Sutherland-Horne- Pavarotti "Live From Lincoln Center"

Editorial Reviews
Amazon.com
This recording marks ground zero of the Three Tenors phenomenon and reminds you of all that it was supposed to be. There's only one tenor here--Luciano Pavarotti--and because he's partnered by different voice types--soprano Joan Sutherland and mezzo-soprano Marilyn Horne-- the possibilities of substantial artistic collaboration are much greater. Though this event was heavily hyped and would've driven audiences wild no matter what, the singers use the concert as an occasion to do things they'd never do on the opera stage, such as the Sutherland-Pavarotti duet from Otello. In their prime, they were one of the great operatic teams, as were Sutherland and Horne. And this concert gives ample evidence why. It's essential for fans of these singers. --David Patrick Stearns

Tracks:

Ernani: Solingo, errante e misero
Norma: Adalgisa! ... Oh! rimembranza!
Norma: Ma di' ... Oh non tremare
La Gioconda: Ecco la barca ... addio
La Gioconda: Deh! non turbare
Otello: Gia nella notte densa
Il Trovatore: Madre, non dormi?

Customer Reviews:

all past their primes but still a thrill.......2003-06-30

All of the singers are past their prime here. Dame Joan must have lost at least half her formidable voice. And her coloratura has slowed down to a slow stroll. You have to hear her when she was the greatest singer the world had ever seen.
Pavarotti and Horne are slightly better. But they are also disappointing to my discriminating ears. But if you never heard them when they were supreme, you may still be extremely impressed. They are that good that even when they're past their prime, they still have valid voices.
If you never heard Dame Joan when she ruled the operatic world, don't buy this, she will be discredited.
However, even if Dame Joan is way past her prime here, if you know how she sounded when she was the Queen of opera, it's still a must buy. Because even though her voice is half gone, she's still Prima Donna Assoluta. But only buy this if you know how she's supposed to sound.

Hello! Anybody in there????.......2001-05-21

Hey, publishers, this is too much excellent performance not to be available on video. Any genuine opera lover will buy the video tape/DVD of this live recording.

The Amazing Trio.......2000-12-14

I like this recording very much, but I must say that the tape, which I bought in 1981, had a "warmer" sound to it. I also remeber watching the live performanc on television, and even the best recording can not capture the excitment of that evening. I disagree with the reviewer who said that all three were past their prime. I thought they were all in good if not excellent voice. I agree with the reviewer who said Sutherland is not in top form, but who cares.Even at less than her best she is better than anyone else! I would not miss having this recoring in my collection!

Fantastic drama heard here.......2000-01-05

This is a wonderful recording of arias with an excellent set of performers. The drama and emotion felt in this CD is extremely moving. Horne does a fantastic job of playing her alto roles, and Pavarotti is in his usual good singing voice. My problem here lies with Dame Joan. As I am an almost diehard fan of her work, I found it dissapointing listening to her in this recording. It is obvious that she was past her prime at this point and we no longer hear her infamous coloratura singing. The acrobatics are no longer there, and the high notes are forced and not that high at all. However, this recording is very good, if only for its star power and fantastic theatrics.

Bravi, Sutherland, Pavorotti, Horne.......1999-07-04

All three singers past their amazing primes in this LIVE recording, but I still must have it because of it's historical status. We have three of the greatest singers of this or any other century on the stage at the same time! Just thrilling in the ensembles. Buy this CD!!!

Verdi: Requiem / Sutherland, Horne, Pavarotti, Talvela, Solti

Average customer rating:

Sonic spectacular
Rivetting Requiem
Joan Sutherland Is Miscast In This Requiem: Better Ones Are Out There
An almost cinematic Requiem with spectacular singing to recommend it
A monumental Masterpiece!!

