti
Beatrice Di Tenda: Atto Primo, Scena 2: Si: Rivale... Rival Regnante - Josephine Veasey/Luciano Pavarotti
Beatrice Di Tenda: Atto Primo, Scena 3: Respiro Io Qui - Joan Sutherland/Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Primo, Scena 3: Ma La Sola, Ohime! Son Io - Joan Sutherland/Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Primo, Scena 3: Ah! La Pena In Lor Piombo Dell'amor - Joan Sutherland/Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Primo, Scena 3: Vedi? La Tua Presenza Fugge Sdegnosa - Joseph Ward/Cornelius Opthof/Joan Sutherland
Beatrice Di Tenda: Atto Primo, Scena 3: E Quali? Quali? Spergiura! Ingrata - Cornelius Opthof/Joan Sutherland
Beatrice Di Tenda: Atto Primo, Scena 3: Qui Di Ribelli Sudditi Soffri Le Mire Audaci - Cornelius Opthof/Joan Sutherland
Beatrice Di Tenda: Atto Primo, Scena 4: Lo Vedeste? - Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Primo, Scena 4: Il Mio Dolore, E L'Ira, Inutil Ira, S'asconda A Tutti - Joan Sutherland/Luciano Pavarotti
Beatrice Di Tenda: Atto Primo, Scena 4: Parti... - Deh! Perdona - Joan Sutherland/Luciano Pavarotti/Josephine Veasey/Cornelius Opthof/Joseph Ward/Ambrosian Opr Chor..

Tracks:

Beatrice Di Tenda: Atto Primo, Scena 4: Ah! Tal Onta Io Meritai - Joan Sutherland/Josephine Veasey/Cornelius Opthof/Luciano Pavarotti/Joseph Ward/Ambrosian Opr Chor..
Beatrice Di Tenda: Atto Secondo, Scena 1: Lassa! E Puo Il Ciel Permettere Questo Giudizio Infame! - Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Secondo, Scena 1: Omai Del Suo Destino Arbitra Solo Esser Deve La Legge - Cornelius Opthof/Joseph Ward
Beatrice Di Tenda: Atto Secondo, Scena 1: Oh, Troppo A Mie Preghiere Sordo Orombello! - Joseph Ward/Josephine Veasey/Cornelius Opthof/Luciano Pavarotti/Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Secondo, Scena 1: Orombello! - Oh Voce! E Dessa!... - Joan Sutherland/Luciano Pavarotti/Josephine Veasey/Joseph Ward/Cornelius Opthof/Ambrosian Opr Chor..
Beatrice Di Tenda: Atto Secondo, Scena 1: Al Yuo Fallo Ammenda Festi - Joan Sutherland/Luciano Pavarotti/Cornelius Opthof/Josephine Veasey/Joseph Ward/Ambrosian Opr Chor..
Beatrice Di Tenda: Atto Secondo, Scena 1: Filippo! - Tu! Ti Appressa... - Josephine Veasey/Cornelius Opthof
Beatrice Di Tenda: Atto Secondo, Scena 1: Rimorso In Lei? - Cornelius Opthof/Joseph Ward/Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Secondo, Scena 1: Qui M'accolse Oppresso, Errante - Cornelius Opthof//Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Secondo, Scena 2: Prega. Ah No, Non Sia La Misera Nel Suo Pregar Turbata - Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Secondo, Scena 2: Qui M'accolse Oppresso, Errante - Joan Sutherland/Josephine Veasey/Luciano Pavarotti/Joseph Ward/Ambrosian Opr Chor/John McCarthy
Beatrice Di Tenda: Atto Secondo, Scena 2: Ah! Se Un' Urna E A Me Concessa - Joan Sutherland/Joseph Ward/Ambrosian Opr Chor/John McCarthy

Tracks:

