Giovanna d'Arco

Editorial Reviews
Album Description
Although "Giovanna d'Arco ("Joan of Arc") was quite successful in its day, it has not fared well outside of Italy in modern times, due to objections and controversy concerning both its text and music. It remains one of Verdi's least-heard operas. Nevertheless, in the hands of exceptional artists, "Giovanna d'Arco" can make a vivid impression even today, and never in recent times has it been more aptly performed than with the title role sung by Italian soprano Renata Tebaldi, who made something of a specialty of this opera and was generally conceded to own the part. Live performance, Milan, March 26, 1951.

Tracks:

Madama Butterfly: Un bel dvedremo
La Boheme: Si, mi chiamano Mimi
TOSCA: Vissi d'arte
Mefistofele: L'altra notte
Aida: Ritorna vincitor
Otello: Mia madre aveva...Piangea cantando...Ave Maria - Verdi
Il Trovatore: Siam giunti...D'amor sull'ali rosee
Verdi: Pace, pace, mio Dio!
Guglielmo Tell: S'allontanano alfine!...Selva opaca
Adriana Lecouvreur: Ecco, respiro appena...Io son l'umile ancella
Cecilia: Grazie sorelle

Tracks:

Gianni Schicchi: O mio babbino caro
Suor Angelica: Senza mamma, o bimbo
Andrea Chenier: La mamma morta
La Wally: Ebben?... Ne andro lontana
Don Carlo: Tu che la vanit
Un Ballo in Maschera: Ecco l'orrido campo...Ma dall'arido stelo divulsa
Un Ballo in Maschera: Morro, ma prima in grazia
Giovanna d'Arco: Oh ben s'addice...Sempre all'alba
Turandot: In questa reggia
La Gioconda: Suicidio!
La rondine: Sogno di Doretta
Cavalleria Rusticana: Voi lo sapete
L'arlesiana: Esser madre e un inferno

Customer Reviews:

Tebaldi at her best!.......2007-04-07

I'd highly recommend these CDs!They have a little of everything. They'd make an excellent addition to anyone's opera collection. Her voice is etherial!

Tebaldi the Great.......2007-02-19

Renata Tebaldi is one of the glorious voices of the past half century. Recordings here come from the 1950s and 1960s. She had a sumptuous spinto voice, clearly manifest on this 2 CD set. Here are some of her "greatest hits." As would be expected, the repertoire of Puccini and Verdi is heavily represented here.

She "leads off" with "Un bel di" from Puccini's "Madame Butterfly." Her voice brings life to this aria; her characterization is right on. At the point, where the volume of her voice increases, the sound remains lush; there is no bleating or ugliness in her singing.

There follow two more classic Puccini arias that Tebaldi does justice to. "Si, mi chiamano Mimi" from "La Boheme" is a wonderful version of this work. She captures the poignancy in Mimi's character. Her work here can probably justly be termed "iconic." In short, this is a ravishing turn by "La Tebaldi." So, too, is her take of "Vissi d'arte" from "Tosca." One can understand the enthusiasm of her claque at La Scala as one listens to her singing. Her rich voice fits these roles nicely; her characterization is well rendered. Her version of "Ritorna vincitor" from Verdi's "Aida" is also well done. Her voice richly captures the character and fits the music well.

Verdi and Puccini are not the only composers represented on this 2 CD set. Also recorded are her singing Boito ("Mefistofele"), Rossini ("William Tell"), Cilea ("Adriana Lecouvreur"), Giordano ("Andrea Chenier"), Catalani ("La Wally"), and so on. Once more, the selection of music in this set well represents her body of work.

All in all, a satisfying selection of "the greatest hits" of Renata Tebaldi. The "liner notes" conclude by referring to her as possessing "a perfect voice of bewitching beauty." I'm not sure that anyone can achieve perfection (the statement has a bit of hyperbole); nonetheless, her voice is ravishing as already noted. Those interested in her recorded oeuvre would be well rewarded by acquiring this work. The CDs serve well to introduce "La Tebaldi" to those who may not have heard her before. Such listeners will be richly rewarded by that introduction.

A legacy for the ages!.......2001-02-23

Perhaps the greatest spinto and certainly among the greatest sopranos of all times, with an extremely powerful, amazingly beautiful instrument, Renata Tebaldi on this set heard in some of her best moments! I will not repeat comments on her beautiful voice since it often overshadows the pathos with which she performed each role. To me, she knew exactly where to draw the line between acting and singing. Not too much to become annoying, not too little to become boring. This compilation also shows how versatile this soprano was, with repertoire ranging from Puccini and Verdi to Rossini and even Wagner (though no Wagner aria is heard on this particular double cd). In her early years she also performed Mozart roles!

Her Puccini arias will make the most demanding listener cry. Her verdian heroines, enriched with her personal touch, are of exceptional value. Her Desdemona (Otello), Donna Leonora (Forza del destino) and Aida stand perhaps out. Her many verisimo roles sooo moving, full of sorrow and pain, exactly how they are supposed to sound. Just listen to "La mamma morta"! An unsurpassed shocking experience! A previous reviewer (F.W.Barton) correctly mentioned that not all moments are from her complete studio recordings, so this is a unique chance to enjoy alternative Tebaldi performances. Strongly recommended!!!!

Best Collection.......2001-01-11

If you love the warmth and power of Renata Tebaldi then this collection is for you. This has Two CD's of her best works. My favorites are her "o mio babbino caro" her tosca which isnt as dramatic as callas but has a vocal warmth in that aria that makes her voice so perfect for the aria. Another soothing aria would be her Un del di from Butterfly what sweetness and amazing finish to that aria!!! Her amazing power was noticed in La mamma morta and In questa reggia ( which was sooo good that it made me wonder WHY DIDNT SHE SING THIS ROLE ON STAGE) oh and of course her Suicido was also very well done.....Renata Tebaldi was without a doubt one of the best of the century...and this collection proves it.

Modified rapture.......2000-04-24

I bought this collection of Tebaldi's Decca recordings with the hope to experience some great singing. However, I can't help feeling a bit disappointed in the end. There are some thrilling performances here, for example, the dark, passionate renditions of the arias from La Gioconda and L'arlesiana, but overall, the achievements are rather uneven. Tebaldi certainly possesses a most beautiful and powerful voice, something to take bath in. Yet, she evinces little of the psychological insights, intense pathos and interpretive individuality of Claudia Muzio, Meta Seinemeyer, Maria Callas and Leonie Rysanek. Compare her performance of 'Ma dall'arido Stelo divulsa' from Verdi's 'Un Ballo in Maschera' with that by Leonie Rysanek (On RCA Living Stereo): The aria is magnificently vocalised by Tebaldi, but it is Rysanek who effectively combine vocal opulence with dramatic insights, evincing Amelia's exteme desperations. Perhaps Tebaldi was constrained by the restrictions and protocols of recording studios and unable to realise her full dramatic potentials --- in this case she is best heard on live recordings where we could experience her in full flight. Furthermore, the 1964 Come back album items on the second disc demonstrate a voice that has lost much of its pristine freshness and youthfulness, even though there are exciting things to hear. Still, the beauty of the voice and the sincerity of utterances are there for us to experience. For ardent Tebaldi fans, this is definitely a must, but for those looking for truly great singing and acting, you might want to look elsewhere for Tebaldi's live recordings and Maria Callas, etc.

Cecilia Bartoli - Rossini recital ~ 19 songs & Cantata: Giovanna d'Arco

Average customer rating:

A young Bartoli sings rarely heard Rossini songs beatifully - a treasure of a disk
Rossini really could write; Bartoli really can sing

Cecilia Bartoli - Rossini recital ~ 19 songs & Cantata: Giovanna d'Arco

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Bartoli, Cecilia | Divas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
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Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs

ASIN: B0000041YF
Release Date: 1990-12-21

Tracks:

La Pastorella
Belta Crudele
Il Trovatore
La Regata Veneziana
Mi Lagnero Tacendo
Il Risentimento
La Grande Coquette
Ariette A Lancienne
L'orpheline Du Tyrol
La Legende De Marguerita
Nizza
L'ame Delaissee
Canzonetta Spagnuola
Giovanni D'arco

Customer Reviews:

A young Bartoli sings rarely heard Rossini songs beatifully - a treasure of a disk.......2006-01-03

This is a treasure of a disk that you should purchase right now. You will not only enjoy it deeply many times, but thank me for pointing you to beautiful music that is not often perfromed and sung by a voice that is absolutely perfect for the music. Let me provide a bit of background.

Gioacchino Rossini was born to a family of musicians in 1792. He began writing music at 15 and by 1829 he had written nearly 40 operas and had been the toast of society. He had early success in 1813 with "Tancredi" and in 1816 with "The Barber of Seville" (under the title of "Almaviva"). And while he wrote some songs and sacred works along the way, he won the world over with his operas and concluded with "Guillaume Tell" (William Tell) in 1829. Thereafter, he wrote sacred works and small works for his own delight that he shared with his friends at soirées in his home (they were regular and sought after events between 1857 until his death in 1868). He wrote hundreds of these pieces and would play the piano (he called himself a pianist of the fourth class) for the singers. Rossini referred to these short songs, pieces for small ensembles, and solo pieces as his "Sins of Old Age" ("Péchés de viellesse"), however he never printed them and, in fact, many of have yet to be printed (but should be).

