Amore Per Rossini

Editorial Reviews
Amazon.com
Mezzo-soprano Jennifer Larmore lacks Cecilia Bartoli's expansive charm and personal magnetism, but she is more enterprising and versatile, as evidenced by this disc of little-known contralto arias from operas such as La pietra del paragone, Le siege de Corinthe, Maometto II, Bianca é Falliero and Otello. Though she hasn't the warmest voice in the world, her coloratura technique is cleaner than either Bartoli's or Marilyn Horne's, and she often manages real expressive depth amid the welter of notes. Most of the music is top-drawer Rossini: The compositional devices are recycled endlessly but with a scintillating sense of drama. --David Patrick Stearns

Tracks:

Bel Canto Songs: Aragonese
Bel Canto Songs: Vaga luna che inargenti
Bel Canto Songs: II barcaiolo
Bel Canto Songs: Ah! rammenta, o bella Irene
Bel Canto Songs: L'abbandono
Bel Canto Songs: Or che di fiori adorno
Bel Canto Songs: Malinconia, ninfa gentile
Bel Canto Songs: Amore e morte
Bel Canto Songs: Bolero
Bel Canto Songs: La conocchia
Bel Canto Songs: II fervido desiderio
Bel Canto Songs: Torna, vezzosa Fillide
Bel Canto Songs: Vanne, o rosa fortunata
Bel Canto Songs: Dolente immagine di Fille mia
Bel Canto Songs: La farfalletta
Bel Canto Songs: A ma belle mere
Bel Canto Songs: Per pieta, bell'idol mio
Bel Canto Songs: Me voglio fa 'na casa
Bel Canto Songs: L'esule
Bel Canto Songs: La danza (tarantella napoletana)

Amazon.com

The Italian mezzo-soprano Cecilia Bartoli is one of the most charming and talented singers to appear on the scene in recent years, and this collection of Italian songs by three great opera composers--Bellini, Donizetti, and Rossini--is a most deserving bestseller. There are many small pleasures in the selections, which reflect the bel canto predilections of their authors, and Bartoli renders them artfully. Some will be familiar even to casual listeners (Rossini's La Danza, the famous tarantella); others will be new to most, but equally deserving of a hearing. The sensitive and skillful accompaniment is by conductor-pianist James Levine. --Sarah Bryan Miller

Customer Reviews:

Lovely rendition of Italian songs.......2007-03-11

The booklet coming with the CD says of Cecilia Bartoli that she "is justly famous for her coloratura mezzo-soprano voice and her interpretations of Rossini and Mozart." This CD features her lush voice taking on songs of three great Bel Canto composers--Rossini, Bellini, and Donizetti. Some might think of these as trifles, but the singing and musicality is rich and the songs evocative. The piano accompaniment is by famed conductor James Levine, and he does a splendid job.

Some sampling of the songs. . . . The CD begins with a song by Rossini, "Aragones." This is lushly sung; Bartoli has a wondrously rich and textured voice. The pace is contemplative, altogether consistent with the words of the song, the reflection of a disappointed lover. Well done.

Donizetti's "Il barcaiolo" is also well done. Bartoli shows her vocal agility in this tune. This is a spirited song, and her coloratura technique animates her rendition. There are segments sung forte, showing the power of her voice. There is a nice soft closing to the song, so she ranges from forte to piano.

Bellini is represented, too. His "Vaga luna che inargenti" is a pleasant love song. Bartoli sings this tenderly, creating a melancholy spirit, fitting the song's words.

To close, there is Rossini's wonderful tarantella, "La danza." Levine plays at a quick pace, as he must for this spirited song. Bartoli shows great vocal agility and strong breath control (this is a tough song to get right!). A wonderfully spirited version. She even takes a pass at a trill toward the close. All in all, most satisfying.

Thus, this represents a nice CD, showing Bartoli's skills with the songs of some of the great Bel Canto composers. An album that is a lot of fun to listen to!

Best 'Italian' Selection yet........2006-06-16

'An Italian Songbook' by mezzo-soprano Cecilia Bartoli and accompaniest extraordinare, James Levine is the best of the three collections of Italian material from Bartoli I have reviewed to date. Much of this may be due to Levine, but I believe it is more due to the quality of the material selected. All songs are by 'heaviweights Vincenzo Belline, Gaetano Donizetti, and Gioachino Rossini. It is certainly not due to a difference in the quality of Ms. Bartoli's singing, which is uniformly beautiful throughout.

This would be my first choice for Italian material with only piano accompaniment. For a very first Bartoli album, see her 'flagship' recording, 'Cecilia Bartoli' where she is backed by full orchestra and chorus.

Salon pieces to delight the listener.......2006-03-13

Italian art song never became the serious and high form of art that it did within Germany, and hasn't the same place in culture that the French mélodies had. Rather, Italian operatic composers wrote lighter vocal pieces with fairly simple piano accompaniment, designed to be performed in a more intimate setting. One hears immediately the Bellini line (so familiar to those who love Bellini's operas) in his songs - ditto with the Donizetti and Rossini songs.