Norma: Sinf - LSO/Richard Bonynge
Norma: Atto Primo, Scena 1: Intro - Ite Sul Colle, O Druidi - Richard Cross/London Sym Chor
Norma: Atto Primo, Scena 1: Svanir Le Voci! - John Alexander/Joseph Ward
Norma: Atto Primo, Scena 1: Meco All'altar Di Venere Era Adalgisa In Roma - John Alexander/Joseph Ward/London Sym Chor
Norma: Atto Primo, Scena 1: Me Protegge, Me Difende Un Poter Maggior Di Loro - John Alexander/Joseph Ward/London Sym Chor
Norma: Atto Primo, Scena 1: Norma Viene - London Sym Chor
Norma: Atto Primo, Scena 1: Sediziose Voci, Voci Di Guerra - Joan Sutherland/Richard Cross/London Sym Chor
Norma: Atto Primo, Scena 1: Casta Diva, Che Inargenti Queste Sacre Antiche Piante - Joan Sutherland/Richard Cross/London Sym Chor
Norma: Atto Primo, Scena 1: Fine Al Rito - Joan Sutherland/Richard Cross/London Sym Chor
Norma: Atto Primo, Scena 1: Ah! Bello A Me Ritorna Del Fido Amor Primiero - Joan Sutherland/Richard Cross/London Sym Chor
Norma: Atto Primo, Scena 1: Sgombra E La Sacra Selva, Compiuto Il Rito - Marilyn Horne
Norma: Atto Primo, Scena 1: Deh! Proteggimi, O Dio! - Marilyn Horne
Norma: Atto Primo, Scena 1: Eccola! Va, Mi Lascia, Ragion Non Odo - John Alexander/Marilyn Horne
Norma: Atto Primo, Scena 1: Va, Crudele, Al Dio Spietato Offri In Dono Il Sangue Mio - John Alexander/Marilyn Horne

Tracks:

Norma: Atto Primo, Scena 2: Vanne, E Li Cela Entrambi - Joan Sutherland/Yvonne Minton
Norma: Atto Primo, Scena 2: Adalgisa! - Alma, Costanza - Joan Sutherland/Marilyn Horne
Norma: Atto Primo, Scena 2: Oh! Rimembranza! - Joan Sutherland/Marilyn Horne
Norma: Atto Primo, Scena 2: Ah! Si, Fa Core, Abbracciami - Joan Sutherland/Marilyn Horne
Norma: Atto Primo, Scena 2: Ma Di', L'amato Quale Fra Noi Si Noma? - Joan Sutherland/Marilyn Horne/John Alexander
Norma: Atto Primo, Scena 2: Oh Non Tremare, O Perfido, Per Lei - Joan Sutherland/Marilyn Horne
Norma: Atto Primo, Scena 2: Oh! Di Qual Sei Tu Vittima - Joan Sutherland
Norma: Atto Primo, Scena 2: Oh! Qual Traspare Orribile - Marilyn Horne/Joan Sutherland
Norma: Atto Primo, Scena 2: Norma! De' Tuoi Rimproveri Segno Non Farmi Adesso - John Alexander/Joan Sutherland/Marilyn Horne
Norma: Atto Primo, Scena 2: Perfido! - Or Basti - Joan Sutherland/John Alexander/Marilyn Horne
Norma: Atto Primo, Scena 2: Vanne, Si: Mi Lascia, Indegno - Joan Sutherland/Marilyn Horne/John Alexander/London Sym Chor

Tracks:

Norma: Atto Secondo, Scena 1: Scena - Intro - LSO/Richard Bonynge
Norma: Atto Secondo, Scena 1: Dormono Entrambi... Non Vedran La Mano Che Li Percuote - Joan Sutherland/Yvonne Minton
Norma: Atto Secondo, Scena 1: Mi Chiami, O Norma! - Marilyn Horne/Joan Sutherland
Norma: Atto Secondo, Scena 1: Deh! Con Te, Con Te Li Prendi, Li Sostieni, Li Difendi - Joan Sutherland/Marilyn Horne
Norma: Atto Secondo, Scena 1: Mira, O Norma A' Tuoi Ginocchi Questi Cari Tuoi Pargoletti - Marilyn Horne/Joan Sutherland
Norma: Atto Secondo, Scena 1: Si, Fino All'ore Estreme Compagna Tua M'avrai - Joan Sutherland/Marilyn Horne
Norma: Atto Secondo, Scena 2: Non Parti? - London Sym Chor
Norma: Atto Secondo, Scena 2: Guerrieri! A Voi Venirne Credea Foriero D'avvenir Migliore - Richard Cross/London Sym Chor
Norma: Atto Secondo, Scena 3: Ei Tornera - Joan Sutherland/Yvonne Minton
Norma: Atto Secondo, Scena 3: Squilla Il Bronzo Del Dio! - London Sym Chor
Norma: Atto Secondo, Scena 3: Guerra, Guerra! - Joan Sutherland/Richard Cross/London Sym Chor
Norma: Atto Secondo, Scena 3: Ne Compi Il Rito, O Norma? Ne La Vittima Accenni? - Richard Cross/Joan Sutherland/Yvonne Minton/John Alexander/London Sym Chor
Norma: Atto Secondo, Scena 3: In Mia Man Alfin Tu Sei - Joan Sutherland/John Alexander
Norma: Atto Secondo, Scena 3: Gia Mi Pasco Ne' Tuoi Sguardi - Joan Sutherland/John Alexander
Norma: Atto Secondo, Scena 3: Dammi Quel Ferro - Che Osi? Scostati - John Alexander/Joan Sutherland/Richard Cross/London Sym Chor
Norma: Atto Secondo, Scena 3: Qual Cor Tradisti, Qual Cor Perdesti Quest'ora Orrenda Ti Manifesti - Joan Sutherland/John Alexander/Richard Cross/London Sym Chor
Norma: Atto Secondo, Scena 3: Norma! Deh! Norma, Scolpati! - Richard Cross/London Sym Chor/Joan Sutherland/John Alexander
Norma: Atto Secondo, Scena 3: Deh! Non Volerli Vittime Del Mio Fatale Errore - Joan Sutherland/John Alexander/Richard Cross/London Sym Chor