This disk was recorded in 1990 just before Bartoli's twenty-fourth birthday. Her voice is so beautiful and flexible with many rich colors that each piece sounds like a jewel. Yes, she is a very young singer and her voice has become even richer as she has matured, but this is a glorious disk and something you will want to listen to repeatedly. Some of the songs are short, others are a bit longer, and there is the big finish with the full cantata "Giovanna d'Arco" ("Joan of Arc") from 1832 (but first publicly performed in 1859). It was composed as a gift for Olympe Pellisier, who became his second wife in 1847.

Enjoy!

Rossini really could write; Bartoli really can sing.......2005-08-31

I was surprised that no one had commented on this fine recording before. It's been around for quite a while, I've owned it for ten years and it is still one of my favorite Rossini recordings.
Cecilia Bartoli made her mark early as an interpreter of Rossini's work and this album gives ample evidence that the buzz surrounding her early career was more than just hype. While she is known as today's pre-eminent mezzo-soprano, she was a virtual unknown when she recorded this.
Her technique and voice type are perfect for these songs but it is her obvious love for, and command of, the Rossini repetoire which set this CD apart from most.
The three installments of "La regatta Veneziana" may be the best on record, but buy this for "Giovanna D'Arco." This is masterful work, particularly from such a relatively young and, at the time, inexperienced singer.
While Cecilia' maturity and confidence in her abilities have, of late, made her performances sometimes seem almost effortless, the exuberance of a young Cecilia makes this set irresistable.

Verdi - Giovanna d'Arco (Joan of Arc)/ Caballé · Domingo · Milnes · LSO · Levine

Average customer rating:

Great Singers, not-Great Verdi
Verdi the patriot
Good music. Libretto by baboons
ok...
Verdi: The Early Years...Still A Great Opera

Verdi - Giovanna d'Arco (Joan of Arc)/ Caballé · Domingo · Milnes · LSO · Levine
Giuseppe Verdi , James Levine , Montserrat Caballé , Plácido Domingo , London Symphony Orchestra , Ambrosian Opera Chorus , Sherrill Milnes , Robert Lloyd , and Keith Erwen
Manufacturer: EMI 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

Operettas | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music
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ASIN: B000002S1A
Release Date: 1990-05-07

Tracks:

Sinfonia
Qual V'Ha Speme?
Il Re!
Sotto Una Quercia Parvemi
V'Ha Dunque Un Loco Simile
Pondo E Letal, Martiro
Gelo, Terrore M'Invade!
Oh, Ben S'Addice Questo Torbido
Sempre All'Alba Ed Alla Sera
Paventi, Carlo, Tu Forse?
Tu Sei Bella
Pronta Sono!...Son Guerriera...
Ai Lari!...Alla Patria!
Questa Rea Che Vi Percuote
Franco Son Io, Ma In Core
So Che Per Via Di Triboli
Qui! Qui...Dove Piu S'Apre Libero Il Cielo
O Fatidica Foresta
Ho Risolto...
T'Arretri E Palpiti!...
Taci!...Le Vie Traboccano
Vieni Al Tempio

Tracks:

Dal Cielo A Noi Chi Viene
Ecco Il Luogo...Speme Al Vecchio Era Una Figlia...
Te, Dio, Lodiam
Compiuto E Il Rito!...Non Fuggir, Donzella!
No! Forme D'Angelo...L'Amaro Calice Sommessa Io Bevo
Ti Discolpa!...Imbianca E Tace!
I Franchi!...Oh Qual Mi Scuote Rumor Di Guerra?
A Lui Pensa!...Amai, Ma Un Solo Istante
Tu Che All'Eletto Saulo
Or Dal Padre Benedetta
Ecco! Ella Vola
Di Novel Prodigio Il Ciel Ne Arrise
Quale Piu Fido Amico
Un Suon Funereo
Che Mai Fu?...S'Apre Il Cielo...

Customer Reviews:

Great Singers, not-Great Verdi.......2007-05-21

Most of the reviewers here have been kind to this recording, pointing out the singing of the three pricipals and Levine's conducting. No argument on these. But most have gone a bit overboard on the quality of Verdi's composition. It is, in all truth, very small potatoes for the man who wrote OTELLO, DON CARLO and FALSTAFF. Even the usually very astute Mr. Cantrell of Canada gives this more credit that is deserved. But we all know it's a matter of individual taste as well as objective quality.

I'd suggest thrift if you want to try out this opera and go with the Opera d'Oro version with Tebaldi. She's as good as Caballe (it was a frequently performed role in her early years) and the sound is quite OK. Then, if you feel you need a starrier cast and better sound, go to this one.

Verdi the patriot.......2006-02-10

Giovanna d'Arco is an average opera compared with the rest of Verdi's works. I'm glad someone recorded it as it is rarely performed. Caballe is excellent in the title role. I think recording is the best because, as others have already noted, the sound quality is horrible in the Tebaldi versions. It's interesting to see how Verdi's music was developing at this time. The opera was a success, due largely to its themes and the Italian people's nationalistic feelings towards the Austrian presence within their own country. Verdi had used his music to inspire this movement and inspire Italian unity, which would come but not for many years later. Is it just me or does "Ai Lari!...Alla Patria!" sound vaguely similar to the main motif of the Dies Irae of his famous Requiem many years later? Perhaps he was drawing some inspiration for his later works from these early works.

Good music. Libretto by baboons.......2005-11-24

Source: Analog studio recording from 1973, digitally remastered in 1998.

Cast: Giovanna d'Arco - Montserrat Caballe; Carlo VII, Re di Francia - Placido Domingo; Giacomo d'Arco - Sherrill Milnes; Lord Talbot - Robert Lloyd; Dilil - Keith Erwen. Conductor - James Levine, with the London Symphony Orchestra and the Ambrosian Opera Chorus.

Format: Disk 1: Prologue and Act I, 71:22. Disk 2: Acts II and III, 49:28.

Documentation: Libretto in Italian, French, German and English. Brief and perfunctory history of the opera. Track listing with timings.

"Giovanna d'Arco" was Verdi's seventh opera. In the years that followed his huge success with "Nabucco," Verdi wrote to the order of impresarios and publishers--and he did it primarily for the money. Later in life, he came to loathe this period and the working conditions imposed on him. He described it as his "years in the galley." Even so, he managed to grind out more good operas than clunkers. "Giovanna d'Arco" was one of the more successful. It was produced between "I due Foscari" and "Alzira," two of the clunkers. Verdi was writing on tight schedules and setting librettos churned out by writers whom it is overpraising to call hacks. If ever a libretto was written by baboons, it was this one. I'm not sure whether the baboon-in-chief was Schiller, on whose play "Die Jungfrau von Orleans" it was loosely based, or Temistocle Solera, who cast it into Italian doggerel. There is certainly blame enough to share.

Verdi, a hard-headed and canny peasant from Busetto, could count "Giovanna" as a success as measured by that most objective of judges, the box office. Its financial success in Italy and elsewhere was due solely to Verdi's music. Even in its first run, the libretto of "Giovanna D'Arco" was a problem. It blatantly contradicted both the facts and the popular legend of the young woman who always called herself Jehanne la pucelle (Joan the Maiden).

In the opera, Giovanna encounters the despairing Charles VII of France, bucks him up and sets off to drive back English invaders. Having won great successes on the battlefield, Giovanna is rapturously acclaimed by the French. Charles, of course, has fallen for the warrior-girl. He offers his love. The English, having lost Orleans, are in disarray. Up pops Giovanna's beloved father, who has convinced himself that his daughter has sold herself to the devil to win the love of the king. In an aria, "Franco son io," that surely would have earned a seal of approval from the Vichy government, Giacomo tells the English invaders that he is a patriotic Frenchman who would die for his country and its honor, therefore he has come to betray his country, his king and his daughter to them. Later, he publicly advises his little girl to purge her soul of sin by allowing herself to be burnt at the stake. The people of France turn on Giovanna, thinking that her old Pa must surely have some inside dope. In the last act of the opera, Giovanna is a prisoner in the English camp, chained to a rock, awaiting her fate. Her father, that patriotic Frenchman, happens to be strolling around in enemy territory and he overhears her prayers. Moved by her obvious piety, he decides that he has made a mistake. He releases her. She rides off into yet another battle. She is successful but mortally wounded. She expires in the finale, to the grief of all--excepting the local troop of frustrated devils, of course--especially of the king and her dear old Dad.

If you manage somehow to push aside the idea that it is supposed to have something to do with the historical Joan of Arc, "Giovanna" is a highly enjoyable pot-boiler, full of crackling, good tunes and rousing, lively choruses. Even a gang of devils has its own charming little dance tune. When he wrote "Giovanna," Verdi was still adhering to traditional operatic forms and walking in the well-trodden paths of Donizetti and Bellini. Already, though, he had replaced their elaborately decorated melodies with a raw power unknown to the older masters. In his years in the galley, Verdi developed the tools of greatness but he still awaited a librettist who would provide him with characters into whom he could breathe life, a Rigoletto, a Violetta or an Azucena.

This recording, to the best of my knowledge, is the only one currently available that offers more or less modern sound. Caballe, Domingo and Milnes are all justly acclaimed singers and all are in good voice. James Levine's hard-charging conducting is appropriate for the opera. The orchestra and the chorus are excellent. These things fully justify a five-star rating.