Verdi: Requiem / Sutherland, Horne, Pavarotti, Talvela, Solti
Giuseppe Verdi , Vienna Philharmonic , Georg Solti , Joan Sutherland , Marilyn Horne , Luciano Pavarotti , Martti Talvela , and Vienna State Opera Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Horne, Marilyn | Divas | Opera & Vocal | Styles | Music

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Similar Items:

Mozart - Requiem / Augér, Bartoli, Cole, Pape, Wiener Phil., Solti
Arturo Toscanini: The Complete Philadelphia Orchestra Recordings 1941-42
Mozart: Requiem / McNair, Watkinson, Araiza, Lloyd; Marriner
Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw
Verdi: Requiem & Operatic Choruses

ASIN: B0000041PI
Release Date: 1990-10-25

Tracks:

Requiem: I Requiem - Requiem aeternam & Kyrie
Requiem: ll Dies irae - Dies irae
Requiem: ll Dies irae - Tuba mirum
Requiem: ll Dies irae - Liber scriptus
Requiem: ll Dies irae - Quid sum miser
Requiem: ll Dies irae - Rex tremendae
Requiem: ll Dies irae - Recordare
Requiem: ll Dies irae - Ingemisco
Requiem: ll Dies irae - Confutatis
Requiem: ll Dies irae - Lacrimosa

Tracks:

Requiem: lll Offertorium - Domine Jesu Christe
Requiem: lll Offertorium - Hostias
Requiem: lV Sanctus
Requiem: V Agnus Dei
Requiem: Vl Lux aeterna
Requiem: Vll Libera me - Libera me
Requiem: Vll Libera me - Dies irae
Requiem: Vll Libera me - Requiem aeternam
Requiem: Vll Libera me - Libera me

Amazon.com

If you value the drama and terror of Giuseppe Verdi's sacred masterpiece, you need to hear this. Solti's "Dies Irae" is overwhelming, the drums pounding and the chorus sounding as if it's writhing in hell's torments. What Solti's intense, operatic conception lacks in spirituality it more than makes up for in the way it grips you by the throat and never lets go. The solo quartet, with one exception, is among the best assembled in the stereo era. Pavarotti shines, and Talvela's authoritative basso profundo is a rock-solid anchor. Horne's trademark register break can be a distraction at times, but she's thrilling. With a more idiomatic soprano, this would have been an unbeatable foursome, but Sutherland is sadly miscast here, most damagingly in the "Libera me." Sonics were demonstration quality in their day and are still competitive with the best. For a more devotional approach, Giulini is a good choice. Vintage performances by Toscanini (RCA and Music & Arts) and Serafin on Pearl (the latter with a true golden age vocal quartet) are desirable, as are stereo versions by Daniel Barenboim on Teldec and Robert Shaw on Telarc. Solti's remake for RCA is less attractive; you can't go wrong with this one. --Dan Davis

Customer Reviews:

Sonic spectacular.......2007-04-02

Sonic spectacular

I'm a big fan of Joan Sutherland, so I really went out of my way to get this. Yes, 84 minutes on two full-price discs is not exactly a collector's bargain, but like I said, I had a different incentive for getting this.

Verdi Requiem sopranos are usually the Aida/Forza type. Not too often do you get the Gilda/La Traviata type. So it's a fascinating experience to hear a top coloratura like Sutherland in this choral warhorse. I found Sutherland's Requiem very enjoyable - I simply love the sound of her voice. While many fault her diction, I had no trouble with it (I understood her all throughout Libera Me). Also, it's neat to finally hear an actual trill in Hostias.

Listeners familiar with Georg Solti's Ring cycle will be well acquainted with his reputation for well-engineered sound. This Verdi Requiem was recorded in October 1967, yet even by today's standards, it is a sonic spectacular. Listen especially to the choral highlights like the opening of the Dies Irae, the Sanctus, and the final Libera Me fugue. Like the Ring cycle, the brass appear to have the best microphones of anyone in the orchestra. Audiophiles testing new speakers will have plenty of material to use in this album. And the bass drum in Dies Irae sounds more like an explosion than a musical instrument - very cool!