Tracks:

I Puritani: Parte Prima, Scena 1: All'erta! All'erta! L'alba Appari - Piero De Palma/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Prima, Scena 1: O Di Cromwell Guerrieri - Piero De Palma//Joan Sutherland/Pierre Duval/Renato Capecchi/Ezio Flagello/Chor Del Maggio Musicale
I Puritani: Parte Prima, Scena 1: Or Dove Fuggo Mai? - Renato Capecchi/Piero De Palma
I Puritani: Parte Prima, Scena 1: Ah! Per Sempre Io Ti Perdei, Fior D'amore - Renato Capecchi/Piero De Palma
I Puritani: Parte Prima, Scena 2: O Amato Zio, O Mio Secondo Padre! - Joan Sutherland/Ezio Flagello
I Puritani: Parte Prima, Scena 2: Sai Com'arde In Petto Mio Bella Fiamma Onnipossente - Joan Sutherland/Ezio Flagello/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Prima, Scena 3: Ad Arturo Onore, Ad Elvira Onore - Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Prima, Scena 3: A Te, O Cara, Amor Talora Mi Guido Furtivo - Pierre Duval/Ezio Flagello/Giovanni Foiani/Joan Sutherland/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Prima, Scena 3: Il Rito Augusto Si Compia Senza Me - Giovanni Foiani/Margreta Elkins/Pierre Duval/Ezio Flagello/Joan Sutherland
I Puritani: Parte Prima, Scena 3: Son Vergin Vezzosa In Vesta Di Sposa - Joan Sutherland/Margreta Elkins/Pierre Duval/Ezio Flagello/Giovanni Foiani/Chor Del Maggio Musicale
I Puritani: Parte Prima, Scena 3: Ferma! Invan, Invan Rapir Pretendi Ogni Ben Ch'io Aveva In Terra - Renato Capecchi/Pierre Duval/Margreta Elkins/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Prima, Scena 3: Dov'e Arturo? - Egli Era Qui - Joan Sutherland/Renato Capecchi/Ezio Flagello/Giovanni Foiani/Piero De Palma/Chor Del Maggio...
I Puritani: Parte Prima, Scena 3: Ma Tu Gia Mi Fuggi? - Joan Sutherland/Chor Del Maggio Musicale Fiorentino

Tracks:

I Puritani: Parte Seconda: Ah Dolor! Ah Terror! - Chor Del Maggio Musicale Fiorentino/Ezio Flagello
I Puritani: Parte Seconda: Cinta Di Fiori E Col Bel Crin Disciolto Talor La Cara Vergine... - Ezio Flagello/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Seconda: E Di Morte Lo Stral Non Sara Lento - Renato Capecchi/Ezio Flagello/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Seconda: O Rendetemi La Speme, O Lasciatemi Morir! - Joan Sutherland/Ezio Flagello/Renato Capecchi
I Puritani: Parte Seconda: Vien, Diletto, E In Ciel La Luna! - Joan Sutherland/Renato Capecchi/Ezio Flagello
I Puritani: Parte Seconda: Il Rival Salvar Tu Dei - Ezio Flagello/Renato Capecchi

Tracks:

I Puritani: Parte Terza: Son Salvo, Alfin Son Salvo - Pierre Duval
I Puritani: Parte Terza: A Una Fonte Afflitto E Solo S'assideva Un Trovator - Joan Sutherland/Pierre Duval/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Terza: Fini... Me Lassa! - Joan Sutherland/Pierre Duval
I Puritani: Parte Terza: Vieni, Vieni Fra Queste Braccia - Pierre Duval/Joan Sutherland
I Puritani: Parte Terza: Ancor S'ascolta Questo Suon Molesto - Pierre Duval/Joan Sutherland/Renato Capecchi/Ezio Flagello/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Terza: Credeasi, Misera! Da Me Tradita - Pierre Duval/Joan Sutherland/Ezio Flagello/Renato Capecchi/Chor Del Maggio Musicale Fiorentino
I Puritani: Parte Terza: Suon D'araldi? Un Messaggio? - Chor Del Maggio Musicale Fiorentino/Pierre Duval/Renato Capecchi/Ezio Flagello/Joan Sutherland

Tracks:

La Sonnambula: Atto Primo, Scena 1: Viva! Viva! Viva! Viva! Amina! - Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Tutto E Gioia, Tutto E Festa - Sylvia Stahlman
La Sonnambula: Atto Primo, Scena 1: Viva Amina! - Chor Del Maggio Musicale Fiorentino/Giovanni Foiani/Sylvia Stahlman
La Sonnambula: Atto Primo, Scena 1: Care Compagne, E Voi, Teneri Amici - Joan Sutherland/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Sopra Il Sen La Man Mi Posa - Joan Sutherland/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Lo Piu Di Tutti, O Amina, Teco M'allegro - Giovanni Foiani/Joan Sutherland/Sylvia Stahlman/Margreta Elkins/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Perdona, O Mia Diletta, Il Breve Indugio - Nicola Monti/Joan Sutherland/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Prendi: L'anel Ti Dono - Nicola Monti/Joan Sutherland/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Domani, Appena Aggiorni, Ci Recheremo Al Tempio - Nicola Monti/Joan Sutherland/Fernando Corena/Sylvia Stahlman/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Vi Ravviso, O Luoghi Ameni - Fernando Corena/Sylvia Stahlman/Nicola Monti/Margreta Elkins/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Contezza Del Paese Avete Voi, Signor? - Nicola Monti/Fernando Corena/Margreta Elkins/Sylvia Stahlman/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: A Fosco Cielo, A Notte Bruna - Chor Del Maggio Musicale Fiorentino/Fernando Corena/Joan Sutherland/Margreta Elkins/Nicola Monti...
La Sonnambula: Atto Primo, Scena 1: Basta Cosi - Fernando Corena/Margreta Elkins/Nicola Monti/Joan Sutherland/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 1: Son Geloso Del Zefiro Errante Che Ti Scherza - Nicola Monti/Joan Sutherland
La Sonnambula: Atto Primo, Scena 2: Davver, Non Mi Dispiace D'essermi Qui Fermato - Fernando Corena/Sylvia Stahlman
La Sonnambula: Atto Primo, Scena 2: Che Veggio? Saria Forse Il Notturno Fantasma? - Fernando Corena/Joan Sutherland
La Sonnambula: Atto Primo, Scena 2: Oh Ciel! Che Tento? - Fernando Corena/Joan Sutherland
La Sonnambula: Atto Primo, Scena 2: Osservate! L'uscio E Aperto - Chor Del Maggio Musicale Fiorentino

Tracks:

La Sonnambula: Atto Primo, Scena 2: E' menzogna - Nicola Monti/Sylvia Stahlman/Margreta Elkins/Joan Sutherland/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 2: D'un Pensiero E D'un Accento Rea Non Sono - Joan Sutherland/Nicola Monti/Sylvia Stahlman/Margreta Elkins/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Primo, Scena 2: Non Piu Nozze - Nicola Monti/Joan Sutherland/Margreta Elkins/Sylvia Stahlman/Giovanni Foiani/Chor Del Maggio...
La Sonnambula: Atto Secondo, Scena 1: Qui La Selva E Piu Folta Ed Ombrosa - Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Secondo, Scena 1: Reggimi, O Buona Madre - Joan Sutherland/Margreta Elkins
La Sonnambula: Atto Secondo, Scena 1: Vedi, O Madre, E Afflitto E Mesto - Joan Sutherland/Nicola Monti
La Sonnambula: Atto Secondo, Scena 1: Viva Il Conte! - Chor Del Maggio Musicale Fiorentino/Nicola Monti/Joan Sutherland/Margreta Elkins
La Sonnambula: Atto Secondo, Scena 1: Ah! Perche Non Posso Odiarti - Nicola Monti/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Secondo, Scena 2: Lasciami: Aver Compreso Assai Dovresti Che Mi Sei Noioso - Sylvia Stahlman/Giovanni Foiani/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Secondo, Scena 2: De' Lieti Auguri A Voi Son Grata - Sylvia Stahlman/Giovanni Foiani/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Secondo, Scena 2: E Fia Pur Vero, Elvino, Che Alfin Dell' Amor Tuo Degna Mi... - Sylvia Stahlman/Nicola Monti/Fernando Corena/Giovanni Foiani/Margreta Elkins/Chor Del Maggio...
La Sonnambula: Atto Secondo, Scena 2: Lisa Mendace Anch'essa! - Nicola Monti/Margreta Elkins/Sylvia Stahlman/Fernando Corena/Giovanni Foiani/Chor Del Maggio...
La Sonnambula: Atto Secondo, Scena 2: Signor, Che Creder Deggio? - Nicola Monti/Fernando Corena/Margreta Elkins/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Secondo, Scena 2: Oh! Se Una Volta Sola Rivederlo Io Potessi - Joan Sutherland/Fernando Corena/Margreta Elkins/Nicola Monti/Chor Del Maggio Musicale Fiorentino
La Sonnambula: Atto Secondo, Scena 2: Ah! Non Giunge Uman Pensiero Al Contento Ond'io Son Piena - Joan Sutherland/Chor Del Maggio Musicale Fiorentino

Customer Reviews:

A BELLIANIAN SHOWCASE FOR SUTHERLAND.......2005-10-26

All of these recordings are well known. The "Norma" has never been out of the catalogue, but the "Puritani" and "Sonnambula" have not been generally available in this country (I ordered my two sets from Amazon in UK) while the "Beatrice di Tenda" has shown up in shops here in the U.S. Here, all of them are packaged together. Of course, Sutherland later re-recorded "Puritani" and "Sonnambula" with Luciano Pavarotti (not, in my opinion anyway, an especially great improvement over Pierre Duval and Nicola Monti, respectively). I have always had a preference for these earlier versions of "Puritani" and "Sonnambula". Sutherland was, plain and simple, a spectacular singing machine, and she was in the full bloom of her prime on both of them. True, her diction is very strange and vague --- it's hard to hear one single decisive consonant or vowel anyway throughout these four performances. But if you can put this caveat aside, you will hear what is probably the most incredibly perfect singing from a technical point of view. In the "Norma", she is partnered by Marilyn Horne, whose bel canto technique is no less spectacular than Sutherland's. It's quite a partnership. Is Sutherland's Norma comparable to that of Callas'? Can't anwser that question because the ends each sought were completely different. One thing CAN be said -- Sutherland had a much more reliable vocal instrument than Callas did, but Callas, with a much more varied colored voice, was able to bring forth musical and dramatic insights that Sutherland couldn't even hint at. Wouldn't it be great to have these two giants around today? Make no mistake ---- this are great recordings, and anyone interested in operas of the bel canto period should not without these recordings. They're pretty special indeed.

Great voice! Novocaine in the mouth?.......2005-01-08

Sutherland has a super voice. She has, perhaps, the worst diction in the opera world. I sometimes like to listen to the words and follow along in the libretto. If I lose my place I cannot find it again until the next track comes up. She might as well be singing in Ubangi or Antarcticese becasue she certainly isn't singing Italian.

Magnificent.......2004-03-25

This is goden age magnificent singing!! All of them stem from Joanie's golden years.

Astonishing set!!.......2004-02-02

I was astounded to stumble across this set. Sutherland's recordings are among Decca's greatest treasures. Since she burst into the world scene, she has been THE authority on Bellini. I spent hundreds of dollars buying the full set and it was worth my every penny. Now Decca has it at this budget price. Errrm... DON'T even THINK about not buying it.

Perfect!!.......2004-01-13

Sheer perfection!! All these are taken from Sutherland's 1960s recordings when her voice was at its most Stupendous (pun intended). Great performances from the greatest soprano of the 20th century.

Beveridge: Magic Flute Fantasy; Cheetam: A Brass Menagerie; Etc.

Average customer rating:

Beveridge: Magic Flute Fantasy; Cheetam: A Brass Menagerie; Etc.

Manufacturer: Crystal Records
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000003J53
Release Date: 1993-12-29

Tracks:

Magic Fl Fant
A Brass Menagerie: Molto Allegro Con Energico
A Brass Menagerie: Lento
A Brass Menagerie: Scherznado Ben Ritmico
A Brass Menagerie: Alla Marcia
A Brass Menagerie: Brillante
Qnt: Complexities & Contradictions (10 Movts, Grouped 123-456-789-10)
Sound An Alarm
Fant
Dead Man Blues

Average customer rating:

One of the great Coloraturas !!!!!!!!!