That said, I feel obliged to point out that Caballe, with all her undoubted and splendid virtues, just isn't a Joan of Arc. There is not a thing in her lovely voice to make men imitate the action of the tiger, to stiffen the sinews, summon up the blood, to disguise fair nature with hard-favour'd rage. And Domingo--wonderful voice, tremendous singer, no doubt about it--but he's not very apt to get at the heart and soul of a character. He's an amiable, one-size-fits-all sort of guy.

Amazon has two other sets of "Giovanna d'Arco." Both offer sound quality that is inadequate. (Audiophiles would more likely say they are abominable.) Both star Regina Tebaldi, who is a Joan of Arc to the very core. Tebaldi performed the part many times in the early days of her career. Her Giovanna is all down-and-dirty, big-time Italian diva singing. Even for Tebaldi, it is impressive. Read the other Amazon reviews and you will find that even those who rate this opera highly, tend to do so with an implied ho-hum. Tebaldi shows why there were likely to be riots in the streets of Austrian-occupied Italy after a performance! On one of the recordings, Tebaldi is teamed with the young Carlo Bergonzi, who had just moved up from baritone to tenor. There is still a baritonal darkness in his voice, but all the ring and power that anyone could want. On the other set, Tebaldi's Carlo VII is the sadly under-recorded Gino Penna. Neither tenor needs to take a back seat to Domingo in sound and both offer far more impressive characterizations.

By all means purchase this fine 1973 recording, but make an inexpensive investment in Tebaldi's Giovanna as a second set to discover what the opera is all about.

ok..........2005-07-08

but the Tebaldi cd is much better if you can put up with its poor audio quality.

I usually like Levine, but he rushes a bit too much in this cd.

Verdi: The Early Years...Still A Great Opera.......2003-10-15

Giuseppe Verdi is best remembered for Aida, which is generally considered to be his masterpiece, but hardcore opera fans enjoy his Trovatore, the intimate and romantic La Traviata, and his Shakespeare-based operas Macbeth and Othello. The early Verdi operas were directly influenced by the "bel canto" style, were of an impossibly melodramatic nature and naturally were not as mature as his later works. One of these early operas was Giovanna D'Arco (Joan of Arc). The opera deals with the martyrdom of the spiritual and militant Joan of Arc, set to very bel canto techniques- lyrically slow cavatinas for the soprano and florid coloratura caballetas, as well as showcases for the heroic tenor, not to mention chorus and ensembles. This opera would not have been recorded or interesting if the vocal cast was weak. Fortunately, all the singers in this recording are in fine singing condition, they are recognized as opera "big time" stars and provide a fiery drama,

Tracks:

Mefistofele - Boito
Faust - Gounod
Manon Lescaut - Puccini
Tosca - Puccini
Samson et Dalila - Saint-Saens
Die Fledermaus - J. Strauss II
Aida - Verdi
Un ballo in maschera - Verdi
Don Carlos - Verdi
Ernani - Verdi
La forza del destino - Verdi
Giovanna d'Arco - Verdi
Otello - Verdi
10 Operetta Arias & Wien du Stadt meiner Trdume - Vienna, City of My Dreams
Fin Da Stanotte - Leslie Fyson
Cavaliero Illustre E Saggio - Leslie Fyson
Dimmi Se Credi, Enrico, Nella Religione? - Leslie Fyson
Dio Clemente, Nuova, Ignara Son Del Mondo - Leslie Fyson

Tracks:

Su, Cammina, Cammina, Cammina - Leslie Fyson
Folletto!...Folletto! - Leslie Fyson
Popoli! E Scettro E Clamide - Leslie Fyson
Ecco Il Mondo, Vuoto E Tondo - Leslie Fyson
Stupor! Stupor! - Leslie Fyson
L'Altra Notte In Fondo Al Mare - Leslie Fyson
Dio Di Pieta! Son Essi...Eccoli..Aita! - Leslie Fyson
Lontano, Lontano, Lontano - Leslie Fyson
Sorge Il Di! - Leslie Fyson
Spunta...L'aurora Pallida... - Leslie Fyson
La Luna Immobile Innonda - Leslie Fyson
Ecco La Notte Del Classico Sabba - Leslie Fyson
Ah! Trionfi Ad Elena - Leslie Fyson
Notte Cupa, Truce, Senza Fine, Funebre! - Leslie Fyson
Forma Ideal Purissima Della Bellezza Eternal - Leslie Fyson
Cammina, Cammina...Superbo Pensier - Leslie Fyson
Giunto Sul Passo Estremo - Leslie Fyson
All'erta! All'erta! - Leslie Fyson

Tracks:

Introduction - Nicolai Ghiaurov
Rien! En Vain J'interroge... - Nicolai Ghiaurov
Ah! Paresseuse Fille... - Nicolai Ghiaurov
Mais, Ce Dieu que Peut-il Pour Moi? - Nicolai Ghiaurov
Me Voici! Voici! / A Moi Les Plaisirs... - Nicolai Ghiaurov
Vin Ou Biere - Nicolai Ghiaurov
O Sainte Medaille - Nicolai Ghiaurov
Avant De Quitter Ces Lieux - Nicolai Ghiaurov
Pardon!...Hein? / Le Veau D'or - Nicolai Ghiaurov
Merci De Ta Chanson! - Nicolai Ghiaurov
De L'enfer Qui Vient Emousser Nos Armes - Nicolai Ghiaurov
Nous Nous Retrouverons, Mes Amis! - Nicolai Ghiaurov
Ainsi Que La Brise Legere... - Nicolai Ghiaurov
Ne Permettrez-Vous Pas Ma Belle Demoiselle - Nicolai Ghiaurov

Tracks:

Introduction - Nicolai Ghiaurov
Faites-lui Mes Aveux - Nicolai Ghiaurov
C'est Ici? - Nicolai Ghiaurov
Attendez-Moi La, Cher Docteur! - Nicolai Ghiaurov
Quel Trouble Inconnu Me Penetre!...Salut! Demeure Chaste Et Pure... - Nicolai Ghiaurov
Alerte! La Voila! - Nicolai Ghiaurov
Je Voudrais Bien Savoir...Il etait Un Roi De Thule - Nicolai Ghiaurov
Un Bouquet!...O Dieu! Que De Bijoux! - Nicolai Ghiaurov
Seigneur Dieu, Que Vois-Je! - Nicolai Ghiaurov
Dame Marthe Schwerlein, S'il Vou Plait? / Prenez Mon Bras Un Moment! - Nicolai Ghiaurov
Il Etait Temps! - Nicolai Ghiaurov
Il Se Fait Tard! - Nicolai Ghiaurov
Tenez! Elle Ouvre Sa Fenetre!...Il m'aime! - Nicolai Ghiaurov
Introduction - Nicolai Ghiaurov
Elles Ne Sont Plus la! - Nicolai Ghiaurov
Marguerite!...Seibel! - Nicolai Ghiaurov
Si Le Bonheur... - Nicolai Ghiaurov
Seigneur, Daignez Permettre... - Nicolai Ghiaurov
Souviens-Toi Du Passe - Nicolai Ghiaurov
Quand Du Seigneur... - Nicolai Ghiaurov

Tracks:

Deposons Les Armes! - Nicolai Ghiaurov
Gloire Immortelle - Nicolai Ghiaurov
Allons, Siebel! - Nicolai Ghiaurov
Vous Qui Faites L'endormie - Nicolai Ghiaurov
Que Voulez-Vous, messieurs? - Nicolai Ghiaurov
Par Ici, Par Ici, Mes Amis! - Nicolai Ghiaurov
Ecoute-moi Bien, Marguerite - Nicolai Ghiaurov
Dans Les Bruyeres - Nicolai Ghiaurov
Jusqu'aux Premiers Feux Du Matin - Nicolai Ghiaurov
Que Ton Ivresse, O Volupte - Nicolai Ghiaurov
Intermezzo - Nicolai Ghiaurov
Va-t'en - Nicolai Ghiaurov
Mon Couer Es Penetre... - Nicolai Ghiaurov
Ah, C'est La Voix Du Bien-Aime!...Oui, C'est, Moi, Je t'aime! - Nicolai Ghiaurov
Alert, Alerte...Anges Purs...Christ Est Ressuscite - Nicolai Ghiaurov
Les Nubiennes (Allegretto: Mouvement De Valse) - Nicolai Ghiaurov
Adagio - Nicolai Ghiaurov
Danse Antique (Allegretto) - Nicolai Ghiaurov
Variations De Cleopatre (Moderato Maestoso) - Nicolai Ghiaurov
Les Troyens (Moderato Con Moto) - Nicolai Ghiaurov
Variations De Miroir (Allegretto) - Nicolai Ghiaurov
Danse De Phryne (Allegro Vivo) - Nicolai Ghiaurov

Tracks:

Ave, Sera Gentile
Tra Voi, Belle, Brune E Bionde
Ma Bravo!
Discendono, Vediam!
Cortese Damigella, Il Priego Mio Accettate
Donna Non Vidi Mai
La Tua Ventura Ci Rassicura
La Tua Proserpina Di Resisterti
Vedete? Io Son Fedele Alla Parola Mia
Un Libertino Audace
Cavalli Pronti Avete?
Dispettosetto Questo Riccio!
Sei Splendida E Lucente
In Quelle Trine Morbide
Poiche Tu Vuoi Saper
Che Ceffi Son Costor?
Paga Costor!
Vi Prego, Signorina

Tracks:

Oh, Saro La Piu Bella!
Ah!...Affe, Madamigella
Ah, Manon, Mi Tradisce
Lescaut!...Tu Qui?
Intermezzo
Ansia Eterna, Crude!
Manon!...Des Grieux!
All'armi! All'armi!
Il Passo M'aprite!
Rosetta!
Presto in Fila! Marciate!
Ah, Non V'avvicinate!...Come Io Piango Ed Imploro
Tutta Su Me Ti Posa
Manon, Senti, Amor Mio!...Vedi, Son Io Che Piango
E Nulla! Nulla!
Sola, Perduta, Abbandonata...