If you did not hear Luciano Pavarotti in Karajan's 1967 Verdi Requiem, here is your chance to hear him now. For me, this is one of my all-time favorite renditions of Ingemisco. I also like how he uses a soft voice rather that a head voice in Hostias.

Listeners may be aware that the Vienna State Opera Chorus and Vienna Philharmonic recorded the Verdi Requiem in November 1991 with Claudio Abbado, a wonderful recording in its own right. Fans of the Abbado disc, however, will not be disappointed with this much earlier 1967 collaboration. The Vienna State Opera is a very powerful chorus and can almost knock you off your feet when they come at you at full volume. And the Vienna Philharmonic proves that its status as one of the world's great ensembles is hardly a recent honor.

Overall, I liked all four soloists. BUT...Marilyn Horne tends to take a lot of liberties with her pronunciations (eleison is eh-leh-ee-sawn instead of sohn, for example), and her unison duet with Sutherland at the beginning of Agnus Dei really sounds a bit out of tune. I love Martti Talvela, but he seemed to be trying too hard in Confutatis (he practically sledgehammers "Voca me" and it's not pleasant to hear).

If you can get past the high price, I think you'll enjoy this.

Rivetting Requiem.......2006-12-14

Incredible performance of Verdi's masterpiece from the late 1960's. The sound quality is superb. You have to start with Solti and the great Vienna Philharmonic in conjunction with the Vienna State Opera Chorus. Pavarotti gives one of his best performances on this recording and his big solo is breathtaking. Marilyn Horne is her usual stellar self; because they had sung together so frequently in their careers, her duets with Sutherland have a unity and flow missing from some other recordings of this work. Talvela's immense voice gives a rock solid foundation to the lowest vocal lines. All four principles bring a cohesiveness to the vocal passages whether it is a duet, a trio, or a quartet. As for Sutherland she is simply sensational. This is one of her greatest achievements. The sheer power of her voice is a marvel to behold. In the opening Kyrie when all of the four soloists join toghether for the first time, her voice soars over the ensemble and the orchestra in a way that only a true dramatic soprano can - Price, Fleming, Schwarzkoph are no match for Sutherland in such places in this score. One criticism that many have with Sutherland in this recording is she is too cool in the part, which is more than ironic, since most critics often complain that most performances of this work are too operatic; in general I find her attuned to the text, without being overly emotional. Her entrance in the Offertorium is breathtaking - a long sustained note, with various modulations in dynamics, one of the trickiest moments in the score. She concludes with an awesome Libera Me, though admittedly her Requiem Aeternam is not as beautiful as Price's - great pianissimo's were more Leontyne's strength than Joan's.

Joan Sutherland Is Miscast In This Requiem: Better Ones Are Out There.......2006-02-09

The Verdi Requiem has been blessed with the title of the most recorded requiem on disc. There are certainly superior recordings out there. The draw here is the cast, singers who certainly had a following in the heady days of their careers in the 60's and 70's- Joan Sutherland, Marilyn Horne, Luciano Pavarotti, Matti Talvela and conductor Georg Solti. Solti conducts the Vienna Philharmonic with great strength and power, making such fiery portions as the Dies Irae scare the hell out of you. There is no denying the magnitude of this recording, especially because the Vienna forces sound like two loud orchestras playing at the same time. However, there is no real sense of spirituality here and parts that ought to exude a calm divinity fail to do so. Pavarotti is in fine shape but this tenor part was never one I liked to hear him in. His heroic, bright sound shows no real emotion or sense of spirituality, unlike the more God-like lower tones of Talvela. Marilyn Horne is all razzle-dazzle in her mezzo part, though she handles the music quite well and intelligently. Finally, the weak link - Joan Sutherland. There were two operatic roles that were not in her league - Leonora in Trovatore which she also recorded with Marilyn Horne and Puccini's Turandot which she recorded with Pavarotti. The soprano solo part in the Requiem calls for a darker, heavier voice. Sutherland is completely underpowered. Furthermore, she has sloppy diction and is lackluster next to the truer Verdi soprano voices of Leontyne Price. Leontyne's Requiem recording (twice - once for Fritz Reiner in the early 60's and the other for Solti in the 70's with Janet Baker) are exemplary and must-have Requiems. Other well-executed Requiems you should check out as an alternative to this one are the Placido Domingo, Katia Ricciarelli, Nicolai Ghiurov version and the one with Angela Gheorghiu and Roberta Alagna in recent years. Sorry, but this one would have been great if they had cast Leontyne Price rather than Joan Sutherland.