Airs d'opéras français & italiens

Manufacturer: EMI Classics Imports
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

June Anderson / Alfredo Kraus: Live From the Paris Opera

ASIN: B00008ODZQ
Release Date: 2003-11-04

Customer Reviews:

One of the great Coloraturas !!!!!!!!!.......2007-04-03

This is a beautiful cd,out of print,so get it while you still can.June really dazzles here!!!!!!!!!!!!!!

Beautiful singing with high wire skills!

Bellini - Beatrice di Tenda / Aliberti, Gavanelli, Capasso, M. Thompson, De Haan, Deutschen Opera Berlin, Luisi

Average customer rating:

Fine Beatrice
Lucia Aliberti, Beatrice di Tenda

Bellini - Beatrice di Tenda / Aliberti, Gavanelli, Capasso, M. Thompson, De Haan, Deutschen Opera Berlin, Luisi

Manufacturer: Berlin Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B0000035LP
Release Date: 1995-02-13

Tracks:

Prld - Orch Der Deutschen Opr Berlin/Fabio Luisi
Act One, No.1 Intro: Tu, Signor - Chor Der Deutschen Opr Berlin/Hellwart Matthiesen/Paolo Gavanelli
Act One, No.1 Intro: Se Piu Soffri - Chor Der Deutschen Opr Berlin/Hellwart Matthiesen
Act One, No.1 Intro: Ah! Non Pensar Che Pieno - Camille Capasso/Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.1 Intro: Ne Piu Fia Lieta - Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.1 Intro: Oh! Divina Agnese - Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.2. Recitativo E Duetto: Silenzio E Notte Intorno - Camille Capasso/Martin Thompson
Act One, No.2. Recitativo E Duetto: Si: Rivale - Camille Capasso/Martin Thompson
Act One, No.2. Recitativo E Duetto: E La Mia - Camille Capasso/Martin Thompson
Act One, No.3. Scene, Coro E Cavatina: Respiro Io Qui - Lucia Aliberti
Act One, No.3. Scene, Coro E Cavatina: Come, Ah Come Ogni Cosa - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.3. Scene, Coro E Cavatina: Oh! Mie Fedeli - Lucia Aliberti/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.3. Scene, Coro E Cavatina: Ma La Sola - Lucia Aliberti/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.3. Scene, Coro E Cavatina: Ah! La Pena In Lor Piombo - Lucia Aliberti/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.4. Recitativo E Duetto: Vedi? La Tua Presenza - Raemond Martin/Paolo Gavanelli/Lucia Aliberti
Act One, No.4. Recitativo E Duetto: E Quali? Spergiura! - Paolo Gavanelli/Lucia Aliberti
Act One, No.4. Recitativo E Duetto: Filippo!-Si: Spergiura - Lucia Alberti/Paolo Gavanelli
Act One, No.4. Recitativo E Duetto: Qui Di Ribelli Sudditi - Paolo Gavanelli/Lucia Aliberti
Act One, No.4. Recitativo E Duetto: Ti Scosta - Paolo Gavanelli/Lucia Aliberti
Act One, No.4. Recitativo E Duetto: Il Mondo, Che imploro - Lucia Aliberti/Paolo Gavanelli
Act One, No.5. Coro D'armigeri: Lo Vedeste? - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.5. Coro D'armigeri: Arte Equal Si Ponga - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act One, No.6. Finale Primo: Il Mio Dolore E L'ira - Lucia Aliberti
Act One, No.6. Finale Primo: Ciascun! - Martin Thompson/Lucia Aliberti
Act One, No.6. Finale Primo: A Ciascun Fidar Vorrei - Lucia Aliberti/Martin Thompson
Act One, No.6. Finale Primo: Parti!-Deh! Perdona - Lucia Aliberti/Martin Thompson/Camille Capasso/Paolo Gavanelli/John David DeHaan....