Tracks:

Ah! Finalmente! - John Cheek
Dammi I Colori...Recondita Armonia - John Cheek
Gente La Dentro - John Cheek
Mario! Mario! Mario! - John Cheek
Ah, Quegli Occhi!...Quale Occhio Al Mondo Puo Star Di Paro - John Cheek
E Buona La Mia Tosca - John Cheek
Un Tal Baccano In Chiesa - John Cheek
Or Tutto E Chiaro... Tosca? Che Mon Mi Veda...Mario! Mario! - John Cheek
Ed Io Venivo A Lui Tutta Dogliosa - John Cheek
Tre Sbirri, Una Carrozza - John Cheek

Tracks:

Tosca E Un Buon Falco! - John Cheek
Ha Piu Forte - John Cheek
Meno Male! - John Cheek
Dov'e Dunque Angelotti - John Cheek
Ed Or Fra Noi Parliam...Sciarrone, Che Dice Il Cavalier? - John Cheek
Orsu, Tosca, Partlate - John Cheek
Floria!...Amore... - John Cheek
Vittoria! Vittoria! - John Cheek
Se La Giurata Fede Debbo Tradir - John Cheek
Vissi D'arte - John Cheek
Vedi, Le Man Giunte Io Stendo A Te! - John Cheek
E Qual Via Scegliete? - John Cheek
Io De' Sospiri - John Cheek
Mario Cavaradossi? A Voi - John Cheek
E Lucevan Le Stelle - John Cheek
Ah! Franchigia A Floria Tosca - John Cheek
O Dolci Mani Mansuete E Pure - John Cheek
E Non Giungono - John Cheek
Com'e Lunga L'attesa - John Cheek
Presto! Su, Mario! Mario! Su! Presto! Andiam! - John Cheek

Tracks:

Dieu! Dieu D'Israel! Ecoute La Priere
Un Jour, De Nous Tu Detournas La Face
Arretez, O Mes Freres! Et Benissez Le Nom
L'as-tu Donc Oublie, Celui Dont La Puissance
Qui Donc Eleve Ici La Voix
C'est Toi Que Sa Bouche Invective
Que Vois-je? Abimelech!
Seigneur! La Troupe Furieuse
Hymne De Joie, Hymne De Delivrance
Voici Le Printemps Nous Portant Des Fleurs
Je Viens Celebrer La Victoire
Danse Des Pretresses De Dagon
Printemps Qui Commence

Tracks:

Prelude
Samson, Recherchant Ma Presence
J'ai Gravi La Montagne
Qu'importe A Dalila Ton Or?
Il Faut, Pour Assouvir Ma Haine
Samson, Me Disais-tu, Dans Ces Lieux
En Ces Lieux, Malgre Moi
Qu'importe A Mon Couer Desole
Mon Couer S'ouvre A Ta Voix
Mais!...Non! Que Dis-je?
Vois Ma Misere, Helas! Vois Ma Detresse!
L'aube Qui Blanchit Deja Le Coteax
Bacchanale
Salut! Salut Au Juge d'Israel
Laisse-Moi Prendre Ta Main
Allons, Samson, Divertis-Nous
Viens, Dalila, Rendre GraceA Nos Dieux
Guidez Mes Pas Vers Le Milieu Du Temple

Tracks:

Overture
Introduction: 'Taubchen Da Entflattert Ist'
Reminiszenz: 'Ach, Ich Darf Nicht Hin Zu Dir'
Terzett: 'Nein, Mit Solchen Advokaten'
Duett: 'Komm Mit Mir Zum Souper'
Terzett: 'Su Muss Allein Ich Bleiben'
Finale: 'Trinke, Liebchen, Trinke Schnell'/'Mein Herr, Was Daechte Sie Von Mir'
Entreakt & Ensemble: 'Ein Souper Heut Uns Winkt'
Couplets: 'Ich Lade Gern Mir Gaeste Ein'
Ensemble & Lach-Couplets: 'Ach, Meine Herr'n Und Damen'
Duett: 'Dieser Anstand, so manierlich'
Czardas: 'Klaenge Der Heimat!'

Tracks:

Ball-Szene: 'Meine Herrschaften, Das Diner Ist Serviert!'
Il Bacio
Wer Uns Getraut?
Zigeunerlied
Lagunen-Walzer: Ach, Wie So Herrlich Zu Schau'n
Finale: 'Im Feuerstrom Der Reben'
'Herr Chevalier, Ich Gruesse Sie / Bruederlein, Bruederlein Und Schwesterlein
Polka Schnell: Unter Donner Und Blitz Op. 341
Finale: 'Genug damit, Genug'
Entreakt
Couplets: 'Spiel' Ich Die Unschuld Vom Lande'
Terzett: 'Ich Stehe Voll Zagen'
Finale: 'O Fledermaus, O Fledermaus'

Tracks:

Preludio - Nicolai Ghiaurov
Introduzione E Scena 'Si, Corre Voce Che L'Etiope Ardisca' - Nicolai Ghiaurov
Romanza: 'Se Quel Guerrier Io Fossi!'...'Celeste Aida' - Nicolai Ghiaurov
Duetto: 'Quale Insolita Gioia Nel Tuo Sguardo!' - Nicolai Ghiaurov
Terzetto: 'Vieni, O Diletta Appressati' - Nicolai Ghiaurov
Scena E Pezzo D'assieme: 'Alta Cagion V'aduna' - Nicolai Ghiaurov
'Su! Del Nilo Al Sacro Lido' - Nicolai Ghiaurov
Scena: 'Ritorna Vincitor' - Nicolai Ghiaurov
Gran Scena Della Consacrazione: 'Possente, Possente Ftha'...'Tu Che Dal Nulla Hai Tratto' - Nicolai Ghiaurov
Danza Sacra Delle Sacerdotesse: 'Immenso Ftha!'...'Mortal, Diletto Ai Numi' - Nicolai Ghiaurov
Finale I: 'Nume, Custode E Vindice' - Nicolai Ghiaurov

Tracks:

Introduzione - Scena E Coro Di Donne - Nicolai Ghiaurov
Danza Di Schiavi Mori - Nicolai Ghiaurov
'Vieni, Sui Crin Ti Piovano' - Nicolai Ghiaurov
Scena Et Duetto: 'Fu La Sorte Dell'armi A'tuoi Funesta' - Nicolai Ghiaurov
'Pieta Ti PRenda Del Mio Dolor.'...'Su! Del Nilo Al Sacro Lido'...Numi, Pieta' - Nicolai Ghiaurov
Gran Finale II: 'Gloria All'Egitto, Ad Iside' - Nicolai Ghiaurov
Marcia Trionfale - Nicolai Ghiaurov
Ballabile - Nicolai Ghiaurov
'Vieni, O Guerriero Vindice' - Nicolai Ghiaurov
'Salvator Della Patria' - Nicolai Ghiaurov
'Che Veggo! Egli? Mio Padre!'...'Anch'io Pugnai'...'Ma Tu, Re, Tu Signore Possente' - Nicolai Ghiaurov
'Il Dolor Che In Quel Volto Favella'...'Ma Tu, O Re' - Nicolai Ghiaurov
'O Re, Pei Sacri Numi'...'Gloria All'Eggito' - Nicolai Ghiaurov

Tracks:

'O Tu Che Sei, D'Osiride'...Vieni D'Iside Al Tempio' - Nicolai Ghiaurov
Romanza: 'Qui Radames Verra!'... - Nicolai Ghiaurov
'O Patria Mia' - Nicolai Ghiaurov
Duetto: 'Ciel! Mio Padre!'...'Rivedrai Le Foreste Imbalsamate' - Nicolai Ghiaurov
Duetto: 'Pur Ti Riveggo, Mia Dolce Aida'...'Nel Fiero Anelito' - Nicolai Ghiaurov
'Fuggiam Gli Ardori Inospiti'...'La, Tra Foreste Vergini' - Nicolai Ghiaurov
Finale III: 'Ma Dimmi; Per Qual Via' - Nicolai Ghiaurov
Scena: 'L'abborrita Rivale E Me Sfuggia' - Nicolai Ghiaurov
Duetto: 'Gia I Sacerdote Adunansi' - Nicolai Ghiaurov
Scena Del Giudizio: 'Ohime! Morir Mi Sento!'...'Spirto Del Nume' - Nicolai Ghiaurov
'A Lui Vivo, La Tomba!'...'Sacerdote: Compiste Un Delitto!' - Nicolai Ghiaurov
Scena E Duetto: 'La Fatal Pietra Sovra Me Si Chiuse' / Finale Ultimo: 'Immenso Ftha' - Nicolai Ghiaurov
'O Terra Adio' - Nicolai Ghiaurov