This in no way robs the songs of immense charm. It would be easy to perform these songs without a great deal of thought, simply making them sound "pretty". But Cecilia Bartoli never does that - she always gives everything, voice, intelligence, musicality, to her performance.

That is what makes this recording so superb. I can see there are some less-than-satisfied reviewers - I am surprised by the comments. For rest assured, there is no vocal difficulty here at all. Cecilia Bartoli's voice is in superb condition throughout, and her interpretation is of course second to none. Having recorded "Vaga luna" myself, I would be the first to say if I thought anything was lacking in Ms Bartoli's performance - but there's nothing adverse I can say at all. It's simply gorgeous singing, with immaculate phrasing, an intensely personal approach, and some of the most beautiful sounds you're likely to hear.

It is hard to imagine anyone being disappointed by this recording. The comments made about squally sound are not just unfair, they're totally inaccurate. I remember purchasing this CD on the very day it was released in Australia, and it's a firm favourite of mine.

In all... delightful.

The Italian Songbook.............2005-12-09

...........sung like a string of pearls. I have never heard "Vaga luna che inargenti" sung so beautifully radiant and lucid. What a contrast when listening to her mournful "L'abbandono" where she sounds so utterly sad and full of melancholy. Brilliant vocal colouring here. "Malincolia, ninfa gentile" is sung with the appropriate pathos but without gimmicks and tricks. Utterly gorgeous Bellinian line. "II fervido desiderio" is sung with just the right amount of yearning and passion. "Per pieta, bell'idol mio" finds her beautifully charming and endearing, who could say no to her? The closing piece, "La Danza" is a tasty little song that suits her to a T. In my humble opinion every young voice student should not only study the Italian Songbook but own this in order to hear how it's done. This is still my favourite Bartoli album.

che bella.........2004-12-23

Cecilia Bartolia is such a refreshing singer in the current state of vocal affairs. For one thing, she is a serious student of the music she sings, and scorns all the 'popera' and crossover artists. She has sought out plenty of unknown/lesser known material to record (Salieri, Vivaldi, Gluck, etc). In the CD in question she does wonderful work with these Italian pezzi. Her voice is now dark, now breathy, now intense, always altered to reflect the words she is singing. Her vocal agility and control are simply remarkable. Pay no attention to the Bartoli nay-sayers, she is a first rate singer.

Artists Of The Century - Caruso, The Greatest Tenor In The World

Average customer rating:

A nice overview of Caruso's legacy
Unearthly
If You Only Buy One Caruso . . .

Artists Of The Century - Caruso, The Greatest Tenor In The World

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Great Caruso
The Legendary Enrico Caruso: 21 Favorite Arias
Italian Songs: The Digital Recordings
Match Point
Beniamino Gigli: Historical Recordings 1927 - 1951

ASIN: B00000J913
Release Date: 1999-05-25

Tracks:

Act II: Amor Ti Vieta
Act II: Che Gelinda Manina
Act III: Salut Demeure Chaste Et Pure
Act III: Di Quella Pira
Act IV: Spirto Gentil, Ne' Sogni Miei (Romanza)
Act III: Solenne In Quest'Ora
Act IV: Mi Batte Il Cor...O Paradiso!
Act I: Un Di All'Azzurro Spazio (Improvviso)
Recitar!... Vesti La Giubba
Act I: Questa O Quella
Act IV: La Donna E Mobile
Act III: Ah Si, Ben Mio
Act I: Celeste Aida
Act I: Recondita Armonia
Act III: E Lucevan Le Stelle
Act III: Della Natal Sua Terra Il Padre... O Tu Che In Seno Agl' Angeli
Act II: Magiche Note
Act II: La Fleur Que Tu M'Avais Jetee
Act I: Ah, Qual Soave Vision...Bianca Al Par Di Neve
Act II: Cielo E Mar
Act II: Nell'Ore Arcane Della Sua Lussuria... Ora E Per Sempre Addio
Un Ballo In Maschera: Act I: Di' Tu Se Fedele
Act II: Una Furtiva Lagrima

Tracks:

Act III: Je Suis Seul... Ah, Uyez, Douce Image
Act II: Chi Mi Frena In Tal Momento? (Sextett)
Act I: O Soave Fanciulla
Act III: Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
Act I: Donna Non Vidi Mai
Cujus Animam
Act II: Oh! Mostruosa Colpa!... Si, Pel Ciel
Act I: Libiamo, Libiamo (Brindisi)
Ingemisco
Act II: Faiblesse De La Race Humaine!... Inspirez-Moi, Race Divine
Act III: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere!
Act IV: O Figli, O Figli Miei... Ah, La Paterna Mano
Act II: Pour Moi Ce Jour Est Tout Mystere
Act I: A Cette Voix Quel Trouble...Je Crois Entendre Encore
Act IV: Bella Figlia Dell'Amore (Quartett) - Giuseppe De Luca
Act II: Chi Mi Frena In Tal Momento? (Sextett) - Amelita Galli-Curci
Act I: Frondi Tenere E Belle...Ombra Mai Fu (Largo)
Act I: Studenti! Udite!
Crucifixus

Customer Reviews:

A nice overview of Caruso's legacy.......2007-01-04

Enrico Caruso was one of the first "media stars," with his recordings selling widely in the early twentieth century; he helped popularize the recording industry. He was one of the leading tenors of his day, and is regarded as one of the tops of the twentieth century (although he began serious singing in the late 19th century).