Tracks:

Act One, No.6. Finale Primo: Ah! Tal Onta - Lucia Aiberti/Camille Capasso/Camille Capasso/John David DeHaan/Paolo Gavanelli....
Act One, No.6. Finale Primo: Al Castigo A Lor - Paolo Gavanelli/Lucia Alberti/Lucia Aliberti/Lucia Alberti/John David DeHaan...
Act One, No.6. Finale Primo: Ne Fra Voi - Lucia Aliberti/Paolo Gavanelli/Martin Thompson/John David DeHaan/Camille Capasso....
Act Two, No.7. Coro D' Intro: Lassa! E Puo Il Ciel Permettere - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act Two, No.7. Coro D' Intro: Ascoltate - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act Two, No.8. Scena E Recitativo: Omai Del Suo Destino - Paolo Gavanelli/John David DeHaan
Act Two, No.9. Coro E Qnt: O Troppo A Mie Preghiere - John David DeHaan/Camille Capasso
Act Two, No.9. Coro E Qnt: Giudici, Al Mio Cospetto - Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act Two, No.9. Coro E Qnt: Di Grave Accusa Il Peso - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen/Lucia Aliberti/Paolo Gavanelli
Act Two, No.9. Coro E Qnt: Eccolo - Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen/Camille Capasso...
Act Two, No.9. Coro E Qnt: Ti Rinfranca - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen/Lucia Aliberti/Martin Thompson
Act Two, No.9. Coro E Qnt: Grazie O Ciel - Lucia Aliberti/Camille Capasso/John David DeHaan/Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hell
Act Two, No.9. Coro E Qnt: Al Tuo Fallo - Lucia Aliberti/Martin Thompson/Paolo Gavanelli/Camille Capasso/John David DeHaan....
Act Two, No.9. Coro E Qnt: Poi Che Il Reo - Paolo Gavanelli/John David DeHaan/Camille Capasso/Lucia Aliberti/Martin Thompson...
Act Two, No.9. Coro E Qnt: Ite Entrambi - Paolo Gavanelli/Camille Capasso/Martin Thompson/John David DeHaan/Lucia Aliberti...
Act Two, No.10. Recitativo: Filippo!-Tu! Ti Appressa - Camille Capasso/Paolo Gavanelli
Act Two, No.10. Recitativo: Rimorso In Lei? - Paolo Gavanelli/John David DeHaan
Act Two, No.11. Aria Di Filippo E Coro: E In Vostra Man - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen/Paolo Gavanelli
Act Two, No.11. Aria Di Filippo E Coro: Qui M'accolse Oppresso - Paolo Gavanelli
Act Two, No.11. Aria Di Filippo E Coro: Ella Viva - Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act Two, No.11. Aria Di Filippo E Coro: Non Son Io - Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act Two, No.12. Finale Secondo: Prega. Ah! No, Non Sia La Misera - Chor Der Deutschen Oper Berlin/Hellwart Matthiesen
Act Two, No.12. Finale Secondo: Nulla Diss'io - Lucia Aliberti/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen/Camille Capasso
Act Two, No.12. Finale Secondo: Oh! Arresta.-Angiol Di Pace... - Camille Capasso/Martin Thompson/Lucia Aliberti
Act Two, No.12. Finale Secondo: Chi Giunge? - Lucia Aliberti/Camille Capasso/John David DeHaan/Chor Der Deutschen Oper Berlin/....
Act Two, No.12. Finale Secondo: Ah! Se Un'urna - Lucia Aliberti
Act Two, No.12. Finale Secondo: Oh Infelice! - Paolo Gavanelli/Chor Der Deutschen Oper Berlin/Hellwart Matthiesen/Lucia Aliberti

Customer Reviews:

Fine Beatrice.......2001-07-16

Beatrice di Tenda is one of the lesser known opera by Bellini.
Unjustly neglected it still offers long stretches of beautiful
music, great ensembles and exciting finales. Lucia Aliberti as
Beatrice has a dark voice of considerable size and agility. Her
soft singing is beautiful but her odd habit of whispering the
text can be a bit distracting and in the more declamatory pas-
sages she can sounds tentative and insecure but despite these
flaws her voice and manner are right for the music and the
character. Paolo Gavanelli has likewise a dark voice that
blends well with Aliberti - he sings very well and is very
much into the character of the evil Fillipo. Camille Capasso
and Martin Thompson in the supporting roles of Agnese and
Orombello have both young attractive voices and sing with
elegance and security. Chorus and orchestra are excellent
and superbly conducted by Fabio Luisi. Excellent sound.
All in all a fine Beatrice and a good alternative to the
DECCA version with Sutherland/Pavarotti under Bonynge.

