Amelia al ballo (Amelia Goes to the Ball--Orig 1954 Prod) and Instrumental Interludes from the Unicorn, the Gorgon, and the Manticore

Editorial Reviews
Amazon.com
As we continue to sift through the litany of 20th-century composers and who will endure, the assessment of a particular creator's significance has become inevitably entangled with larger, meta-issues about tradition vs. originality, popularity vs. elitism, and so forth. The case of Gian Carlo Menotti is practically a textbook example. Alternately championed and castigated for hewing to an "accessible," audience-friendly style--essentially a mix of Italian opera's lyricism with Hollywoodish gestures that hasn't always dated well--Menotti approaches his 10th decade having weathered many a storm of musical politics (he even ushered in the new millennium by personally directing a revival of what may be his masterpiece, The Consul, at Washington Opera).

Yet to what extent his music will show any lasting resonance remains an open question, and perhaps the attempted answer is still too clouded by shadows of those very politics. At any rate, a less jaded view might be had with this captivating account of the composer's first success--written at the age of 25 and given a Metropolitan Opera debut in 1938 (in its English version, Amelia Goes to the Ball, making a bizarre double bill with Elektra). This one-act romp spoofing the classic love triangle displays a young composer not only of promise but on top of the world with all the exuberance of his freshly harnessed creativity. Already, Menotti shows himself an economical, effective one-man team as composer and librettist, and much of the music's charm springs from Menotti's theatrical instincts: he can instantly deflate a threatening Hunding-wannabe of a husband with a pompous bass drone and roll of timpani. And Menotti's signature melodic fertility emerges in full blush, even in parodic arias about fateful love.

This recording comes from the opera's La Scala premiere in 1954 (belated because of Menotti's opposition to Mussolini) and is a treasure in filling a gaping hole in the catalog. Nino Sanzogno gets the fleet invention of Menotti's buffa antics (the overture is full of bustle), and Margherita Carioso manages to be stylish and funny at the same time as the absurdly self-involved heroine, playing wonderfully off Rolando Panerai's outraged husband. The lover, Giacinto Prandelli, is registered too recessively in his great moment, but for the most part the sound has been nicely remastered. Rounding out the disc is about 10 minutes' worth of colorfully scored interludes from Menotti's "madrigal fable" ballet The Unicorn, the Gorgon, and the Manticore. --Thomas May

Amelia al ballo (Amelia Goes to the Ball--Orig 1954 Prod) and Instrumental Interludes from the Unicorn, the Gorgon, and the Manticore, Music, Rolando Panerai, Enrico Campi, Gian Carlo Menotti, Nino Sanzogno, Thomas Schippers, Elena Mazzoni, Silvana Zanolli, L'Orchestra del Teatro alla Scala, Margherita Carosio, Giacinto Prandelli, 20th/21st Century Ballet, American 20th/21st Century Opera, Ballet, Classical, Classical Music, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Samuel Barber / Thomas Schippers
Average customer rating: 5 out of 5 stars
  • A sparkling remaster
  • Great music and a great package
  • An American Classic
  • Best of Barber
  • Is there anything to add...?
 Samuel Barber / Thomas Schippers

Manufacturer: Sony
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Similar Items:
  1. Barber's Adagio / Munch, Galway, Boston SO Strings
  2. Barber: School for Scandal/Symphonies 1 & 2
  3. Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta; Hungarian Sketches
  4. Barber: Adagio for Strings, Op. 11/Orchestral Music; Leonard Slatkin
  5. Haydn: The London Symphonies, Vol. 1

ASIN: B0000029V2
Release Date: 1997-01-14

Tracks:

  1. Medea's Dance Of Vengeance, Op. 23a
  2. String Quartet In B Minor, Op. 11: Adagio For Strings
  3. Second Essay For Orchestra, Op. 17
  4. Overture To The School For Scandal, Op. 5
  5. 'Andromache's Farewell,' Op. 39: Andromache's Farewell, Op. 39
  6. Intermezzo From Vanessa (Act II), Op. 32
  7. Overture To Amelia al ballo
  8. Interlude From Wozzeck (Act III)
  9. Introduction To Fervaal, Op. 40

Amazon.com

This classic disc has been the prime recommendation for Barber's short orchestral pieces since the early 1960s. Remastered onto CD for the first time, and with the addition of some other items conducted by Thomas Schippers, it sounds better than ever. All of Barber's music is blessed with the virtues of impeccable craftsmanship, tunefulness, and, above all, brevity. Although a Romantic by temperament, Barber had the gift of being able to fit a lot of emotional impact into a very small space. The famous Adagio for Strings and the Second Essay actually sound much bigger than they are, but they don't go on a second too long--which means you can play them again right away! You'll want to. --David Hurwitz

Amazon.com

The most beautiful recording ever made of the Adagio for Strings is at last on CD, thoughtfully coupled with some of the other recordings the young Thomas Schippers made for Columbia Masterworks--of the music of Barber and others--between 1960 and 1965, at the start of his all-too-brief career. Although he was never on personal terms with Barber, Schippers had the ability to put Barber's music across in just the right way, with the perfect blend of energy and lyricism, toughness and warmth, and, above all, the feeling that its sentiment was real, yet ineffably contained. The performance of the New York Philharmonic (in the Adagio, as well as in the Second Essay for Orchestra, the Overture to the School for Scandal, Andromache's Farewell, and Medea's Dance of Vengeance) is aglow with inspiration, and the sound is exceptionally vivid, with a palpable sense of presence and space. --Ted Libbey

Customer Reviews:

4 out of 5 stars A sparkling remaster.......2006-12-29

This disc showcases a spectrum of talent from the young Schippers before his tragic death. However, contrary to the other reviews, this is not the best version of the "Adagio" that I have ever heard. The other tracks on the disc are a nice complement and some are hard to find on CD. All in all, a decent buy.

4 out of 5 stars Great music and a great package.......2006-11-10

This reissue of material conducted by Thomas Schippers shows the great style he had conducting Barber's (and Menotti's) work. This CD has been reissued again with a more mundane package as part of the RCA red seal releases. This disc presents background information and pictures that are a delight to the collector and will interest the listener new to this music. Its sound is good for its age and packages material together very well.

5 out of 5 stars An American Classic.......2005-12-03

Like many of the other reviewers, I owned this recording as an LP. Listening to it again in the CD format was a wonderful experience. Barber's lyrical gift was extraordinary. "Romantic" is an inadequate word to describe his music. And it sounds peculiarly American, like Copland's. You can't imagine that a European could have written it. It has too much freedom and sparkle, too much yearning and openess. My only criticism is that this disc omits "Knoxville: Summer of 1915", which I recall was on the old LP, with Leontyne Price as the soloist. Thomas Schippers seems to have been the ideal interpreter of this composer. What a pity that he died young.