This CD features some of his "greatest hits," among which are his well reputed version of "Vesti la giubba" (from I Pagliacci, one of his signature operas); arias from Verdi's Rigoletto, including the bold "Questa o quella" and "La donna e mobile"; some of his most popular recordings from Puccini, including "E lucevan le stelle," "Recondita armonia," and "Che gelida manina." Nice additions to the CD are wonderful ensemble pieces, such as the sextet from Lucia di Lammermoor (including the voice of Luisa Tetrazzini) and the quartet from Rigoletto (with Amelita Galli-Curci).

Interesting tidbits include his first recording, from 1902, and his last, from 1920.

All in all, this is a very nice representation of his work. I'm not sure that it compares with the old LP (with him in clown outfit) that includes Rossini's nearly unsingable "La danza," among other items. But it is a terrific introduction to the art of Caruso. Anyone who has not listened to this tenor's works before would be well advised to use this as their entree to his oeuvre.

Unearthly.......2002-12-23

Forget toiling for a BMW, enjoy finer things in life.One of my personal favorites is ''Le pecheurs de perles'', but the offer is overwhelming.

If You Only Buy One Caruso . . ........2001-01-03

let this be it! Wonderful, generous selection of his singles for Victor, most of them solos, but a few duets, quartets, quintets, and a sextet. The accompanying booklet makes a great deal of including his first and last recordings, but by far the most important here is Caruso's 1907 recording of Vesti la giubba, the first classical recording to sell over a million copies in the United States. If you listen to it, you'll know why--it's every bit as melodramatic as the minstrel show singles with which it shared the top of the early twentieth-century charts.

Average customer rating:

Great collection but the title's a misnomer

Essential Opera

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Essential Opera
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Essential Opera 2
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Essential Verdi

ASIN: B0009A41V0
Release Date: 2005-08-09

Customer Reviews:

Great collection but the title's a misnomer.......2006-07-17

The producers of Essential Opera 1 and 2 finally decided to give us a wonderful gift and combined the two for the price of one. The effect is an exciting collection for opera lovers and opera beginners alike. Thank you, producers.

However, I can't agree that the collection lives up to its name. How can it be essential when where is Maria Callas in the line-up? Absent Maria, any opera collection that deems itself "essential" deludes itself. Callas is as indispensable to opera as, say, Picasso is to cubism. To paraphrase Franco Zeffirelli, Callas showed us the maximum of what opera is. Callas IS essential opera.

This misnomer is made the more stark and jarring when one sees that a contemporaneous rival, Renata Tebaldi, is given two tracks to sing and Callas, none. Tebaldi was Callas' rival like Clementi was Mozart's--whoever remembers the rivals now? History has judged well who the masters are. So I listen to arias in this CD, arias that Callas have incomparably defined like Tosca's Vissi d'Arte, La Wallys's Ebben Ne'andro Lontana", to disappointment.

I'd give this disc four and a half stars for Callas' omission, but the Amazon rating system does not allow it. In any case, Tatiana Troyano's Habanera, Cecilia Bartoli's "Una Voce Poco fa," Krause, Popp, and Fassbaender's "Saove sia il vento," and Sutherland and Berbie's Lakme duet, and ten other tracks still make this compilation wonderful, exciting, and highly commendable. Do yourselves a favor and get this cd.

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Best of Luciano Pavarotti

Manufacturer: Golden Classics
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Romanza

ASIN: B00013NDKU
Release Date: 2004-02-10

Tracks:

A' Vucchella
Ultima Canzone
Non T'Amo Piu
Malia
Serenata
Mattinata
Per la Gloria d'Adorarvi
Gia' il Sole Dal Gange
Pace Non Trovo
Che Fiero Costume
Dolente Immegine Di Fille Mia
Bella Nice Che d'Amore
Vaga Luna Che Innargenti
In Questa Tomba Uscura
Ave Maria
Pieta Signore
Messa Di Requiem, "Ingemisco"
Agnus Dei

Tracks:

Cielo Mar, "La Gioconda"
E Lucevan le Stelle, "Tosca"
Recondita Armonia, "Tosca"
Giunto Sul Passo Estremo, "Mefistofele"
Nessun Dorma, "Turandot"
Una Furtiva Lagrima "L'Elisir d'Amore"
Lunga da Lei...De' Miei Bollenti Spiriti...I Mio Rimorso Infame, ...
Mia Letizia Infondere...Come Poteva un Angelo, "I Lombardi Alla ..."
Pourquoi Me Reveiller, "Werther"
Ideale
Donna Non Vidi Mai, "Manon Lescaut"
Vaga Luna Che Inargenti
Me Voglio Fa' Na Casa
Tarantella

Frederica von Stade - Haydn, Mozart, Rossini

Average customer rating:

Delightful arias beautifully sung by von stade
Frederica = Fantastic!
Flicka is wonderful!
Devoted Von Stade fans will rate it higher...