Tracks:

Preludio - Piero Cappuccilli
Posa In Pace, A' Bei Sogni Ristora - Piero Cappuccilli
S'avanza Il Conte - Piero Cappuccilli
La Rivedra Nell'estasi - Piero Cappuccilli
Il Cenno Mio Di La Con Essi Attendi - Piero Cappuccilli
Alla Vita Che T'arride - Piero Cappuccilli
Il Primo Giudice - Piero Cappuccilli
Volta La Terrea - Piero Cappuccilli
Ogni Cura Si Doni Al Diletto - Piero Cappuccilli
Zitti...L'incanto Non Dessi Turbare...Re Dell'abisso, Affrettati - Piero Cappuccilli
Arrivo Il Primo!...E lui, E lui! - Piero Cappuccilli
Su, Fatemi Largo, Saper Vo' Il Mio Fato - Piero Cappuccilli
Rallegrati Omai - Piero Cappuccilli
Che V'agita Cosi? - Piero Cappuccilli
Della Citta All'occaso - Piero Cappuccilli
Consentimi, O Signore - Piero Cappuccilli
Figlia D'averno, Schiudi La Chiostra - Piero Cappuccilli
Su, Profetessa, Monta Il Treppie - Piero Cappuccilli
Di' Tu Se Fedele - Piero Cappuccilli
Chi Voi Siate, L'audace Parola - Piero Cappuccilli
E Scherzo Od E Follia - Piero Cappuccilli
Finisci Il Vaticinio - Piero Cappuccilli

Tracks:

Preludio - Piero Cappuccilli
Ecco L'orrido Campo Ove S'accoppia - Piero Cappuccilli
Ma Dall'arrido Stelo Divulsa - Piero Cappuccilli
Teco Io Sto - Piero Cappuccilli
Non Sai Tu Che Se L'anima Mia - Piero Cappuccilli
Oh, Qual Soave Brivido - Piero Cappuccilli
Ahime! S'Appressa Alcun - Piero Cappuccilli
Amico, Gelosa T'affido Una Cura - Piero Cappuccilli
Odi Tu Come Fremono Cupi - Piero Cappuccilli
Seguitemi - Piero Cappuccilli
Ve', Se Di Notte Qui Colla Sposa - Piero Cappuccilli
A Tal Colpa E Nulla Il Pianto - Piero Cappuccilli
Morro, Ma Prima In Grazia - Piero Cappuccilli
Alzati! La Tuo Figlio - Piero Cappuccilli
Eri Tu Che macchiavi Quell'anima...O Dolcezze Perdute! O Memorie - Piero Cappuccilli
Siam Soli, Udite - Piero Cappuccilli
Dunque L'onta Di Tutti Sol Una - Piero Cappuccilli
D'una Grazia Vi Supplico - Piero Cappuccilli
Qual E Dunque L'eletto?...Ah! Del Conte La Morte Si Vuole! - Piero Cappuccilli
Il Messaggio Entri - Piero Cappuccilli
Ah! Di Che Fulgor, Che Musiche - Piero Cappuccilli
Forse La Soglia Attinse - Piero Cappuccilli
Ma Se M'e Forza Perderti - Piero Cappuccilli
Fervono Amori E Danze - Piero Cappuccilli
Saper Vorreste Di Che Si Veste - Piero Cappuccilli
Fervono Amori E Danze - Piero Cappuccilli
Ah! Perche Qui! Fuggite - Piero Cappuccilli
E Tu Ricevi Il Mio! - Piero Cappuccilli
Ella E Pura: In Braccio A Morte - Piero Cappuccilli

Tracks:

Introduzione - Coro Di Cacciatori: 'Su, Cacciator! Pronti O La Belva...'
Scena E Romanza: 'Fontainebleau! Foresta Immensa E Solitaria!'
Scena: 'Il Suon Del Como Alfin Nel Bosco Tace.'
Scena E Duetto: 'Al Mio Pie' Perche?'
Di Qual Amor, Di Quanto Ardor'
'Al Fedel Ch'ora Viene, O Signora'
'L'ora Fatale E Suonata!'
Coro, Scena E Finale Primo: 'Inno Di Festa Lieta Echeggiate'
'Il Glorioso Re Di Francia'
Coro Ed Aria: 'Carlo Il Sommo Imperatore'
Scena: 'Al Chiostro Di San Giusto'
Scena E Duetto: 'E Lui! Desso! L'infante!'
'Ascolta! Le Porte Dell'asil S'apron Gia'
'Dio, Che Nell'alma Infondere Amor...'
Coro E Scena: 'Sotto Ai Folti, Immensi Abeti'
'Tra Queste Mura Pie La Regina...'
Canzone Del Velo: 'Nei Giardin Del Bello...'
Romanza Di Rodrigo: 'La Regina!'...'Un'arcana Mestizia...'
'Che Mai Si Fa Nel Suol Francese'
'Carlo Ch'e Sol Il Nostro Amore'
Gran Scena E Duetto: 'Io Vengo A Domandar'

Tracks:

'Oh! Carlo! Oh! Carlo!'
Scena: 'Il Re!'...Perche Sola E La Regina?'
Romanza: 'Non Pianger, Mia Compagna'
Scena E Duetto: 'Restate! Al Mio Regal Cospetto'
'O Signor, Di Fiandra Arrivo'
'Quest'e La Pace Che Voi Date Al Mondo?'
'Oso Lo Sguardo Tuo Penetrar Il Mio Soglio'
Preludio
Scena, Duetto E Terzetto: 'A Mezzanotte, Ai Giardin Della Regina'
'Ed Io, Che Tramava Al Suo Aspetto!'
Gran Finale: 'Spuntato Ecco Il De D'Esultanza'
'Schiusa or Sia La Porta Del Tempio!'
Il Corteggio Reale
'Nel Posar Sul Mio Capo La Corona'
'Sire! Egli E Tempo Ch'io Viva!'
'O Ciel! Tu! Rodrigo!'

Tracks:

Introduzione E Scena: 'Ella Giammai M'armo!'
Scena: 'Il Grand' Inquisitor!'
Scena E Quartetto: 'Giustizia, Giustizia, Sire!'
'Ardita Troppo Voi Favellate!'
'Ah! Sii Maledetto, Sospetto Fatale'
Scena: 'Pieta! Pieta! Perdon!'
Aria: 'O Don Fatale, O Don Crudel'
Morte Di Rodrigo E Sommossa: 'Son Io, Mio Carlo'
'Per Me Giunto E Il Di Supremo' / 'O Carlo Ascolta, La Madre...'
'Io Morro Ma Lieto In Core'
'Mio Carlo, A Te La Spada Io Rendo'
Scena Ed Aria: 'Tu Che Le Vanita...'
Scena E Duetto D'addio E Scena Finale: 'E Dessa!'...'Un Detto, Un Sol'
'Ma Lassu Ci Vedremo'

Tracks:

Preludio - Renato Bruson
Coro: 'Evviva! Beviam!' - Renato Bruson
Recitativo: 'Merce, Diletti Amici' / Aria: 'Come Rugiada Al Cespite' - Renato Bruson
Cabaletta: 'Dell Esiglio Nel Dolore'...'O Tu Che L'alma Adora' - Renato Bruson
Recitativo: 'Surta E La Notte' - Renato Bruson
Aria: 'Ernani! Ernani, Involami' - Renato Bruson
Cabaletta: 'Tutto Sprezzo...' - Renato Bruson
Recitativo: 'Qui Mi Trasse Amor Possente' - Renato Bruson
Duetto: 'Da Quel Di Che T'ho Veduta' - Renato Bruson
Trio: 'Tu Se, Ernani!' - Renato Bruson
Recitativo: 'Che Mai Vegg'io!' / Aria & Scena: 'Infelice! E Tuo Credevi' - Renato Bruson
Finale: 'Vedi Come Il Buon Vegliardo' - Renato Bruson

Tracks:

Coro & Scena: 'Esultiamo!' - Renato Bruson
Trio: 'Oro, Quant'oro...' - Renato Bruson
Scena: 'Ah, Morir, Potessi Adesso' - Renato Bruson
Scena: 'No, Vendetta Piu Tremenda...' - Renato Bruson
Recitativo: 'Cugino, A Che Munito' - Renato Bruson
Duetto: 'Lo Vedremo, Veglio Audace...' - Renato Bruson
Duetto: 'Vieni Meco, Sol Di Rose' - Renato Bruson
Duetto: 'A Te, Scegli, Seguimi!' - Renato Bruson

Tracks:

Preludio / Recitativo: 'E Questo Il Loco' - Renato Bruson
Recitativo: 'Gran Dio!' - Renato Bruson
Aria & Scena: 'Oh, De' Verd'anni Miei' - Renato Bruson
Coro & Scena: 'Un Patto! Un Giuramento!' / 'Si Ridesti Il Leon Di Castiglia' - Renato Bruson
Aria e Finale: 'O Sommo Carlo' - Renato Bruson
Coro E Recitativo: 'Oh, Come Felici' - Renato Bruson
Finale: 'Tutto Ora Tace Intorno' - Renato Bruson