5 out of 5 stars Best of Barber.......2004-09-30

The cover and Barber performances come from one of my favorite LPs - an old Odyssey release from the 70s. (Having worn one down, I was lucky to find a new one at a second-hand store - and soon after the CD was, finally, released.) Needless to say, I've listened to these performances frequently but never tire of them. Schippers, who was a close protege of Barber's (his lover?), infuses all of the Barber orchestral pieces with enormous vitality and emotion. The Adagio is one of the two or three best (if not THE best) on record, and the Medea Meditation and Dance of Vengeance is a knockout, more forceful even than Barber's own recording of the music in the Medea Suite for Mercury in the 50s. The School for Scandal Overture is a rollicking and tuneful delight, and the Second Essay is superbly done. My only objection is the CD is a rather scatter-shot collection, a massing culled from the handful of recordings Schippers made for Columbia in the early '60s. The sound is fine, but I'd sure love to hear an SACD version of this recording.

5 out of 5 stars Is there anything to add...?.......2003-09-26

Is there anything to add to the string of glowing reviews of this CD? Perhaps not but I feel an obligation as it has been part of my life since I first bought it in 1967--and wore out several LP versions of it. The combination of composition, interpretation, playing, and engineering of the Barber pieces is unparalleled in my experience; each must be considered as definitive. I particularly favor the Second Essay which comes across as a major work of it era and should appear in concert more often. The contibution by Martina Arroyo is just an extra added attraction in this extended compilation. Legendary!
A Salute to American Music
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    		A Salute to American Music

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    Release Date: 1992-12-01
    The Harold Wayne Collection, Vol.11
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      		The Harold Wayne Collection, Vol.11

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      ASIN: B000009JSI
      Release Date: 1994-09-01
      A Salute to American Music
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        		A Salute to American Music

        Manufacturer: RCA
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        ASIN: B00000E6PK
        Release Date: 1992-12-01
        Verdi Celebration In English
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          		Verdi Celebration In English

          Manufacturer: Chandos
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          1. Peter Lieberson: Neruda Songs

          ASIN: B00005J6YU
          Release Date: 2001-06-26
          Verdi: Un Ballo in Maschera
          Average customer rating: 3 out of 5 stars
          • Bjorling fans will relish this
          		 Verdi: Un Ballo in Maschera

          Manufacturer: Video Artists Int'l
          ProductGroup: Music
          Binding: Audio CD

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          ASIN: B00000C2C6
          Release Date: 1999-11-30

          Tracks:

          1. Un ballo in maschera: Act 1, Scene 1: Prelude; Posa in pace, a' bei sogni ristora
          2. Un ballo in maschera: Act 1, Scene 1: S'avanza il Conte
          3. Un ballo in maschera: Act 1, Scene 1: La rivedra nell'estasi
          4. Un ballo in maschera: Act 1, Scene 1: Il cenno mio di la con essi attendi
          5. Un ballo in maschera: Act 1, Scene 1: Alla vita che t'arride
          6. Un ballo in maschera: Act 1, Scene 1: Il primo giudice - S'avanzi ... Volta la terrea fronte
          7. Un ballo in maschera: Act 1, Scene 1: Ogni cura si doni al diletto
          8. Un ballo in maschera: Act 1, Scene 2: Prelude; Zitti, l'incanto non dessi turbare ... Re dell'abisso, affrettati
          9. Un ballo in maschera: Act 1, Scene 2: Arrivo il primo! ... E lui! e Lui!
          10. Un ballo in maschera: Act 1, Scene 2: Su, fatemi largo, saper vo il mio fato
          11. Un ballo in maschera: Act 1, Scene 2: Che v'agita cosi ... Della citta all'occaso
          12. Un ballo in maschera: Act 1, Scene 2: Su, fatemi largo, saper vo il mio fato
          13. Un ballo in maschera: Act 1, Scene 2: Chi voi siate, l'audace parola
          14. Un ballo in maschera: Act 1, Scene 2: E scherzo od e follia
          15. Un ballo in maschera: Act 1, Scene 2: Finisci il vaticinio ... O figlio d'Inghilterra
          16. Un ballo in maschera: Act 2: Ecco l'orrido campo ...Ma dall'arido stelo divulsa
          17. Un ballo in maschera: Act 2: Teco io sto ... Non sai tu che se l'anima mia
          18. Un ballo in maschera: Act 2: M'ami, m'ami ... Oh, qual soave brivido

          Tracks:

          1. Un ballo in maschera: Act 2: Ahime! s'appressa alcun!
          2. Un ballo in maschera: Act 2: Odi tu come fremono cupi
          3. Un ballo in maschera: Act 2: Seguitemi - (Mio Dio!)
          4. Un ballo in maschera: Act 2: Il suo fido!
          5. Un ballo in maschera: Act 2: Ve' se di notte
          6. Un ballo in maschera: Act 3, Scene 1: A tal colpa e nulla il pianto
          7. Un ballo in maschera: Act 3, Scene 1: Morro, ma prima in grazia
          8. Un ballo in maschera: Act 3, Scene 1: Alzati! la tuo figlio ... Eri tu
          9. Un ballo in maschera: Act 3, Scene 1: Siam soli. Udite.
          10. Un ballo in maschera: Act 3, Scene 1: Dunque l'onta di tutti sol uno
          11. Un ballo in maschera: Act 3, Scene 1: Alle danze questa sera
          12. Un ballo in maschera: Act 3, Scene 2: Forse la soglia attinse
          13. Un ballo in maschera: Act 3, Scene 2: Ah! dessa e la ... si, rivederti, Amelia
          14. Un ballo in maschera: Act 3, Scene 2: Fervono amori ... Altro de' nostri e questo
          15. Un ballo in maschera: Act 3, Scene 2: Saper vorreste
          16. Un ballo in maschera: Act 3, Scene 2: Fervono amori ... So che tu sai distinguere
          17. Un ballo in maschera: Act 3, Scene 2: Ah! perche qui! fuggite ...
          18. Un ballo in maschera: Act 3, Scene 2: No, no ... lasciatelo! ... Ella e pura ... Cor si grande e generoso