Frederica von Stade - Haydn, Mozart, Rossini
Wolfgang Amadeus Mozart , Gioachino Rossini , Franz Joseph Haydn , Lausanne Chamber Orchestra , Rotterdam Philharmonic Orchestra , Antal Dorati , Edo de Waart , Frederica von Stade , Maurizio Mezzieri , Bas de Jong , George Pieterson , and Teresia Rieu
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Frederica von Stade - Voyage à Paris

ASIN: B0000040YM
Release Date: 1990-10-25

Tracks:

La fedelta premiata: Per te m'accese amore
La fedelta premiata: Vanne...fuggi...traditore!
La fedelta premiata: Barbaro conte - Dell'amor mio fedele
Il mondo della luna: Una donna come me
Le nozze di Figaro: Non so piu
Le nozze di Figaro: Voi che sapete
La Clemenza di Tito: Ecco il punto - Non piu di fiori
Don Giovanni: Vedrai carino
La Clemenza di Tito: Parto, parto - Guardami ,e tutto obblio
Il Barbiere di Siviglia: Una voce poco fa - Io sono docile
Otello: Assisa a pie d'un salice - Deh! calma, o Ciel, nel sonno
Le Cenerentola: Nacqui all'affanno - Non piu mesta

Customer Reviews:

Delightful arias beautifully sung by von stade.......2004-12-12

This is a very enjoyable CD, von stade's mezzo is so lovely!
It's good to have some rare haydn opera arias along-side the famous mozart and rossini arias.
von stade's rendition of "nacqui allaffanno...non piu mesta" is my favourite, she is dazzling in "non piu mesta" without being exaggerated like Bartoli.

Frederica = Fantastic!.......2001-07-07

First of all, Frederica von Stade is one of my favorite singers. The first time I saw her was in the 1973 production of Le Nozze di Figaro with Kiri te Kanawa and Ileana Cotrubas. She played Cherubino, and was incredible. The first time I listened to her, "Voi che sapete," I was sobbing, the music was so beautiful. Well, I wanted to get her cd a LOT. This one had "Voi che sapete" so I chose it, knowing that I'd hear at least one thing that I liked. Instead, I liked - or loved - everything. Her Haydn is so great to listen to- I love her teasing, "Una donna come me." Her two arias from Mozart's Figaro are great, and her, "Vedrai, carino" from Don Giovanni is the best ever for sure. The arias from, "La Clemenza di Tito" are nice but lack certain emotion. The Rossini pieces are sung swoopingly and happily, especially "Una voce poco fa." Frederica von Stade is one-of-a-kind. Don't miss this cd.

Flicka is wonderful!.......2000-11-23

This is the debut recording for Frederica von Stade, I think. Since I have watched the wonderful "La Cenerentola" with Abbado from DG, I searched for Flicka's Cenerentola. At last I found it! Now I'm very happy to hear it. Her Rossini is very elegant and beautiful. When you hear her Angelina's aria, you may think she is scolded to by her stepfather and stepsister, but she hopes someday she will be happy. She is the Cinderella many people think. Her Cherbino is wonderful and charming, too.

Flicka's voice is mellow and charming, beautiful. You will love it. The former reviewer said she lacked the technique to produce a full, satisfying sound. I agreed with it. But when I listen to this album, I always found myself to love it and know I'll hear this album again.

Also recommend: French Opera Arias from Sony Classical

Devoted Von Stade fans will rate it higher..........2000-08-18

Whether or not you like this CD will likely depend upon whether or not you like the sound of Frederica von Stade's voice from the mid-1970's, which is when these arias were recorded. She has always had a wonderful rapport with audiences; I treasure the memories of a live recital and a master class I attended a few years ago. But earlier in her career, it was the opinion of many (including my voice teachers) that she lacked the technique to produce a full, satisfying sound. Others have always loved her voice (perhaps because her style of production does give her singing an endearingly vulnerable quality), and they will almost certainly love this CD. It does seem to me, though, that her sound could be better. I find it frustrating that, after a ringing recitative on "Ecco il punto", the fluidity of her phrasing in the beginning of the aria "Non piu di fiore" is almost lost in the orchestra. This could be a problem of recording balance, but in listening to her more exposed singing in arias from the Haydn operas and Le Nozze di Figaro, I think it really is the fact that the core of the sound is missing in her production.