Tracks:

Sinfonia
Introduzione - Scena: 'Buona Notte, Mia Figlia'
Recitativo E Romanza: 'Temea Restasse Qui Fino O Domani'
'Me Pellegrina Ed Orfana...'
Scena E Duetto: 'M'aiuti, Signorina, Piu Presto Andrem'
'Ah, Per Sempre, O Mio Bell'angiol'
Finale I: 'Vil Seduttor! Infame Figlia!'
Coro Ballabile: 'Hola, Hola, Hola! Ben Giungi, O Mulattier'
Scena: 'La Cena E Pronta'
'Che Vedo! Mio Fratello!'
Recitativo: 'Viva La Guerra!'
'Al Suon Del Tamburo'
Preghiera: 'Padre Eterno Signor...'
Scena: 'Viva La Buona Campagnia!'
Scena E Ballata: 'Poich'e Imberbe L'incognito...'
'Son Pereda, Son Ricco D'onore'
Scena, Coro E Represa Della Danza: 'Sta Bene'
Aria: 'Sono Giunta! Grazie, O Dio!'
'Madre, Pietosa Vergine...'
Scena: 'Chi Siete?'
Scena E Duetto: 'Chi Mi Cerca?'
'Infelice, Delusa, Rejetta...'

Tracks:

Finale II: 'Il Santo Nome De Dio Signore Sia Benedetto'
'La Vergine Degli Angeli
Scena E Romanza: 'Attenti Al Gioco, Attenti Al Gioco...'
'La Vita E Inferno All'infelice...'
'O Tu Che In Seno Agli Angeli...'
Scena E Duettino: 'Al Tradimento!'
Scena E Battaglia: 'All'armi!'
Scena E Duettino: 'Piano...Qui Posi...Approntisi Il Mio Letto'
'Solenne In Quest'ora'
Scena Ed Aria: 'Morir! Tremenda Cosa!'
'Urna Fatale Del Mio Destino...'
'E S'altra Prova Rinvenir Potessi?'
Ronda: 'Compagni, Sostiamo...'
Scena E Duetto: 'Ne Gustare M'e Un'ora Di Quiete'
Coro E Strofe: 'Lorche Pifferi E Tamburi Par Che Assordino La Terra'
Scena Ed Arietta: 'Qua, Vivandiere, Un Sorso'
'A Buon Mercato Chi Vuol Comprare?'
Coro: 'Pane, Pan, Per Carita!'
Coro - Tarantella: 'Nella Guerra E La Follia...'
Predica: 'Toh! Toh! Poffare Il Mondo! Che Tempone!'
Rataplan: 'Rataplan, Rataplan, Della Gloria...'

Tracks:

Coro Ed Aria Buffa: 'Fate La Carita, E Un'ora Che Aspettiamo'
Scena E Duetto: 'Auf! Pazienza Non V'ha Che Basti'
'Del Mondo I Disinganni...'
Scena: 'Giunge Qualcuno, Aprite...'
Scena E Duetto: 'Invano Alvaro Ti Celasti Al Mondo...'
'La Minaccie, I Fieri Accenti...'
Melodia: 'Pace, Pace Mio Dio!'
Scena E Terzetto Finale: 'Io Muoio! Confessione!'
Non Imprecare, Umiliati A Lui Ch'e Giusto E Santo...'

Tracks:

Sinfonia
Qual V'ha Speme?
Il Re!
Sotto Una Quercia Parvemi
V'ha Dunque Un Loco Simile
Pondo E Letal, Martiro
Gelo, Terrore M'invade!
Oh, Ben S'addice Questo Torbido Cielo
Sempre All'abba Ed Alla Sera
Paventi, Carlo, Tu Forse?
Tu Sei Bella
Pronto Sono!...Son Guerriera
Ai Lari!...Alla Patria!
Questa Rea Che Vi Percuote
Franco Son Io, Ma In Core
So Che Per Via Di Triboli
Qui! Qui...Dove Piu S'apre Libero Il Cielo
O Fatidica Foresta
Ho Risolto
T'arretri E Palpiti!
Taci!...Le Vie Traboccano
Vieni Al Tempio

Tracks:

Dal Cielo A Noi Chi Viene
Ecco Il Luogo...Speme Al Vecchio Era Una Figlia
Te, Dio, Iodiam
Compiuto E Il Rito!...Non Fuggir, Donzella!
No! Forme D'angelo...L'Amaro Calice Sommessa Io Bevo
Ti Discolpa!...Imbianca E Tace!
I Franchi!...Oh Qual Mi Scuote Rumor Di Guerra?
A Lui Pensa!...Amai, Ma Un Solo Istante
Tu Che All'eletto Saulo
Or Dal Padre Benedetta
Ecco! Ella Vola
Di Novel Prodigio Il Ciel Ne Arrise
Quale Piu Fido Amico
Un Suon Funereo
Che Mai Fu?...S'apre Il Cielo

Tracks:

'Una Vela! Una Vela! Un Vessillo!...'
'Esultate!'
'Roderigo, Ebben, Che Pensi?'
'Fuoco Di Gioia...'
'Roderigo, Beviam!'
'Inaffia L'ugola'
'Capitano, V'attende La Fazione Ai Baluardi.'
'Abbasso Le Spade!'
'Gia Nelle Notte Densa'...'Qu ando Narravi'...'Ed Io Vedea Fra Le Tue Tempie'...'Venga La Morte!...'
'Non Ti Crucciar'
'Credo In Dio Crudel...'
'Eccola...Cassioa...Ate...'
'Cio M'accora'...'Che parli?'
'Un Tal Proposto Spezza...'
'D'un Uom Che Geme Sotto Il Tuo Disdegno...'
'Se Inconscia Contro Te, Sposo...'
'Desdemona Rea'
'Ora E Per Sempre Addio'
'Era La Notte...'
'Si , Pel Ciel Marmoreo Giuro!'

Tracks:

'La Vedetta Del Porto Ha Segnalato...'
'Dio Ti Giocondi'...Esterrefatta Fisso...'
'Dio! Mi Potevi Scagliar...'
'Vieni, L'aula E Deserta...'
'Questa E Una Ragna...'
'Come La Uccidero'
'Viva! Evviva! Viva Il Leon Di San Marco!'
'Messeri! Il Doge...'
'A Terra...si...Nel Livido Fango...'
'Era Piu Calmo?'
'Mia Madre Avea Una Povera Ancella'
'Ave Maria...'
'Chi E La? Otello!'

Customer Reviews:

Placido Domingo's EMI 30 Year Anniversary.......2005-12-02

This expensive box set is a collection of scenes from full-length recordings starring tenor Placido Domingo under the EMI record label, a label that championed him. This is unquestionably Domingo's most extensive compilation album. He is in fine voice as he sang under EMI throughout the years, but mostly in the 80's and 90's. Here we find him singing his most celebrated roles- Verdi's Otello, still his signature Italian role, Alfredo from Traviata, Mario Cavaradossi from Tosca, Lieutenant Pinkerton from Madame Butterfly, Dick Johnson from La Fanciualla Del West, Rodolfo from La Boheme, Don Carlos- the role that earned him a place in the EMI catalog. The Giulini Don Carlos is still a hot item and here we hear excerpts from that legendary recording. If you are the biggest fan of Placido Domingo, and you have the money for it, this is for you. It's hours and hours of beautiful singing in the tenor key, and moments of dramatic intensity in opera. Get this before it sells out fast!

Verdi: Complete Preludes, Overtures and Ballet Music

Average customer rating:

Verdi: Complete Preludes, Overtures and Ballet Music

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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: B000BLI35W
Release Date: 2005-11-22

Tracks:

Overture To Oberto, conte Di San Bonifacio
Overture To Un Giorno Di Regno
Overture To Nabucco
Prelude to Ernani
Prelude To I Due Foscari
Overture To Giovanna D'arco
Overture To Alzira
Prelude To Attila
Prelude To Macbeth
Ballo I
Ballo II
Ballo III
Prelude to I Masnadieri
Prelude To Il Corsaro
Overture To La Battaglia Di Legnano

Tracks:

Prelude To Jerusalem
1. Pas De Quatre
2. Pas De Deux
3. Pas Solo
4. Pas D'ensemble
Overture To Luisa Miller
Overture To Stiffelio
Prelude To Rigoletto
1. Pas De Bohemiens
2. Seviliana
3. La bohemienne
4. Galop

Tracks:

Prelude To La Traviata, Act I
Prelude To La Traviata, Act III
Overture To Les Vepres Siciliennes
I. L'Hiver
II. Le Printemps
III. L'Ete
IV. L'Automne
Prelude To Simon Boccanegra
Prelude To Un Ballo In Maschera

Tracks:

Prelude To La Forza Del Destino
Prelude To Don Carlo, Act II
I. Andante/Tempo Di Valzer/Allegro Vivo
II. Finale. Prestissimo
Overture To La Forza Del Destino
Prelude To Aida
I. Danza Sacra Delle Sacerdotesse, Act I
II. Danza Di Piccoli Schiavi Mori, Act II
Ballet Music From Aida, Act II
Overture To Aida
Ballet Music From Otello, Act III

Average customer rating:

Verdi: Overtures, Vol. 2

Manufacturer: Naxos
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

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
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Verdi: Overtures, Vol. 1

ASIN: B000001447
Release Date: 1994-11-29

Tracks:

Ernani: Prelude
Il finto Stanislao (Un giorno di regno): Sinf
Don Carlo: Prelude to Act III
Giovanna d'Arco: Sinf
Rigoletto: Prelude
Nabucco: Ov
I masnadieri: Prelude
Macbeth: Sinf
La battaglia di Legnano: Sinf
I due Foscari: Prelude
La forza del destino: Sinf

Average customer rating:

Gems for Tebaldites !