An almost cinematic Requiem with spectacular singing to recommend it.......2005-09-18

This set was famous for the singing and the sonics, but also for Solti's anti-religious, coarsened way with the score. If Giulini's reading is for devout Catholics, this one is for people who sleep in on Sunday (or go to the opera). Little of Verdi's deep emotional reverence comes through, but if you want to hear the Requiem as second-cousin to Il Trovatore, this performance is nearly perfect. I keep it for the spectacular sonics and Pavarotti's incomparable singing of the Ingemisco.

A monumental Masterpiece!!.......2004-12-03

I love this. Is by far the best version. And incredibly good production for something recorde in the late 60s. How they were able to make it sound like this? Who knows, but is here and all we have to do is enjoy.
The only thing missing is Miss Price. Southerland will always be remembered by us as one of the best (if not the best) colatura soprano of the last century. Her voice is beyond beautiful. Is just sublime. Is true. But Miss Price is better for Verdi although Sutherland is incredible here and is enough at least for me.
Pavarotti...oh Pavarotti. He's in his prime. His voice has an unlimited power without losing his beauty. This is the Pavarotti that people love.
Horne as a Mezzo-Soprano and Martti Talvela a Bass complement everything with their talent. They are not there just "getting the job done". Besides, Horne was a respected figure as well.
Solti's version is by far the best. He directs the Vienna Philharmonic with a passion and a speed that gets your heart to work. Reiner's Version is a good one but it just can't be compared with this.
After the first nine minutes, in which everyone pleases our ears we get ready. Verdi's "Dies Irae" starts. Is one of the most monumental pieces in history. The drums are like a thunder that just crushes your heart. Solti's direction is phenomenal. Dear God is this beautiful. I have to say that even though this 19 year old loves Opera, I'm not a snob but I love this. I may not be able to write a very technical review because of my lack of knowledge about terms related to this but I at least I can express what I feel.
Some people complain that it isn't as beautiful as the other Gregorian Dies Irae. Please. "Dies Irae" is supposed to be the Apocalypse. Ten centuries ago they didn't have the instruments to express it like today therefore that's why they only used their voices. If there's something that can crush a soul, is Verdi's "Dies Irae" and with Solti's version you can appreciate it in a way that none of the other versions can.

Sutherland-Horne- Pavarotti "Live From Lincoln Center"

Average customer rating:

Where is the rest of it?
Brilliant music making. There ought to be a video of this available
Operatic Concert of the Century
Great singing
Mixed truimph!

Sutherland-Horne- Pavarotti "Live From Lincoln Center"

Manufacturer: Polygram Records
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

Horne, Marilyn | Divas | Opera & Vocal | Styles | Music

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music
Similar Items:

Marilyn Horne: The Men in My Life

ASIN: B0000041SA
Release Date: 1987-05-11

Tracks:

Ernani: Solingo, errante, misero - SUTHERLAND/HORNE/PAVAROTTI
Norma: Adalgisa!...Oh rimembranza - Sutherland/Horne
Norma: Ma di'...Oh, non tremare - SUTHERLAND/HORNE/PAVAROTTI
La Gioconda: Ecco la barca, addio - SUTHERLAND/HORNE/PAVAROTTI
La Gioconda: Deh! Non turbare - Horne/Pavarotti
Otello: Gia nella notte densa - Sutherland/Pavarotti
Il trovatore: Madre, non dormi? - Sutherland/Horne/Pavarotti/Gardner