The repertoire itself has a lot of interest. The segments from Haydn's "La fedelta premiata" are taken from the first recording of this opera, following a revival in 1970. Haydn's operas in general provide a surprisingly satisfying followup when you have heard and heard all the wonderful Mozart operas and want more in the same style. "Dell'amor mio fedele" is very beautiful music indeed. I was also impressed with the beauty of the aria from Rossini's "Otello", an opera which is not often heard (evidently the libretto is disappointing).

Tracks:

Carmen: Prelude To Act One
Tosca: Vissi D'arte
Il Trovatore: Vedi! Le Fosche
La Boheme: Che Gelida Manina
Le Nozze Di Figaro: Voi Che Sapete
Rigoletto: Bella Figlia Dell'amore
Nabucco: Va Pensiero
Carmen: La Fleur Que Tu M'avais Jetee
La Wally: Ebben? Ne Andro Lontana
Il Barbiere di Siviglia: Largo Al Factorum
Verdi: Gloria All'egitto
Gianni Schicchi: O Mio Babino Caro
Turandot: Nessun Dorma
Les Contes D'Hoffmann: Belle Nuit, O Nuit D'armor
Madama Butterfly: Un Bel Di Vedremo
Don Giovanni: Finch'han Dal Vino
Manon Lescaut: Donna Non Vidi Mai
Cavalleria Rusticana: Intermezzo
Turandot: Non Piangere Liu...Ah! Per L'ultima Volta!

Customer Reviews:

Great compilation but the title's a misnomer........2006-07-14

I agree that this--and Essential Opera 2--is a very good collection for opera lovers and opera beginners alike, but am afraid I can't agree that this is "essential" opera. Where is Maria Callas in the line-up? Absent Maria, any opera collection that deems itself "essential" deludes itself. Callas is as indispensable to opera as, say, Picasso is to cubism.

The misnomer is made the more stark and jarring when one sees that a contemporaneous rival, Renata Tebaldi, is given two tracks to sing and the Divina Absoluta, none. Tebaldi was Callas' rival like Clementi was Mozart's--whoever remembers the rivals now? History has judged well who the masters are. So I listen to arias in this CD--arias that Callas have incomparably performed like Tosca's Vissi d'Arte, La Wallys's Ebben Ne'andro Lontana"--to disappointment.

I'd give this disc five stars if not for Callas' omission, a fatal mistake for an opera collection that aspires to be "essential."

A great introduction to opera!.......1998-12-19

This CD is full of the most accessible works from the world of opera by some of the greatest performers. Several of the selections have been used in popular media(commercials, movies etc.)so they may be familiar. The liner notes give full details of the operas from which the pieces are selected. I find this an excellent gift for my opera-phobic friends and for children. The performances are top notch and the arrangement of pieces on the CD is well thought out.

Average customer rating:

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

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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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Good Heavens!!! What was that?
Gorgeous.
Tebaldi's swan song?
GIVE HER AN "E" FOR EFFORT!
Tebaldian all the way!

Renata Tebaldi: A Tebaldi Festival

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000042EV
Release Date: 1997-09-16

Tracks:

Tannhauser: Salve d'amor, recinto eletto! (Dich teure Halle)
Tannhauser: O! Vergin santa, deh! mi ascolta! (Elisabeth's prayer)
Lohengrin: Sola ne' miei prim'anni... Cinto d'usbergo e maglia (Elsa's dream)
Tristan und Isolde: Dolce e calmo (Liebestod)
Carmen: Ella vien! ella vien!... E' l'amor uno strano augello (Habanera)
Carmen: Quadri! Picche! (Card Scene)
Sanson et Dalila: Sansone, anelante d'amore... Amor! i miei fini proteggi (Amour, viens m'aider)
Sanson et Dalila: S'apre per te il mio cor
Manon: Ebben! Lo degg'io!... Addio, o nostro picciol desco
Manon: Ahime! L'augel... La tua non e la mano che mi tocca?
Aida: Ritorna vincitor!
La Boheme: Quando me m'vo

Tracks:

La Regata Veneziana: I. Anzoleta avanti la regata
La Regata Veneziana: II. Anzoleta co passa la regata
La Regata Veneziana: III. Anzoleta dopo la regata
Granada
Estrellita
Catari, Catari
'A vucchella
Non ti scordar di me
Carousel: If I Loved You - Carousel
Norma: Sediziose voci... Casta diva
I Puritani: O rendetemi la speme... Qui la voce sua soave... Vien, diletto
La Sonnambula: Oh! se una volta sola... Ah! non credea mirarti
Nabucco: Ben io t'invenni... Anch'io dischiuso... Salgo gia del trono
Don Carlo: O don fatale

Customer Reviews:

Good Heavens!!! What was that?.......2005-04-10

The other day, I was listening to one of Tebaldi's live Toscas, and then in the end scene where Tosca sings "O Scarpia, avanti a Dio!", Tebaldi utters out an unearthly scream that could, instead of freezing your blood, wake up the laughing dead!!! Not that it was horrible, but then that was simply one of the main reasons why my tastes have strayed farther and farther away from verismo.