          Amazon.com

          This performance, recorded live in New Orleans in April 1950, is notable only for the presence in the cast of the great Swedish tenor Jussi Björling. He sang the role of Riccardo often--Stockholm, La Scala, the Met, and elsewhere--and even coached with Toscanini in 1953 for a performance that was aborted, but he never recorded the opera commercially. Here he is in excellent voice, manly, fluent, and lyrical, especially effective in "Di' tu se fedele" in Act I, with an interpolated high B, and in "Si, rivederti, Amelia" in Act II, with an unexpected and brilliant interpolated high C. Except for the strong baritone of Marko Rothmüller as Renato, the rest of the cast (including Suzy Morris as Amelia and Audrey Schuh as Oscar) is nowhere near his level, and Walter Herbert leading the New Orleans Opera Orchestra and Chorus is no more than adequate. Bits of the performance are missing, and the sound varies from poor to wretched. This release will be valuable to Björling fans but offers little to anyone else. --Alex Morin

          Customer Reviews:

          3 out of 5 stars Bjorling fans will relish this.......2003-02-06

          I did not know that he sang the Masked Ball, let alone that anyone recorded it until a couple of months ago. This recording is a real treat. True, it has flaws. There are 4 1/2 minutes of static and the other singers are not so hot although they are adequate. But Bjorling comes through clear and silvery and lovely as ever and those who love the great voice will delight in this new and unexpected treat. Imagine a whole new opera with Bjorling after 50 years! Especially such a great tenor opera.
          Plácido Domingo - Verdi ~ The Tenor Arias
          Average customer rating: 4.5 out of 5 stars
          • Verdi singing to set the standard for all tenors
          • The Greatest Verdi Tenor The Wonderful Mr. Domingo
          • Magnificent Achievement
          • VOICE
          • superb, exhilarating, outstanding!!!!!
          		 Plácido Domingo - Verdi ~ The Tenor Arias
          Giuseppe Verdi
          Manufacturer: Deutsche Grammophon
          ProductGroup: Music
          Binding: Audio CD

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          ASIN: B00005OC0F
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          3. Aida: Se Quel Guerrier Io Fossi! ... Celeste Aida - Verdi Domingo
          4. Don Carlos: Io I'ho Perduta!.. Io La Vidi, E Il Suo Sorriso - Verdi Domingo
          5. Don Carlos: Fontainebleau! Foret Immense Et Solitaire! - Verdi Domingo/Katia Ricciarelli/Ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojev/Chor Del Teatro...
          6. Don Carlos: Je I'ai Vue, Et Dans Son Sourire - Verdi Domingo/Katia Ricciarelli/Ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojev/Chor Del Teatro...
          7. Don Carlos: C'est Elle!... J'avais Fait Un Beau Reve!... Au Revoir Dans Un Monde - Verdi Domingo/Katia Ricciarelli/Ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojev/Chor Del Teatro...
          8. Don Carlos: Oui, Pour Toujours! - Verdi Domingo/Katia Ricciarelli/Ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojev/Chor Del Teatro...
          9. Un Ballo In Maschera: S'avanza Il Re... La Rivedra Nell'estasi - Verdi Domingo/Sumi Jo/Goran Simic/Kurt Rydl/Florence Quivar
          10. Un Ballo In Maschera: Di' Tu Se Fedele - Verdi Domingo/Sumi Jo/Goran Simic/Kurt Rydl/Florence Quivar
          11. Un Ballo In Maschera: E Scherzo Od E Follia - Verdi Domingo/Sumi Jo/Goran Simic/Kurt Rydl/Florence Quivar
          12. Un Ballo In Maschera: Forse La Soglia Attinse... Ma Se M'e Forza Perderti - Verdi Domingo
          13. Il Trovatore: Quale D'armi Fragor Poc'anzi Intesi? - Verdi Domingo/Leontyne Price/Ryland Davies/Ambrosian Opr Chor
          14. Il Trovatore: Ah! Si, Ben Mio - Verdi Domingo/Leontyne Price/Ryland Davies/Ambrosian Opr Chor
          15. Il Trovatore: L'onda De' Suoni Mistici - Verdi Domingo/Leontyne Price/Ryland Davies/Ambrosian Opr Chor
          16. Il Trovatore: Di Quella Pira - Verdi Domingo/Leontyne Price/Ryland Davies/Ambrosian Opr Chor
          17. Rigoletto: Questa O Quella Per Me Pari Sono - Verdi Domingo/Nicolai Ghiaurov/Piero Cappuccilli
          18. Rigoletto: Ella Mi Fu Rapita!... Parmi Veder Le Lagrime - Verdi Domingo/Nicolai Ghiaurov/Piero Cappuccilli
          19. Rigoletto: La Donna E Mobile - Verdi Domingo/Nicolai Ghiaurov/Piero Cappuccilli
          20. La Forza Del Destino: La Vita E Inferno All'infelice - Verdi Domingo
          21. La Forza Del Destino: Oh, Tu Che In Seno Agli Angeli - Verdi Domingo
          22. La Forza Del Destino: Qual Sangue Sparsi!.. S'affronti La Morte - Verdi Domingo/Chor Of The Mariinsky Theatre

          Tracks:

          1. Ernani: Merce, Diletti Amici... Come Rugiada Al Cespite - Verdi Domingo/Roger Wagner Chor
          2. Ernani: Dell'esilio Nel Dolore... O Tu, Che I'alma Adora - Verdi Domingo/Roger Wagner Chor
          3. Ernani: D'Ernani I Fidi Chiedono... Odi Il Voto... Sprezzo La Vita (Alternative Aria) - Verdi Domingo/Alfred Walker/James Courtney/Chor Of The Mariinsky Theatre
          4. I Lombardi Alla Prima Crociata: O Madre Mia, Che Fa Colei? - Verdi Domingo/Montserrat Aparici
          5. I Lombardi Alla Prima Crociata: La Mia Letizia Infondere... Come Poteva Un Angelo - Verdi Domingo/Montserrat Aparici
          6. I Lombardi Alla Prima Crociata: Come Poteva Un Angelo - Verdi Domingo/Marjorie Dix
          7. I Lombardi Alla Prima Crociata: Componi, O Cara Vergine.. In Cielo Benedetto - Verdi Domingo/Christina Deutekom/Ambrosian Opr Chor
          8. Jerusalem: L'Emir Aupres De Lui M'appelle... Je Veux Encore Entendre - Verdi Domingo
          9. Luisa Miller: Il Foglio Dunque? - Verdi Domingo/Luigi De Corato/Wladimiro Ganzarolli/Gwynne Howell/Chor Of The ROHCG
          10. Luisa Miller: Quando Le Sere Al Placido - Verdi Domingo/Luigi De Corato/Wladimiro Ganzarolli/Gwynne Howell/Chor Of The ROHCG
          11. Luisa Miller: Di Me Chiedeste? - Verdi Domingo/Luigi De Corato/Wladimiro Ganzarolli/Gwynne Howell/Chor Of The ROHCG
          12. Luisa Miller: L'ara, O L'avello Apprestami - Verdi Domingo/Luigi De Corato/Wladimiro Ganzarolli/Gwynne Howell/Chor Of The ROHCG
          13. Giovanna D'Arco: Il Re! - Nel Suo Bel Volto - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
          14. Giovanna D'Arco: Sotto Una Quercia Parvemi - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
          15. Giovanna D'Arco: V'ha Dunque Un Loco Simile - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
          16. Giovanna D'Arco: Pondo E Letal, Martiro - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
          17. Giovanna D'Arco: Di Novel Prodigio - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
          18. Giovanna D'Arco: Quale Piu Fido Amico - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
          19. Les Vepres Siciliennes: E Di Monforte Il Cenno! - Verdi Domingo
          20. Les Vepres Siciliennes: Giorno Di Pianto - Verdi Domingo
          21. Les Vepres Siciliennes: Ah, Toi Que J'ai Cherie (Alternative Aria) - Verdi Domingo