Renata Tebaldi, Vol. 1

Manufacturer: Opera D'oro
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

Tracks:

Giovanna D'Arco: Ben S'addice - Renata Tebaldi/RAI Chor, Milan
Giovanna D'Arco: Pronta Sono! - Renata Tebaldi/Carlo Bergonzi/RAI Chor, Milan
La Traviata: E Strano
La Forza Del Destino: Me Pellegrina Ed Orfana... Ah Per Sempre O Mio Bell'angelo - Renata Tebaldi/Mario Del Monaco
La Forza Del Destino: Son Giunta
La Forza Del Destino: La Vergine Degli Angeli
La Forza Del Destino: Pace, Pace Mio Dio
La Wally: Ebben? Ne Andro Lontana

Customer Reviews:

Gems for Tebaldites !.......2001-12-18

This CD is an absolute bargain for Tebaldi fans! It contains two treasurable performances from the great diva -- the 1953 La Forza del destino under Dimitri Mitropoulos in the Florence May Festival, and a 1951 Italian Radio broadcast performance of Giovanna d'Arco (Joan of Arc) conducted by Alfredo Simonetto.

The excerpts from the 1951 performance shows Tebaldi at her youthful best. Her voice was never more gleaming and fresher than here. Furthermore, she presents an ardent and at the same time lovely heroine. The excerpts are also precious for letting us hear the young Carlo Bergonzi at a time when he just took on the tenor voice after a brief period as a baritone. Though he was not yet the suave and elegant artist he was to become later, the short exercept of he and Tebaldi singing together does foreshadow their memorable partnerships on records in Madama Butterfly and La Boheme for Decca. The sound shows its age.

Yet, the real gem of the CD is excerpts from the 1953 Florence May Festival Forza, for Tebaldi is magnificent here!Mitropoulos's spacious tempi allowed her to exploit her dramatic and vocal endowments to the fullest. The first act scene with Mario Del Monaco's Don Alvaro displays a vulnerable young Leonora, torn between duty towards her father and her love. Then, the horror at her father's death really shocks and shatters. From the act two convent scene, we hear a desparate, distraught 'Son Giunta...madre pietosa vergine', in which Tebaldi rises thrillingly to the climaxes, even though her top Bs are rather off-centred. However, 'La Vergine degli angeli' is sheer magic! It shows Tebaldi at her absoutely loveliest, with pure, unbelievably beautiful legato, ethereal high notes and gentle, exquisitely floated pianissimos. The famous warhorse aria 'Pace pace mio dio' begins with lovingly mastered crescendo and diminuendo, the B flat at 'Invar la pace' floated poignantly, and the powerful, full-throated climatic B flat at the end of the aria drove the Florence audience into estatic frenzy! One could only hope that Opera d'oro can release the entire run of the performance on CD to experience Tebaldi's Leonora in its full glory! The sound is acceptable, though a bit 'boxy'.

The traviata exercpt under Serafin was perhaps rather less desirable, for Tebaldi was a par below her best form. As for the aria taken from the 1960 broadcast performance of La Wally, Tebaldi's voice is a degree fresher than her older self in the 1969 Decca recording.

Tracks:

The Force Of Destiny: Ov
A Masked Ball: Partita And Prld
Fedora: Intermezzo
Luisa Miller: Ov
Aida: Prld
Intermezzo: 'Sister Angelica'
Manon Lescaut, Act III: Intermezzo
Joan Of Arc: Ov
Cavalleria Rusticana: Intermezzo
Pagliacci: Intermezzo
Sicilian Vespers: Ov

Average customer rating:

Sings a wide range of works well
A great Caballe cd at a bargin price!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1
A Bit disappointed
Bad sound :((((
Voice from heaven!

Diva:Montserrat Caballe
Giacomo Puccini , Gioachino Rossini , Vincenzo Bellini , Giuseppe Verdi , Arrigo Boito , Pietro Mascagni , Sir Charles Mackerras , Lamberto Gardelli , Gianandrea Gavazzeni , Riccardo Muti , James Levine , Anton Guadagno , Julius Rudel , Carlo Maria Giulini , Bruno Bartoletti , Alain Lombard , Montserrat Caballe , Alfredo Kraus , Agostino Ferrin , Julia Hamari , Stefan Elenkof , Astrid Varnay , and Jose Carreras
Manufacturer: EMI 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

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music
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Great Operatic Duets
Bellini - Norma / Patane, Caballe, Vickers, Veasey, Theatre Antique d'Orange

ASIN: B000002S6A
Release Date: 1995-08-08

Tracks:

Madama Butterfly: Un bel di vedremo (Atto II)
TOSCA: Vissi d'arte, vissi d'amore (Atto II)
Guillaume Tell: Sombre foret (Acte II)
Il pirata: Col sorriso d'innocenza (Atto II)
I Puritani: Son vergin vezzosa (Atto I)
Giovanna d'Arco: O fatidica foresta (Atto I)
Macbeth: Una macchiae qui tutt'ora (Atto IV)
Mefistofele: L'altra notte in fondo al mare (Atto III)
Don Carlo: Non pianger, mia compagna (Atto II)
Aida: Qui Radames verra . . . O patria mia (Atto III)
Manon Lescaut: In quelle trine morbide (Atto II)
La Boh: Donde lieta usci (Atto II)
Cavalleria Rusticana: Voi lo sapete, o mamma
Turandot: Signore, ascolta! (Atto I)
Turandot: In questa reggia (Atto II)
La rondine: Chi il bel sogno di Doretta (Atto I)

Customer Reviews:

Sings a wide range of works well.......2007-04-29

On this CD, Montserrat Caballe sings a wide range of arias. She runs the gamut from the bel canto works of Rossini and Bellini to the verismo works of Puccini and Mascagni, with Verdi in between. Overall, this is a nice introduction to her work. While I would not rate her among the very greatest of sopranos, she certainly ranks high in the pantheon of sopranos from the 20th century.

A brief sampling of her work on this CD. From Puccini's "Madam Butterfly," the CD begins with "Un bel di vedremo." She sings smoothly with a nice sound to her voice. Normally, when she increases the volume of her singing, the sound of her voice is still good. There are some occasional unpleasant sounds, but nothing notable. This is a nice dramatic rendering of an iconic aria. She hits the higher notes well.

Rossini's "William Tell" isn't much performed these days. But Caballe's version of "Sombre foret" suggests that some good operatic music is not played often enough. This is well sung; Caballe shows good vocal agility at the close.

"Son vergin vezzosa," from Bellini's "I Puritani," shows off her agile vocal technique. Early on, she floats a nice piano high note. In terms of technique, it is disappointing that the trills are not evident. In the end, this is a good version of this work, but not at the level of Jo, or Sills, or Sutherland. Outside of trills, ornamentation is good, but that is like saying that outside of its lack of speed, a sports car is a lot of fun to drive. Still, other ornamentation is well done, including appoggiaturas. The Wikipedia says (under ornamentation): "In music, ornaments are musical flourishes that are not necessary to the overall melodic (or harmonic) line, but serve to decorate or "ornament" that line. Many ornaments are performed as "fast notes" around a central note. . . . From the Italian word appoggiare, "to lean upon". . . . The long appoggiatura is important melodically and often suspend the principal note by taking away the time-value of the appoggiatura prefixed to it (generally half the time value of the note, though in triple time, for example, it might receive two thirds of the time). The added note (the unessential note) is one degree higher or lower than the principal note; and, if lower, it may or may not be chromatically raised (see mordent)." I'm not sure, as a musical nonexpert, that I fully understand the technicalities here, but Caballe does seem to exhibit nice ornamentation as per the above.

From "La Boheme," we have "Donde liata usci," very nicely done. This is prettily sung, for the most part, with only a rare unpleasant sound intruding. Finally, from "Turandot," "Signore ascolta." This is a smoothly sung version. From this CD, it is clear that Caballe can sing Puccini very well indeed. There is a nice piano high note at the close.

So, Caballe is clearly an excellent soprano although not, in my judgment, among the "all time greats."

A great Caballe cd at a bargin price!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1.......2005-12-23

I love this cd.I've been playing it often for three years.Included here are a selection of arias from Caballe's greatest complete recordings,as well as a few selections from her solo puccini arias cd.This is a great starter cd for someone who is curious about Caballe's art.All the selections on Diva,effortlessly demonstrate the supreme beauty of the Caballe sound.On this cd are definitive selections from Don Carlo,Macbeth,Tosca,and many more.Most of these arias she sings here are the most beautiful editions in recorded history.In Un macchia e qui tutta'ora from Macbeth she even sings like a dramatic soprano with extraordinary power,I feared for her vocal chords,and yes the beautiful sound was still there.She even ended the Macbeth aria with an ultra high pianissimo,high d flat.All the tracks are first rate.Great picture of Caballe on the cover too.