Anyhow, regarding this disc, I think most of the selections from verismo are sung wonderfully. Tebaldi was a verismo singer, and a good dramatic one at that. Her Verdian voice was good, but quite lacking in some arias. The Wagner selections, sung in Italian, were quite good, although I still prefer Callas' "Dolce e calmo" to hers.

And then...bel canto. No! Never never never! Tebaldi should never have made any attempts to sing bel canto roles, even if they are in the studio! It only shows how limited her vocal flexibility is! Tebaldi can be enjoyed in Puccini just fine, but don't let her do Bellini or Donizetti! Goodness knows what she would have sounded like if she had tackled Rossini! Ack! The horror! Imagine Rosina screaming like that live Tosca!

This is a good recital for Tebaldi fans, but please don't even think about listening to the excerpts from Nabucco, Sonnambula, Norma, Puritani, and Don Carlo!!!! Those are simply nightmares I must tell you!!!! Nightmares!!!! She doesn't even attempt "Ah non giunge!" from Sonnambula! My goodness Amina was left asleep! But of course, Tebaldi would have died if she had sung Amina's final aria! And then there's the excerpt from I Puritani...how slow!! And her Ah bello a mi ritorna!!!! Horrible!!! She shouldn't try to be Callas! Nowhere in her great career will she ever approach the great Callas' repertoire or insight!

Gorgeous........2005-03-28

There is nothing on this collection of arias/songs that I dislike. All are sung beautifully, with utmost artistry and dramatic emotion.
Tebaldi never had the severe vocal crisis of Maria Callas, so even in these last years there isn't even a semblance of a wobble. That is not an attack on La Callas it is simply the truth. Throughout her life, Tebaldi had a good, solid technique and a lush velvety tone only exemplified by the acquisition of full, chest tones towards the end of her career.
There are, of course, some things that Tebaldi should not have sung. The scenes before and after Casta Diva (including the aria) are very good, with the exception of the little bits of coloratura between verses. She should not have ventured into "Ah! bello a me ritorna" because she could not handle the coloratura. Not because of poor training, but her voice was not one that could move as easily as others. It was a huge instrument. Her scena ed aria from "Puritani" while lacking, once again, in the coloratura passages, can still be appreciated for it's warmth and innocence. The scene from Nabucco, I believe, is immaculate. I cannot help but listen to it. It's full of the fiery passion of Abigaille, the deceit, the anguish, the angry, the loneliness. It's also there. We can certainly forgive the lacking florid passages. Her O don fatale is my favorite. Even the aria from La Sonnambula is amazing. I don't care if it's bel canto. This is something that Tebaldi could've sung at any time in her career. That is not to say that she could've handled Amina. Certainly not. "Ah! non giunge!" would've been suicide for Tebaldi.

Yes, there are better recordings of nearly everything on this disc, whether by Tebaldi, or by another artist. But the title of the album is correct...it's a Tebaldi Festival! It's comparable to a carnival. You can listen and just have fun with Mme. Tebaldi.

I won't ignore, of course, the first disc. Some stuck up opera whores will say that Tebaldi singing Wagner/Massenet/Saint-Saens in Italian is heinous. Have we forgotten that until recently most operas were sung in the language of the audience or in the language of the interpreter? I would rather here an emotionally present "liebestod" in Italian than a weak, distracted, stumbling one in German.

It's good stuff, people!

Tebaldi's swan song?.......2004-11-02

It wasn't without some reservation that I purchased this recording, which I later came to cherish dearly. I was intrigued by the fact that Tebaldi wanted to give a try to a Fach that did not suit her otherwise manifolded talent. I am referring to the bel canto heroines such as Norma and Elvira, along with the veristic Carmen and sensous Dalila. While Carmen and Dalila fare much better, given Tebaldi's stunning arsenal of dark chest notes, the dramatic coloratura parts of Norma and Elvira are below par, as Tebaldi never was a coloratura soprano (she was a spinto soprano) and must therefore negotiate the difficult fioriture with evident great effort. Nevertheless, it is a pleasure to listen to her in these pieces. The first part of Norma's grande entrée showstopper, "Sediziose voci..", and the ensuing recitative are sung with rich detail and plenty of bravura.
This recording however is a well of surprises. I was totally swept off my feet by Tebaldi's rendition of Wagner's Liebestod. I remember saying to myself: "brava, Renata!", when I first listened to this piece. Later, I read in the liner notes that the members of the orchestra had stood up for an improvised ovation of the diva after the recording of Liebestod. I can now understand why. My surprise continued for the whole of the German repertoire on this recording (albeit in Italian) and for the velvety excerpts from Sonnambula and Manon, where Tebaldi brings a lovely touch of melancholic vulnerabiltiy.