          Tracks:

          1. Otello: Esultate! L'orgoglio Musulmano - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
          2. Otello: Tu?! Indietro! Fuggi! - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
          3. Otello: Ora E Per Sempre Addio - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
          4. Otello: Pace, Signor... Era La Notte, Cassio Dormia - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
          5. Otello: Oh! Mostruosa Colpa! - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
          6. Otello: Si, Pel Ciel Marmoreo Giuro! - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
          7. Otello: Dio! Mi Potevi Scagliar - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
          8. Otello: Niun Mi Tema - Verdi Domingo/Robin Leggate/Mark Beesley/Roderick Earle
          9. Macbeth: O Figli, O Figli Miei!... Ah, La Paterna Mano - Verdi Domingo/Antonio Savastano/Chor Del Teatro Alla Scala
          10. Macbeth: Dove Siam? Che Bosco E Quello?... La Patria Tradita - Verdi Domingo/Antonio Savastano/Chor Del Teatro Alla Scala
          11. Nabuco: Che Si Vuol?... Il Maledetto Non Ha Fratelli - Verdi Domingo/Chor Und Orch Der Deutschen Opr Berlin
          12. Stiffelio: Non Ha Per Me Un Accento!... Vidi Dovunque Gemere... Ah! V'appare In Fronte Scritto - Verdi Domingo/Veronica Villaroel/Carlos Alvarez
          13. Aroldo: Sotto Il Di Siria Ardente - Verdi Domingo/Marjorie Dix
          14. Simon Boccanegra: O Inferno! Amelia Qui!... Sento Awampar Nell'anima... Cielo Pietoso - Verdi Domingo
          15. La Battaglia Di Legnano: O Magnanima, E Prima Delle Citta Lombarde... La Pia Materna Mano - Verdi Domingo
          16. Un Giorno Di Regno: Buoni Amici!... Pietoso Al Lungo Pianto - Verdi Domingo/Chor Of The Mariinsky Theatre
          17. Un Giorno Di Regno: Deh, Lasciate A Un'alma Amante - Verdi Domingo/Chor Of The Mariinsky Theatre
          18. Attila: Oh, Tutto Di Navicelle - Verdi Domingo/Ambrosian Opr Chor
          19. Attila: Ella In Poter Del Barbaro!.... Cara Patria, Gia Madre E Reina - Verdi Domingo/Ambrosian Opr Chor
          20. Attila: Qui Del Convegno E Il Loco - Verdi Domingo/Eric Cutler
          21. Attila: Che Non Avrebbe Il Misero - Verdi Domingo/Eric Cutler
          22. Attila: O Dolore! Ed Io Vivea (Alternative Aria) - Verdi Domingo/Eric Cutler

          Tracks:

          1. I Due Foscari: Qui Ti Rimani Alquanto - Verdi Domingo
          2. I Due Foscari: Dal Piu Remoto Esilio - Verdi Domingo
          3. I Due Foscari: Del Consiglio Alla Presenza Vieni Tosto... Odio Solo, Ed Odio Atroce - Verdi Domingo
          4. I Due Foscari: Si, Io Sento, Iddio Mi Chiama (Alternative Cabaletta) - Verdi Domingo
          5. I Due Foscari: Notte, Perpetua Notte - Verdi Domingo
          6. I Due Foscari: Non Maledirmi, O Prode - Verdi Domingo
          7. I Masnadieri: Quando Io Leggo In Plutarco - Verdi Domingo/Eduardo Valdes
          8. I Masnadieri: O Mio Castel Paterno - Verdi Domingo/Eduardo Valdes
          9. I Masnadieri: Ecco Un Foglio - Verdi Domingo/Eduardo Valdes
          10. I Masnadieri: Nell'argilla Maledetta - Verdi Domingo/Eduardo Valdes
          11. I Masnadieri: Come Splendido E Grande Il Sol Tramonta!... Di Ladroni Attorniato - Verdi Domingo/Eduardo Valdes
          12. Il Corsaro: Come Liberi Volano I Venti... Tutto Parea Sorridere - Verdi Domingo/James Courtney/Chor Of The Mariinsky Theatre
          13. Il Corsaro: Si: De' Corsari Il Fulmine - Verdi Domingo/James Courtney/Chor Of The Mariinsky Theatre
          14. Il Corsaro: Eccomi Prigioniero! - Verdi Domingo/James Courtney/Chor Of The Mariinsky Theatre
          15. Falstaff: Dal Labbro Il Canto Estasiato Vola - Verdi Domingo
          16. Oberto, Conte Di San Bonifacio: Son Fra Voi!... Gia Parmi Udire Il Fremito - Verdi Domingo/Chor Of The Mariinsky Theatre
          17. Oberto, Conte Di San Bonifacio: Ciel, Che Feci! Di Qual Sangue Ho Macchiato Il Brando Mio! - Verdi Domingo
          18. Alzira: A Costoro Quel Nume Perdoni - Verdi Domingo/Alfred Walker/Eduardo Valdes/Chor Of The Mariinsky Theatre
          19. Alzira: Un Inca... Eccesso Orribile!... Dio Della Guerra - Verdi Domingo/Alfred Walker/Eduardo Valdes/Chor Of The Mariinsky Theatre
          20. Alzira: Amici! - Ebben? - Verdi Domingo/Thomas Hampson/Philharmonia Chor
          21. Alzira: Irne Lungi Ancor Dovrei... Non Di Codarde Lagrime - Verdi Domingo/Thomas Hampson/Philharmonia Chor
          22. Messa Da Requiem: Ingemisco Tamquam Reus - Verdi Domingo