This is one of the first caballe cds I bought,and I still feel it makes a nice demonstration of the legendary caballe sound.This cd is full of examples of why caballe is considered by many to have the most beautiful voice in opera history.The selection from don carlos has a ends with a stunningly beautiful pianissimo,on non pianger,mia compagna.And her signore ascolta,is the most beautiful ever recorded ending with a 15 second high piannissimo,that has to be heard to be believed!

A Bit disappointed.......2003-10-15

I liked Caballe the minute I heard the two Liu arias in a Decca release. I found her voice sweet and her floating notes exceptional, yet I'm a little bit disappointed with this CD. I've bought this CD at least a month ago and have only listened to it once.

What I find distracting in this CD is the sloppiness in which she sung the arias. Upon listening to it, I keep wondering why she can't sound as wonderful as she did on that Decca CD that I heard her in. Part of the reason I guess is that I find other sopranos to sing some of this repertoire much better than Caballe. Apart from the aria in Turandot, I find Tebaldi to be a better puccinian, while I like a true coloratura or a dramatic in the other roles. Even her one Liu aria in this CD is not as good as the one I've owned, again sloppiness.

The high notes are another problem. She sounds excellent when she floats them, but when she sung them in full voice they sounded more like screams. I just couldn't get over these two humps in which a soprano of her caliber should not have done.

Better luck next time I guess.

Bad sound :((((.......2001-03-07

The selection is very good, i just love her L'altra notte in fondo al mare but.... there's a noise, in my cd player i can't hear it, but when i hear it out loud it's unbearable! Barely can hear the orchestra.Montserrat is one of the best sopranos EVER in my opinion, but i would have saved my money to other cd

Voice from heaven!.......2000-12-22

This is a wonderful collection of arias and a marvellous introduction to the World of Montserrat Caballe, indisputably among the most beautiful soprano voices I've ever heard! Amazing legatos, perfect endings and unbelievable pianissimos(listen to "o patria mia"). One does usually not expect high powerful notes from Montserrat Caballe. I must however say that this is not always the case. A lot of times this woman surprises me and produces some trully enchanting high notes! Even though she is not my most favourite Puccinian soprano (it's Renata Tebaldi), her arias in these operas are ravishing! Just listen to her "signore Ascolta".On the other hand, I adore her and find her really unforgettable when it comes to Donizetti, Bellini and sometimes Verdi. Especially some of her recordings of their operas are a must for every true opera fan. (for example her Lucrezia Borgia, her Norma and her Aida). Even if an aria is a bit boring, she manages to enrich it with her personal touch that makes the aria unforgettable!The touch that only the melting, creamy voice of Montserrat has.If you want to find out why Montserrat Caballe is one of the greatest sopranos of the world, here's the proof.

Average customer rating:

Best Giovanna so far...
Thrilling singers! Good music. Libretto by baboons
PERFECT VERDIAN SINGING!

Giovanna d'Arco
Verdi , Tebaldi , Bergonzi , Panerai , and Simonetto
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
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Puccini: Tosca

ASIN: B0002IQN2Y
Release Date: 2004-08-03

Album Description

Although "Giovanna d'Arco ("Joan of Arc") was quite successful in its day, it has not fared well outside of Italy in modern times, due to objections and controversy concerning both its text and music. It remains one of Verdi's least-heard operas. Nevertheless, in the hands of exceptional artists, "Giovanna d'Arco" can make a vivid impression even today, and never in recent times has it been more aptly performed than with the title role sung by Italian soprano Renata Tebaldi, who made something of a specialty of this opera and was generally conceded to own the part. Live performance, Milan, March 26, 1951.

Customer Reviews:

Best Giovanna so far..........2006-01-30

Easy to see why the young Tebaldi "owned" this role; she brings an "oomph" to this role that I have not experienced in recorded performances since. Sound is actually OK, once the ear adjusts, and is well worth putting up with for such an impassioned performance. Libretto would have been helpful, but it's about par for this reissuer.

Thrilling singers! Good music. Libretto by baboons.......2005-04-25

Source: RAI broadcast from 1951.

Sound: So-so at best, well below the standard usually achieved in the 1950s and certainly not as good as early electrical recordings from the 1930s. The effect is very much that of listening to a broadcast on a vacuum tube AM radio ... in a 1951 Ford.

Documentation: Wretched as only Od'O can make it. No libretto. Cast list. Short summary of the plot by act. Track list showing only the names of the pieces. No timings. Little on the cast and nothing on the circumstances of the recording.

Format: Disk 1, Act I and part of Act II, 65 minutes. Disk 2, conclusion of Act II and Act III, 44 minutes.

If you can accept the sound reproduction, this is a terrific performance. Don't worry about orchestral detail, just listen to the glorious voices. "Giovanna D'Arco" was a favorite of the young Renata Tebaldi, who performed it many times. This recording lets you know why. This is down-and-dirty, all-out, big-time Italian diva singing, and even for Tebaldi it is impressive. Tebaldi is teamed with a young Carlo Bergonzi, who had just moved up from baritone to tenor. There is still a baritonal darkness in his voice, but all the ring and power that anyone could want. No tenor now singing could begin to compete with him in this opera. (If Bergonzi had been born a German, what a Tristan or Tannhaeuser he would have become!) Rolando Panerai was aging at the time of this recording, but he brings sonority and authority to the role of Giovanna's lunatic father.

This is an opera from what Verdi described as his years in the galley. It was produced between "I due Foscari" and "Alzira." Verdi was writing for money on tight schedules and setting librettos by writers it is overpraising to call hacks. If ever a libretto was written by a baboon, it was this one. I'm not sure whether the baboon-in-chief was Schiller, on whose play "Die Jungfrau von Orleans" it was based, or Solera, who cast it into Italian doggerel. There is certainly blame enough for both to share.

Even in its first run, the libretto of "Giovanna D'Arco" was a problem because it contradicted both the facts and the popular legend of the young woman who always called herself Jehanne la pucelle (Joan the Maiden). In the opera, Giovanna encounters the despairing Charles VII of France, bucks him up and sets off to drive back the English invaders. Having won great successes on the battlefield, Giovanna is rapturously acclaimed by the French. Charles, of course, has fallen for the warrior-girl. He offers his love and is rebuffed. He departs, convinced that only a saint could have turned him down. Up pops Giovanna's beloved father, a patriotic Frenchman who doesn't want France liberated by someone in pawn to the black arts, as he considers his daughter to be. He publicly advises his little girl to purge herself of sin by allowing herself to be burnt at the stake. The crowd turns on Giovanna, thinking that her old Pa must have some inside dope. In the last act of the opera, Giovanna is a prisoner and chained to a rock to await her fate. Her father passes by and hears her prayers. Moved by her piety, he decides that he has made a mistake, after all. He releases her so that she may ride off into yet another battle. She is successful but mortally wounded. She expires in the finale, to the grief of all, especially of the king and dear old Dad.

If you manage somehow to push the fact that it has to do with Joan of Arc out of your mind, "Giovanna D'Arco" is full of good tunes and rousing choruses. Verdi was still adhering to traditional forms and walking in the well-trodden path of Donizetti and Bellini, but he had already replaced their decorated melodies with a sheer strength unknown to the older masters. In his years in the galley, Verdi developed all the tools of greatness but he still awaited a librettist who would provide him with a character into whom he could breathe life, a Rigoletto, Violetta or Azucena.

Ignore the story--please! Forget the sound. Get this one for the thrilling voices of incomparable singers.

Five stars.

PERFECT VERDIAN SINGING!.......2004-08-07

A GREAT new release by Opera d'oro! Giovanna D'Arco is not one of Verdi's most popular opera but listening to this set makes me wonder why. The music is so beautiful and the characters so heroic.

Opera fans and critics regard this particular recording as historical. Firstly, it shows the quality of the young Renata Tebaldi and sets the record straight. In the early 50s she could sing almost anything! Many think of her as a great verisimo diva but listening to Tebaldi here we realise she could have specialised in a different repertoire as well. Early Verdi never sounded so powerful and beautiful. Although Caballe's later Giovanna is perfectly sung, she doesn't have the fierce sound Joan D'Arc requires. Just listen to what Tebaldi does: in the "Sempre all'llba" she sounds like an angel but in "Pronta sono!" she changes and becomes a mighty warrior, exactly what the role requires. Tebaldi definitely benefited from her experience with this role on stage; a role she performed early in her carreer and became her own.

But the perfection does not end with Renata. Carlo Bergonzi, the best post-war (Verdi) tenor is heard here just after his conversion from baritone to tenor. His vocal beauty and perfection is equalled only by Gigli's. The first act duets with Tebaldi are simply ecstatic. This is what Verdi is all about! Panerai's Giacomo is a marvel to listen to though he cannot make me forget the two main principals. Finally, I certainly prefer Simonetto's slower conducting than Levine's later fast and loud one. Unfortunately the sound quality not ideal (I couldn't care less) but compared to the previous releases, the improvement is substantial. I can't remember the last time I heard such an all-around great Verdi recording. DON'T MISS THIS!!!

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