GIVE HER AN "E" FOR EFFORT!.......2002-08-23

Tebaldi was a great soprano, and it is on her magnificent recordings of her complete operas made in the 1950's that one finds the prime Tebaldi. Like Callas (with whom she should never have been compared), she developed vocal problems fairly early (though Callas demonstrated vocal problems first), and by the time she had reached her 50th birthday in 1972, her career on the opera stage was over (a few years of recitals and concerts were still left for her). Callas, of course, by this time was completely silent, save for that sad comeback series with Giuseppe di Stefano.
By the time these recordings were made in the late 1960's,
Tebaldi's uppermost notes were pretty far gone. Also, the fact that she never sang in any language other than Italian definitely diminishes the idiomatic quality of the non-Italian items on this recording. Wagner in Italian is simply not Wagner, and to hear the music of Carmen and Dalila sung in Italian is to weigh the music down with an inappropriate heaviness - sort of a suffle being turned into a dumpling!
The Italian items on this recording may find Tebaldi singing in her native language, but they certainly do not find her vocally comfortable, and I would have liked to hear what she would have done with Norma ten or fifteen years earlier, though even then she had no real bel canto flexibility. Operas like "Nabucco", "Puritani", and "Sonnambula" would have never been for her because she lacked the florid technique to do them justice.
But Tebaldi, like a true veteran, valliantly attempts this music and manages to get through them with a modicum of respectibility.
But this is nowhere near the ultimate Tebaldi ---- for that one must go to her recordings made on London in the 1950's -- creamy and luscious versions of "Butterfly", "Boheme", "Forza", "Tosca",
"Fannicula del West", "Otello", "Andrea Chenier", etc.
This recording is OK for Tebaldi fans only, but not even they can deny the deterioration in her voice here as compared to her vocally impeccable work a decade earlier.

Tebaldian all the way!.......2001-09-29

A lot of peolpe I talk to about this album are skeptical about it, saying that she shouldn't have made it, but then my response usually is, "Well where else are you going to hear her sing some of these selctions, which I think are better than other singers' interpretations?!!" You will not be able to hear her do the mad scene from Puritani, Casta Diva, or anything from Nabucco on any other CD of hers-end of story!! True, she may have been past her prime, but so was the "rival"(Callas)which didn't seem to stop her for the next 20 years, and seeing as how Tebaldi lasted for 30 years+ by being careful not to damage her instrument, as opposed to Callas' 13 years of complete misuse...well, need I say more? Enjoy!

Average customer rating:

Mesmerizing set. La Divina's gift to the world.
Breathtaking!
Callas is Still Opera's Queen
Grand
The divine Callas

Callas: La Divina [Limited Edition]

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Maria Callas - Life and Art
Maria Callas Live
The Very Best Of Maria Callas

ASIN: B000002S6V
Release Date: 1995-11-14

Tracks:

Madama Butterfly, Un Bel Di Vedremo
Carmen, Lamour Est Un Oiseau Rebelle (Habanera)
La Wally, Ebben Ne Andro Lontana
Il Barbiere Di Siviglia, Una Voce Poco Fa
Norma, Casta Diva
Samson Et Dalila, Mon Coeur Souvre A Ta Voix
Rigoletto, Caro Nome
Verdi La Traviata, Sempre Libera
Romeo Et Juliette, Je Veux Vivre Dans Ce Reve
Puccini: La Boheme
Don Giovanni
Cavalleria Rusticana
La Gioconda
Puccini: Gianna Schicchi
Puccini: Turandot
Puccini: Tosca

Tracks:

Divinites Du Styx
Les Tringles Des Sistres Tintaient
Surta E La Notte
In Quelle Trine Morbido
Ritorna Vincitor
Jai Perdu Mon Eurydice
Bolero: Merce Dilette Amiche
Depuis Le Jour
Donde Lieta Usci
Ah, Pour Ce Soir
Teneste La Promessa
O Don Fatale
Printemps Qui Commence
Compagne Teneri Appena
Ecco: Respiro Appena
Spargi Damaro Pianto

Tracks:

La Mamma Morta - Andrea Chenier
O Nume Tutelar - La Vestale
Je Ne Suis Que Faiblesse - Manon
Oh, Sara La Piu Bella....Tu, Tu Amore? - Giuseppe Di Stefano (Tenor)
Pres Des Remparts De Seville (Seguedille) Acte I - Carmen
Dunque Io Son Atto - Barbiere Di Siviglia
Dov' E L'indiana Bruna? - Lakme
Qui Radames Verra!...O Patria Mia - Aida
O Soave Fanciulla - La Boheme
Signore, Ascolta! - Turandor
Qual Fiamma Avea Nel Guardo...Hui! - Pagliacci
D'amor Sull' Ali Rosee - Trovatore
Vagliatemi Bene, Un Bene Piccolino - Madama Beutterfly
Ombra Leggiera - Dinorah