          Amazon.com

          There is only one word for this four-CD set: glorious. Released to commemorate the 100th anniversary of Verdi's death, it presents arias from every one of his 28 operas, a comprehensive overview of his work. It is also a tribute to Placido Domingo, one of his foremost present-day interpreters. An extraordinarily versatile artist, Domingo is heard in selections from his signature roles, like Otello, Radames, and Don Carlo, taken from recordings made between the 1960s and the '90s. He's also heard in new recordings of arias from the earliest, unfamiliar operas he has not performed on stage, and alternate arias Verdi wrote for different versions of his operas. Thus, he sings I Lombardi in Italian, Jérusalem in French, and Don Carlo and I Vespri Siciliani in Italian and French.

          There are also extended scenes with illustrious colleagues, including Leontyne Price, Katia Ricciarelli, Nicolai Ghiaurov, and Sergei Leiferkus, whose Iago is an exquisitely insidious villain. He is accompanied by the greatest orchestras and conductors. For the new recordings, his partners are Myung-Whun Chung and Valery Gergiev, whose Mariinsky Theater musicians contribute some beautiful string solos. The matchless beauty of Domingo's voice seems untouched by the years, and he can change and vary it to suit the musical and dramatic requirements. His top notes never lose their clarion ring, yet the final B-flat of "Celeste Aida" tapers off, as Verdi demands. Even more remarkable, he can create real characters. Even without the texts, the mood, emotion, and meaning always come through. In this incomparable treasure trove, all opera lovers will find their own favorites, and many new gems besides, all performed to utter perfection. --Edith Eisler

          Customer Reviews:

          5 out of 5 stars Verdi singing to set the standard for all tenors.......2007-03-03

          Placido Domingo's magnificent voice scarcely needs any introduction or praise or comments, as it is a splendid vehicle that speaks for itself. Not only is the voice - a strong, wood-grained, ringing tenor of a richer and darker sound than a pure lyric tenor - an amazing thing, a gift of God, but Domingo is himself a master of the technical demands of music (in addition to being a master of the technical demands of singing - not the same thing at all!) and a truly great singing artist.

          That is, he is never content to sing without becoming the character, without expressing the emotions of the character.

          The size, colour and drama of the voice make him an ideal Verdi exponent. Who could ever forget his magnificent performances in "Un ballo", "Don Carlos", "La Traviata", "Il Trovatore", and a host of other Verdi tenor roles? And the consistency of Domingo's vocal quality is something of a phenomenon. This man has had an enviable career - and it's his superb vocal technique that has carried him through it.

          I particularly love the way that he varies the outpourings of that golden tone. At one moment it's all fire and blazing intensity, and the next it's a thing of restraint and tenderness. Is there anything at which to cavil in Domingo as a Verdi tenor? I do not think so...

          The world has been fortunate to be gifted with such a tenor. If music itself adds meaning to our life and to existence itself, it finds an ideal servant of itself in this man who is certainly one of the finest tenors in the world.

          This collection of Verdi arias represents not only the recordings of Domingo in the roles he's tackled during his long career (with some of the finest fellow singers you could imagine), but also some earlier Verdi that he'd not performed, and which he recorded specially for this multi-CD set. The result is a triumph. One can see the difference instantly between various characters - not an easy thing to do.

          I would also like to recommend another set - "Der junge Domingo" (The Young Domingo), a 5-CD set released by BMG. I cannot find it here on Amazon, so I can only suggest those who are interested try alternative sources. It's a quite stunning collection - admittedly it contains "Svegliatevi nel cor" which I think is a mistake, but then it was recorded before the Handel revival and was thus less historically informed than one might wish. But really... it doesn't matter. The great beauty and intelligence of Domingo's singing shines through even that, and it's followed by a lovely "Il mio tesoro" from Mozart's Don Giovanni. Things get even better - there's a Donizetti aria from Il Duca d'Alba, the famous tenor aria from La Juive, the "Quando le sere al placido" from Luisa Miller, Lenski's aria from Eugene Onegin, some Gounod (including arias from Faust and Roméo et Juliette), the love duet from Madama Butterfly with Leontyne Price, and much more...

          5 out of 5 stars The Greatest Verdi Tenor The Wonderful Mr. Domingo.......2005-09-28

          This is Placido Domingo's best recording to date. His greatest and strongest repertoire was Verdi, as he himself claimed, and this recording is a lovely tribute to Verdi himself. A plethora of arias from such operas as La Traviata, Il Trovatore, Aida, Don Carlos, Otello and such earlier works like Il Foscari, Jersualem, Nabucco, Stiffelio and Ernani. In Placido Domingo, the opera scene found the heir to Enrico Caruso and successor to Franco Corelli. Originally trained as a baritone, Domingo had opera in his blood. His Spanish-born parents were Zarzuela singers. Placido's voice is dark, rich, full lyric, but dramatic and compelling, the perfect voice for Verdi and Puccini. Domingo mastered a number of operatic languages including French, German and Russian. His charisma, good looks and dramatic prowess was all to his credit and he appeared in Zefferelli movies (Traviata in 82 and Otello in 86. Many detractors and critics have taken a while to praise Domingo, and it wasnt until he sang Wagner that they came around. He has always been "outshined" by Pavoratti with whom he had a real rivalry with. But unlike Pavoratti, Domingo has more dramatic integrity in his characterizations and is the more cerebral singer. His voice is more beautiful, less brassy than the overweight showy Pavoratti. This is his best recording and I urge all fans to own it at once.