Lucia Aliberti, Beatrice di Tenda.......2001-07-01

This recording inspired a full scale mounting of the work in Berlin in which Aliberti scored a triumph. She is magnificent in the recording, and as usual with her, well partnered by singers of ability and taste. Luisi conducts with plenty of fire (maybe a bit more than necessary here and there) and the whole production is first class. Beatrice is an uneven opera, with perhaps a bit too many choral/ensemble pieces, but the major solos and duets are equal to his best work. The music afforded the title character is remarkably beautiful and virtuosic and Aliberti does full justice to it, not only singing like an angel but imbuing the music with meaning and pathos.

Average customer rating:

Beatrice di Verdi
Definitive.

Bellini: Beatrice di Tenda

Manufacturer: Myto Records Italy
ProductGroup: Music
Binding: Audio CD

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Verdi - Luisa Miller / Renata Scotto, Placido Domingo, Sherrill Milnes, Bonaldo Giaiotti, James Morris, James Levine, Metropolitan Opera

ASIN: B000IAZN4K
Release Date: 2006-10-31

Customer Reviews:

Beatrice di Verdi.......2007-04-20

I find Beatrice di Tenda perhaps -because of Norma, the most fascinating opera Bellini has written. Its tunes may not be as hummable as in Puritani or Sonnambula but the interesting plot and rich music create a wonderful atmosphere in the theatre.

Sadly all the recordings of this great work leave something to be desired. This 1964 performance took place shortly after the opera's revival in the 60s and because of this suffers from what other revived, mostly bel canto, works did in that decade (e.g. Gli Ugonotti, Assedio di Corinto, Giulio Cesare). The style of those operas and the differences from Verdi, versimo etc was not entirely clear yet. Also the score is cut with the final cabaletta being the most important loss.

Here, everyone sings their heart out and do so very excitingly and convincingly. But their singing sounds more like early Verdi than Bellini. Bellini's music has more subtleties and gentle emotions than Verdi and I'm not sure I heard those on this recording.

Leyla Gencer is in good voice but occasionally overdoes it with glottal attacks. Unlike the spectacular Sutherland, Gencer takes the time to phrase and put some meaning in the words. Hers is not the most beautiful voice but her pianissimo, even when it's overdone, is a beautiful effect. More beauty comes from Antigoni Sgourda whom I enjoyed a lot. What a pity she didn't get more acclaim. I have a Roberto Devereux with her from the 70s that impressed me too. Zanasi sounds dryer here than in the Lucia with Scotto I watched a while ago but his bronze baritone gives the right tone to his character. Juan Oncina doesn't do anything special with his music and is just serviceable as Orombello. The chorus sometimes sounds very small but that gives them some individuality.

The sound of this 60s RAI broadcast is fine, nothing impressive. Gui though reliable, is often way too slow.

Since no Beatrice recording is ideal, if you like Gencer, you could try this one which is the most Italian. Gruberova - who often does interesting things in this role, Sutherland, Devia - perhaps the most convincing musically and even Freni all have something to offer to the role so happy Beatrice hunting.

Definitive........2006-12-23

All are excellent in this beautiful opera, with its very literate libretto.Leyla Gencer is the top one here , and her voice, with its wonderful ideocyncacies drives the action forward with great dramatic force. Her voice? Perfection. Her Questi d'amanti popoli, voti e lamenti sono..exquisite..sheer Bel Canto, and one of many many places in this grand opera by Bellini, where the heart of operatic Italian sensibilities emerges through her art.

Leyla Gencer never recorded in a studio a complete opera..a real oversight, but we have these treasures..

Buy it at once.

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1. Preludio
2. Tu, Signor! Lasciar Si Presto (Cortigiani)
3. Ah! Non Pensar Che Pieno
4. Silenzio E Notte Intorno (Agnese)
5. Si- Rivale... Rival Regnante (Agnese)
6. Respirio Io Qui (Beatrice)
7. Ma La Sola, Ohime! Son Io (Beatrice)
8. Ah! La Pena In Lor Piombo (Beatrice)
9. Vedi- La Tua Presenza (Riccardo)
10. E Quali- Quali- Spergiura! Ingrata! (Filippo)
11. Qui Di Ribelli Sudditi (Filippo)
12. Scena 4- Lo Vedeste
13. Ii Mio Dolore E L'ira
14. Parti.... Deh! Perdona
15. Atto Ii-Scena1- Lassa E Puo Il Ciel Permettere
16. Omai Del Suo Destino Arbitra Solo
17. Oh Troppo A Mie Preghiere Sordo
18. Orombello-----Oh Voce E Dessa
19. Al Tuo Fallo Ammenda Festi
20. Filippo.... Tu Ti Appressa