Tracks:

Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview

Amazon.com

In case there was a moment in your life when your suspected that Maria Callas was not a driving force in opera in the last half of this century, pick up this set. Apparently unable to give a dull performance, here we get Callas in La Divina as Rossini's flirty Rosina; Verdi's emotion-torn Aida; Catalani's unbelievably sad Wally (a classic performance, by which all others are measured); Bellini's Norma (ditto); Puccini's lovely, youthful Lauretta in Gianni Schicchi; the same composer's frigid, furious Turandot as well as his confused, desparate Manon Lescaut; Verdi's Loenoras--each noble; Meyerbeer's ditzy Dinorah and Delibes's loco Lakme (in some fabulous, high-flying coloratura singing); and at least a dozen more roles. While it's true that her control over her voice varies--the French coloratura arias, from Gounod and Thomas operas, can be pretty acidic--there's never an uninterested reading, never a once-over read-through. You'll get to know the characters as well as their music by hearing Callas as each heroine--indeed, this collection is like a who's who in opera. No music lover should be without it. --Robert Levine

Customer Reviews:

Mesmerizing set. La Divina's gift to the world........2006-07-30

I have listened to this 4-cd set numerous times and each occasion yields an abundant harvest. Maria Callas, one of my favorites, thrills, exalts, and saddens the listener to no end. You don't have to be a classical music fan to enjoy and be moved by this music. I cannot find words to substantially explain the beauty and meaning of this set.

Thank you La Divina.

Breathtaking!.......2006-06-11

I am no expert, I just love music. I bought this set in order to get an overview of what Callas offers, boy did I get more than I bargained for. There are many wonderful sopranos, I won't say this one or that one is better... its like good wine, what you choose to drink depends on your mood. Sutherland is purity, Bartoli is sheer joy, Callas is darkness. For me she is the Schubert of the voice and she can make me weep, that is her power, pure and simple.

Callas is Still Opera's Queen.......2005-01-25

With the apparent genius embedded in Callas' singing, it is no wonder that decades after her death, her voice will still echo within the chambers of our living rooms. Her great sense of the bel canto style, combined with the empassioned soul she juxtaposed into her performances, along with her amazing control over the three hundred (acclaimed conductor Nicola Rescigno said this) voices she had, are undeniably the reason why such a controversial singer survived the passing of time with a legion of fans still eager to submit to her amazing and passionate singing. She had the ability to chop a singular, monotonic-sounding instrument to convert it into a million shades of human emotion--something that no great singer was able to do today. She was the divine goddess of opera, able to command any listener to watch and listen to her declaim her roles. It was because of this that she was called "La Divina", and then many years later as "The Voice of the Century". But what defines a Voice of the Century, you might ask? It is the ability to live the life of a character all the while singing the lines, the melodies, the trills, and the embellishments required to bring a certain degree of drama into the role. Meaning there was no need for overornamentation, or such and so. Being the Voix du Secle didn't mean that you could sing coloratura roles so efficiently. If that were so, then Lily Pons would have been the Voice of the Century. Callas did so much more than that. She breathed life into opera, and turned it into the most illustrious and the most highly celebrated of all arts. No other singer can claim to have done that, no matter how amazing the range, how great the tonal quality whatsoever. Only Callas deserves such a title...and she truly was La Divina and The Voice of the Century.

I am also a big fan of Joan Sutherland. I just don't find it right for her to be tackling overly dramatic roles such as Norma, which her middle voices couldn't support. The middle voice is required for Bellini, you know. Joan Sutherland has a perfect vocal technique, but let me let you in on something divulged to me by an authority in music: Joan Sutherland never learned to read notes. She had a perfect sense of hearing, and it was Andre Previn and not Richard Bonynge who introduced the roles to her. Andre Previn would play a note on the piano, and she would just follow by singing. Surprising isn't it that the most celebrated coloratura of our age never learned to read notes? She has a great voice anyhow, but the only other thing that bothered me is that she didn't put her soul into singing. Although her voice remained in her throat until her 60's, the only reason that happened was because she didn't pour out her soul. Callas' technique, although one of the most attractive ever to have walked this planet (she could very well sing anything and be the character), was damaging to the vocal cords. Pouring your soul into the role has a tendency to scratch your instrument. Still, she was the Divine One, and she truly places first as my favorite soprano of all time.

Grand.......2004-05-21

Why won't this Callas-Hater leave Maria alone? If he hates her so much, why did he listen to all her recordings? I doubt that he did, bashing a perfect recording like Callas' Aida shows he hasn't heard it. Even Callas' enemies were floored by her Mexican performances. This collection is absolutely magnificent. La Divina will always be La Divina and no one comes close!

The divine Callas.......2004-05-08

An awesome collection of the most supreme voice in the world! Brava La Divina!!!!!

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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