          5 out of 5 stars Magnificent Achievement.......2002-12-27

          This set is a recorded testimony to both Verdi's genius and Placido Domingo's versatility. Through 70's, 80's, and 90's, Domingo recorded with three major labels -- DG, RCA, and EMI. Out of these three, DG captured the most Verdi recordings, so it only was right for it to combine what they already had with newly recorded material, mostly early Verdi arias (Chung & Gergiev conducting), plus some licensed material (e.g. Giovanna D'Arco) from EMI.
          What impresses right away is how little has the voice changed over the years. Yes, some freshness heard on Ingemisco is lost now, but there is much greater insight gained, as displayed in such heroic pieces as "O magnanima, e prima delle città lombarde". Through numerous performances (Domingo has long ago broke Enrico Caruso's record for opening nights at the MET) and numerous recorded recitals, Domingo managed to keep the powerful, ringing spinto tenor mostly intact. What's most intriguing is HOW did he manage it. He did not pick and choose the roles (as Bergonzi, for instance), he sang Otello since the 70's, and recently has even recorded some of Wagner's extremely demanding roles (see EMI's catalog). Domingo's voice is not typical for an Italian tenor, e.g. he does not have the squillo (or the "ping") on top notes, but what's amazing is that it is able to produce bronze-like ring on all notes. During the mid-eighties, the voice had a fascinating baritonal quality; Domingo has even recorded Il Barbiere. On this CD, the selections with Guilini reflect that period the best.
          Deutsche Grammophon chose to alternate the new-recorded material with old one. As a result, those who have been devoted fans of the tenor for, say fifteen-plus years, will notice some difference, but those relatively new to his art would not.
          The set, albeit not a bargain, has many delights. In addition to featuring selections from out-of-print editions (e.g. Luisa Miller with Maazel) the newly recorded material is targeted at paying homage to early Verdi and his lesser-known works. For instance, "Ah, toi que j'ai chérie" from French version of I Vespri siciliani is a great aria, makes one wish for a complete opera to be recorded some time soon. The French selections in particular show how attentive Verdi was to highlighting the beauty of language with his music. This really explains why Italian translations done later did not fare as well as the originals, and vice versa.
          The selections from complete operas impress with starry casts. We hear the voices of Price, Cappuccilli, Ghiaurov, Milnes, Jo, and most wonderful choruses. And most of world's greatest conductors are present here -- Karajan, Gergiev, Kleiber, Levine, Abbado, just to name a few. Each brings his own distinct style, some controversial, some debated, all exciting, but none simply conventional.
          Many have noted Domingo's chameleon-like ability to "become" the character. I would just like to add a note that he is now added the ability to infuse his characters with subtle sensuality. Granted, a tenor aria is written to be appealing and engaging, but it takes a great artist to make it "glow."
          We are indeed very lucky to share a time frame with Placido Domingo. For years to come, he will be the idol for aspiring singers and a source of wonder for the numerous fans of great vocal performances.

          5 out of 5 stars VOICE.......2002-09-10

          What a voice and what a power. Here we have a combination of a beautiful music and a perfect voice. What else would you need to enjoy it.

          5 out of 5 stars superb, exhilarating, outstanding!!!!!.......2002-02-10

          Pure,absolute satisfaction!That's the onlypossible feeling I could possible have after having listened and cherished this fabulous set of CD's. It is a tribute to this magnificent master of fine singing,as well as a monumental homage to the mythical Giuseppe Verdi!Placido Domingo is the perfect, harmonious combination of acting, passion and singing. He is always powerful and crystal clear in his high notes. Maestro Domingo knows every time where and when to adjust his divine voice in the appropriate tone and volume.He is never too loud(too forte!) or too low, and never croons. Although there are some trivial flaws as far as the sound quality of specific tracks is concerned e.g. the last high note from "O mio rimorso!", this CD-set is a real tresure and an excellent value for money for anyone who wishes to call oneself a "real VERDI - addict" as well as a fan of this glorious artist, a dramatic, a heroic,a lyric,a mature,a perfect singer. HAIL PLACIDO DOMINGO, TENOR OF THE TENORS!
          Pavarotti Special Edition, Vol. 2
          Average customer rating: Not rated
            		Pavarotti Special Edition, Vol. 2

            Manufacturer: Eclipse Music Group
            ProductGroup: Music
            Binding: Audio CD

            All Works by DonizettiAll Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
            All Works by PucciniAll Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
            All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
            Vocal & SongVocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
            GeneralGeneral | Classical | Styles | Music
            All Works Featuring Luciano PavarottiAll Works Featuring Luciano Pavarotti | Pavarotti, Luciano | ( P ) | Featured Performers, A-Z | Classical | Styles | Music
            Donizetti, GaetanoDonizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music
            Puccini, GiacomoPuccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music
            Vocal Works by VerdiVocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music
            GeneralGeneral | Opera & Vocal | Styles | Music
            Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
            ItalianItalian | Languages | Opera & Vocal | Styles | Music
            CDs Under $7CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music
            All Bargain TitlesAll Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music
            ASIN: B000002XLP
            Release Date: 1997-10-23
            Art of Eugene Ormandy - Orchestral works including: Myaskovsky: Symphony No. 21 in F sharp minor, Op. 51 / R. Strauss: Sinfonia Domestica / Mahler: Symphony No. 8 in E flat major - Part 1 (2 CDs)
            Average customer rating: Not rated
              		Art of Eugene Ormandy - Orchestral works including: Myaskovsky: Symphony No. 21 in F sharp minor, Op. 51 / R. Strauss: Sinfonia Domestica / Mahler: Symphony No. 8 in E flat major - Part 1 (2 CDs)

              Manufacturer: Biddulph Records
              ProductGroup: Music
              Binding: Audio CD

              All Works by BarberAll Works by Barber | Barber, Samuel | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
              All Works by BrahmsAll Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
              GeneralGeneral | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
              All Works by GriffesAll Works by Griffes | Griffes, Charles T. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
              All Works by HarrisAll Works by Harris | Harris, Roy | ( H ) | Featured Composers, A-Z | Classical | Styles | Music
              All Works by HerbertAll Works by Herbert | Herbert, Victor | ( H ) | Featured Composers, A-Z | Classical | Styles | Music
              All Works by MahlerAll Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
              All Works by MenottiAll Works by Menotti | Menotti, Gian Carlo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
              All Works by MiaskovskyAll Works by Miaskovsky | Miaskovsky, Nikolai | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
              All Works by StraussAll Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
              RomanticRomantic | Symphonies | Forms & Genres | Classical | Styles | Music
              OverturesOvertures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
              Tone PoemsTone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
              SymphoniesSymphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
              ViolinViolin | Strings | Instruments | Classical | Styles | Music
              GeneralGeneral | Symphonies | Classical | Styles | Music
              Modern & 20th CenturyModern & 20th Century | Symphonies | Classical | Styles | Music
              GeneralGeneral | Classical | Styles | Music
              GeneralGeneral | Chamber Music | Classical | Styles | Music
              Minneapolis Symphony OrchestraMinneapolis Symphony Orchestra | ( M ) | Featured Performers, A-Z | Classical | Styles | Music
              RomancesRomances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
              Modern & 20th CenturyModern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
              GeneralGeneral | Opera & Vocal | Styles | Music
              EnglishEnglish | Languages | Opera & Vocal | Styles | Music
              RussianRussian | Languages | Opera & Vocal | Styles | Music
              ASIN: B00003XAV6
              Release Date: 2000-01-25

              Tracks:

              1. Le Coq D'or: Hymn To The Sun - Eugene Ormandy/William Axt
              2. Sadko: Song Of India - Eugene Ormandy/William Axt
              3. Mlle. Modiste: Kiss Me Again - Eugene Ormandy/William Axt
              4. Souvenir - Eugene Ormandy/Stephanie Goldner
              5. Humoresque - Eugene Ormandy/Stephanie Goldner
              6. Hungarian Dance No.2 in d - Eugene Ormandy And His Salon Orch
              7. Southern Rhap - Eugene Ormandy And His Salon Orch
              8. Was It A Dream? - Smith Ballew/Hal Kemp/Nye Mayhew/Saxy Dowell/Skinny Ennis
              9. Chor And Fugue in d, Op.4 - Eugene Ormandy/Minneapolis SO
              10. Hungarian Caprice - Ray Fitch
              11. The Pleasure Dome Of Kubla Khan, Op.8 - Eugene Ormandy/Minneapolis SO
              12. When Johnny Comes Marching Home (An American Ov) - Eugene Ormandy/Minneapolis SO
              13. Essay No.1 For Orch, Op.12 - Eugene Ormandy/Philadelphia Orch
              14. Amelia Goes To The Ball: Ov - Eugene Ormandy/Philadelphia Orch

              Tracks:

              1. Sym No.21 in f#, Op.51 - Eugene Ormandy/Philadelphia Orch
              2. Sinf Domestica, Op.53: I. Bewegt - Eugene Ormandy/Philadelphia Orch
              3. Sinf Domestica, Op.53: II. Scherzo - Eugene Ormandy/Philadelphia Orch
              4. Sinf Domestica, Op.53: III. Wiegenlied - Eugene Ormandy/Philadelphia Orch
              5. Sinf Domestica, Op.53: IV. Adagio - Eugene Ormandy/Philadelphia Orch
              6. Sinf Domestica, Op.53: V. Finale - Eugene Ormandy/Philadelphia Orch
              7. Sym No.8, Part I (Hymnus: Veni, Creator Spiritus): Veni, Creator Spiritus - Greater Los Angeles Chor/Hugo Strelitzer
              8. Sym No.8, Part I (Hymnus: Veni, Creator Spiritus): Imple Superna Gratia - Frances Yeend/Charles Kullman/Olive Mae Beech/Eula Beal/Suzanne Coray/Mack Harrell/George London...
              9. Sym No.8, Part I (Hymnus: Veni, Creator Spiritus): Infirma Nostri Corporis - Greater Los Angeles Chor/Hugo Strelitzer/Frances Yeend/Olive Mae Beech/Eula Beal/Suzanne Coray...
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              11. Sym No.8, Part I (Hymnus: Veni, Creator Spiritus): (Veni, Creator Spiritus) - Olive Mae Beech/Eula Beal/Suzanne Coray/Charles Kullman/Mack Harrell/George London/Boys Chor...
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              Amelia al ballo (Amelia Goes to the Ball--Orig 1954 Prod) and Instrumental Interludes from the Unicorn, the Gorgon, and the Manticore
              Average customer rating: 5 out of 5 stars
              • Gian Carlo Menotti's first hit is still a charmer
              • A Delightful Surprise For You
              		 Amelia al ballo (Amelia Goes to the Ball--Orig 1954 Prod) and Instrumental Interludes from the Unicorn, the Gorgon, and the Manticore

              Manufacturer: Testament
              ProductGroup: Music
              Binding: Audio CD

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              Similar Items:
              1. Amelia Goes to the Ball: Vocal Score
              2. Menotti: Goya
              3. Menotti: The Consul
              4. Verdi - Luisa Miller / Renata Scotto, Placido Domingo, Sherrill Milnes, Bonaldo Giaiotti, James Morris, James Levine, Metropolitan Opera

              ASIN: B00004UGB2
              Release Date: 2000-12-12

              Tracks:

              1. Orchestral Prld - Orch Del Teatro All Scala Di Milano/Nino Sanzogno
              2. Stringi! Allaccia, Allacci! - Margherita Carosio/Silvana Zanolli/Elena Mazzoni/Maria Amadini
              3. La Notte, La Notte E Troppo Breve... - Margherita Carosio/Maria Amadini
              4. Sono Pronta. Dammi Fiori... - Margherita Carosio/Silvana Zanolli/Maria Amadini
              5. Non Si Va! Non Si Va! - Margherita Carosio/Silvana Zanolli/Maria Amadini
              6. Amelia, Amelia! - Margherita Carosio/Silvana Zanolli/Maria Amadini
              7. Amelia Cara, Gioia Adorata... - Margherita Carosio/Silvana Zanolli/Maria Amadini
              8. Osi Ancora Negar? - Margherita Carosio/Silvana Zanolli/Maria Amadini
              9. No, No, No! Al Ballo Non Andremo... - Margherita Carosio/Silvana Zanolli/Maria Amadini
              10. Ebbene, Si - Margherita Carosio/Silvana Zanolli/Maria Amadini
              11. Il Mio Amante E Quel Signore Che Vive... - Rolando Panerai/Margherita Carosio
              12. Che Disdetta! - Rolando Panerai/Margherita Carosio
              13. Vola Intanto L'Ora Insonne - Margherita Carosio
              14. Amelia, Amelia! - Margherita Carosio/Maria Amadini
              15. ...Contro Me Non Porta Offesa - Margherita Carosio/Giacinto Prandelli
              16. Non L'ho Pescato In Tempo - Rolando Panerai/Margherita Carosio
              17. Ah Cane, Impera... - Rolando Panerai/Margherita Carosio/Giacinto Prandelli
              18. Fu Di Notte; Come In Sogno - Giacinto Prandelli/Rolando Panerai/Margherita Carosio
              19. Un' Ora Ho Atteso... - Margherita CarosioRolando Panerai
              20. Chi Puo Saper... - Giacinto Prandelli/Rolando Panerai/Margherita Carosio
              21. Orchestral Interlude/Che C'e? Che C'e? - Coro Del Teatro Alla Scala Di Milano/Vittore Veneziani
              22. Gia Capito... - Enrico Campi/Margherita Carosio/Rolando Panerai/Coro Del Teatro Alla Scala Di Milano/Vittore Venezia
              23. ...Seduta Alla Specchiera... - Margherita Carosio/Giacinto Prandelli/Coro Del Teatro Alla Scala Di Milano/Vittore Veneziani
              24. Perche Affligerso Tanto? - Enrico Campi/Margherita Carosio
              25. Gioite, Gioite, Amelia Al Ballo Andra... - Margherita Carosio/Rolando Panerai/Giacinto Prandelli/Maria Amadini/Enrico Campi/Silvana Zanolli...
              26. The Unicorn, The Gorgon & The Manticore (Instr Interludes): Interlude One - Orch Del Teatro All Scala Di Milano/Thomas Schippers
              27. The Unicorn, The Gorgon & The Manticore (Instr Interludes): Interlude Two - Orch Del Teatro All Scala Di Milano/Thomas Schippers
              28. The Unicorn, The Gorgon & The Manticore (Instr Interludes): Interlude Three - Orch Del Teatro All Scala Di Milano/Thomas Schippers
              29. The Unicorn, The Gorgon & The Manticore (Instr Interludes): Interlude Four - Orch Del Teatro All Scala Di Milano/Thomas Schippers
              30. The Unicorn, The Gorgon & The Manticore (Instr Interludes): Interlude Five - Orch Del Teatro All Scala Di Milano/Thomas Schippers
              31. The Unicorn, The Gorgon & The Manticore (Instr Interludes): Interlude Six - Orch Del Teatro All Scala Di Milano/Thomas Schippers

              Amazon.com

              As we continue to sift through the litany of 20th-century composers and who will endure, the assessment of a particular creator's significance has become inevitably entangled with larger, meta-issues about tradition vs. originality, popularity vs. elitism, and so forth. The case of Gian Carlo Menotti is practically a textbook example. Alternately championed and castigated for hewing to an "accessible," audience-friendly style--essentially a mix of Italian opera's lyricism with Hollywoodish gestures that hasn't always dated well--Menotti approaches his 10th decade having weathered many a storm of musical politics (he even ushered in the new millennium by personally directing a revival of what may be his masterpiece, The Consul, at Washington Opera).

              Yet to what extent his music will show any lasting resonance remains an open question, and perhaps the attempted answer is still too clouded by shadows of those very politics. At any rate, a less jaded view might be had with this captivating account of the composer's first success--written at the age of 25 and given a Metropolitan Opera debut in 1938 (in its English version, Amelia Goes to the Ball, making a bizarre double bill with Elektra). This one-act romp spoofing the classic love triangle displays a young composer not only of promise but on top of the world with all the exuberance of his freshly harnessed creativity. Already, Menotti shows himself an economical, effective one-man team as composer and librettist, and much of the music's charm springs from Menotti's theatrical instincts: he can instantly deflate a threatening Hunding-wannabe of a husband with a pompous bass drone and roll of timpani. And Menotti's signature melodic fertility emerges in full blush, even in parodic arias about fateful love.

              This recording comes from the opera's La Scala premiere in 1954 (belated because of Menotti's opposition to Mussolini) and is a treasure in filling a gaping hole in the catalog. Nino Sanzogno gets the fleet invention of Menotti's buffa antics (the overture is full of bustle), and Margherita Carioso manages to be stylish and funny at the same time as the absurdly self-involved heroine, playing wonderfully off Rolando Panerai's outraged husband. The lover, Giacinto Prandelli, is registered too recessively in his great moment, but for the most part the sound has been nicely remastered. Rounding out the disc is about 10 minutes' worth of colorfully scored interludes from Menotti's "madrigal fable" ballet The Unicorn, the Gorgon, and the Manticore. --Thomas May

              Customer Reviews:

              5 out of 5 stars Gian Carlo Menotti's first hit is still a charmer.......2005-11-12

              Source: Studio recording made in March 1954 in Milan in conjunction with the first production of the opera at La Scala.

              Sound: Good mono, competently re-mastered in 2000.

              Documentation: Italian-English libretto. Summary of the plot. Brief essay on the life and works of Gian Carlo Menotti (b. 1911) to the year 2000. Track list showing timings.

              Format: Sung in Italian. One disk, 25 tracks for the opera and six tracks for additional material.

              Cast: Amelia - Margherita Carosio; Amelia's Husband - Rolando Panerai; Amelia's Lover - Giacinto Prandelli; Amelia's Chief of Police - Enrico Campi; Amelia's Friend - Maria Amadini; Amelia's First Maid - Silvana Zanolli; Amelia's Second Maid - Elena Mazzoni. Conductor - Nino Sanzogno. Chorus and Orchestra of La Scala, Milan.

              "Amelia al ballo" was first performed (as "Amelia Goes to the Ball") in Philadelphia in April 1937. By March 1938, it had made it all the way to the Metropolitan Opera in New York, where it successfully shared a double bill with "Elektra." [!] The legend of the opera, for what it is worth, is that it was inspired by Menotti's sojourns with Samuel Barber in pre-war Vienna, where they lodged with an elderly Czech countess who regaled them with tales of the wonderful balls she had attended in the gilded days of old Emperor Franz Josef.

              This is a piece of fluff, not--as Seinfeld would say--that there's anything wrong with that, for so are "Die Fledermaus," "Don Pasquale" and even "The Barber of Seville." It is, in fact, a very superior bit of fluff, one written by a young man who was clearly a disciple of Puccini. And as far as I am concerned, in the light of the development of opera in the latter part of the Twentieth Century, being a disciple of Puccini was no bad thing at all. From its date, I suppose "Amelia" must have been the very last truly lush, unself-consciously diatonic opera. It is pleasing, clever, tuneful, amusing and fast-moving--all the things, in short, that most contemporary music is not.

              The cast is uniformly sound. The general production is excellent. Future productions might yield better sonic fidelity, but they are hardly likely to improve on the performance.

              The disk is filled out with six instrumental interludes from Menotti's "The Unicorn, the Gorgon and the Manticore," conducted by Thomas Schippers and dating from 1958. They are lightly inconsequential, but pleasing, nevertheless.

              Five stars.

              5 out of 5 stars A Delightful Surprise For You.......2001-01-17

              Somehow, I bumped into this recording shortly after it originally issued, around 1956, or so. Since then, I have played it from time to time and am amazed that it continues to be such a delight to hear. It is brief, to the point, and most of all, quite tuneful. I suspect that we do not see it more in the theatre because it is too short for an evening's entertainment if performed alone, and, yet, what do you use it with to form a double bill? Perhaps a ballet. In any event, this is an excellent recording of a rare work that deserves more attention. While the original release was only monophonic, the CD version enhances the quality of what was then quite acceptable for high fidelity recording.

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