Amazon.com

This recording marks ground zero of the Three Tenors phenomenon and reminds you of all that it was supposed to be. There's only one tenor here--Luciano Pavarotti--and because he's partnered by different voice types--soprano Joan Sutherland and mezzo-soprano Marilyn Horne-- the possibilities of substantial artistic collaboration are much greater. Though this event was heavily hyped and would've driven audiences wild no matter what, the singers use the concert as an occasion to do things they'd never do on the opera stage, such as the Sutherland-Pavarotti duet from Otello. In their prime, they were one of the great operatic teams, as were Sutherland and Horne. And this concert gives ample evidence why. It's essential for fans of these singers. --David Patrick Stearns

Customer Reviews:

Where is the rest of it?.......2006-02-14

When DECCA issued this recording in the LP era it came in 2 LPs and COMPLETE. I have no idea who decided to omit the arias but it was a big, BIG mistake. Horne sang a terrific "Mura felici" from la Donna del Lago that alone would be worth the price of a double album. Sutherland sang the aria from I Masnadieri and Pavarotti the unmissable aria from La Bohéme. I really hope one day (sooner than later) DECCA will reissue this concert COMPLEEEEETEEEEEE!!!!

Brilliant music making. There ought to be a video of this available.......2006-01-26

Sorry, but I humbly disagree with other reviewers here. Dame Joan, in 1981, was still singing fantastically. The age is somewhat apparent, but... who cares! That sound! I love Marilyn Horne in this period, and Pavarotti is fantastic. But what really moves me about the whole package is Joan Sutherland. I adore Marilyn Horne in the basso cantante role: this is the turn that makes this trio fantastic: no wobbly bass! Brava Tutti.

Operatic Concert of the Century.......2005-12-21

This was dubbed the Concert of the Century and captured Pavarotti and Horne in their prime. As some have suggested, Dame Joan may have been past her prime, but her voice was still strong and brilliant.

Great singing.......1999-05-23

If this is Joan Sutherland way past her prime, I can't imagine how great she must have been IN her prime. I personally enjoy all the singers in this cd.

Mixed truimph!.......1998-11-30

If you are a fan of Pavorotti and Horne, buy this CD. But if you are a fan of Dame Joan, you will be very disappointed. Sutherland is already way past her prime years of 1956-1976. Her wide vibrato is and pitch problems are particularly troublesome.

The Glories of Handel Opera ~ Kirkby · Sutherland · Tebaldi · Berganza · Horne · Bowman · Pavarotti

Average customer rating:

A Lovely Mix of Old and New.
Glorious!
The glories could have been even more...glorious
Splendid Anthology from the Past 40 years

The Glories of Handel Opera ~ Kirkby · Sutherland · Tebaldi · Berganza · Horne · Bowman · Pavarotti
George Frideric Handel , Christopher Hogwood , Christophe Rousset , Richard Bonynge , Alexander Gibson , Bryan Balkwill , Henry Lewis , Emma Kirkby , James Bowman , Sara Mingardo , Luciano Pavarotti , Marilyn Horne , Joan Sutherland , Alicia Nafe , Philip Ledger , Forbes Robinson , Teresa Berganza , Bernadette Greevey , Renata Tebaldi , Sir Geraint Evans , and Emmanuelle Haïm
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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Similar Items:

The Emma Kirkby Collection
Emma Kirkby sings Handel, Arne, Haydn & Mozart
Rinaldo
Handel: Serse (Complete Opera) - William Christie, Anne Sofie von Otter
Sandrine Piau - Handel Opera Seria

ASIN: B00004U8FD
Release Date: 2001-02-13

Tracks:

Alcina: Tornami a vagheggiar - Kirkby
Orlando: Ah Stigie larve! - Bowman
Orlando: Gia latra Cerbero - Bowman
Orlando: Vaghe pupille non piangete - Bowman
Riccardo Primo: Atterrato il muro cada - Mingardo
Atalanta: Care selve ombre beate - Pavarotti
Semele: Hence Iris hence away - Horne
Rodelinda: Io t'abbraccio - Sutherland
Ezio: Se un bell'ardire puo innamorarti - Forbes Robinson
Giuliu Cesare: Piangero la sorte mia - Teresa Berganza
Alcina: Dream Music - Kirkby
Rinaldo: Armida dispietata! Lascia ch'io pianga - Bernadette Greevy
Alcina: Sta nell'Ircana pietrosa tana tigre sdegnosa - Teresa Berganza
Serse: Frondi tenere - Ombra mai fu - Renata Tebaldi
Berenice: Si tra i ceppi e le ritorte la mia fe risplendera - Geraint Evans
Rodelinda: Dove sei amato bene? - Marilyn Horne
Giuliu Cesare: Da tempeste il legno infranto - Joan Sutherland

Customer Reviews:

A Lovely Mix of Old and New........2006-11-14

This volume actually updates an old tape--which I still own!--by adding some of the more recent interest in historical performance practices to some of the older operatic show-biz types on display here.

I very much enjoy Sutherland and similar performers in this material. Talk about razzle-dazzle. Singers like Pavarotti and Tebaldi bring a lot of know-how about beautiful music to Handel, and that is never unwelcome.

While they might not have been terribly musicologically-informed, performers like Sutherland, Horne and Berganza certainly knew more about period performance practices: they indeed initiated the resurgence of such practices in the last three decades. Do other reviewers here perhaps forget that in preferring Dessay over Sutherland?

Meanwhile for the purists, Hogwood, Kirkby and Bowman are certainly more in the original instruments/authenticity-fetish camp: if memory serves, they were not included in the old cassette version. Clearly Decca is aware of the change in performing styles--and perhaps audience tastes--even as they are reflected on this very Amazon page. Frankly, I could use less of these and more of the old-timers.

So yes, this is a mix of old and new. The newest trends are not included. But are they not readily available elsewhere? Meanwhile, like its earlier incarnations, this set is still a marvelous compilation of gorgeous music-making from the deep Decca catalog.

Glorious!.......2005-12-30

I bought this album a while back because I've taken an interest in Baroque music recently, and I was not disappointed. This truly is a glorious recording of Handel Opera. Of course with singers like Pavarotti, Sutherland, Horne, Tebaldi it would have to be above average. Sutherland ends the album with a dazzling display of vocal dexterity in "Da tempeste il legno infranto". Even when she sings the 16th note runs each note still has clarity. And Pavarotti is delectable in "Care Selve". I could give a review of each song but there's no need for that because each track on this is marvellous in its own way. Buy this album.

The glories could have been even more...glorious.......2004-05-31

Handel operas nowadays receive impressive stage productions and become increasingly popular. This is a great collection if you want to hear some of your favourite Italian opera singers like Sutherland, Tebaldi, Pavarotti, Evans, Berganza and Horne sing Handel. Especially the young Sutherland and Pavarotti are sensational!

Considering on the other hand that Decca has now recorded many Handel operas with excellent Baroque singers, I find this recording to be somewhat outdated. It wasn't necessary for example to have Sutherland, Horne and Berganza sing two different roles when the same parts have recently been recorded by excellent newcomers like Dessay, Von Otter, or Scholl to name a few. Why stick to the past when the present has so many wonderful Handel singers?

Overall however, a decent introduction to Handel's music.

Splendid Anthology from the Past 40 years.......2002-07-03

This fine CD is an anthology of splendid performances dating from 1960-1995 by the world's most celebrated opera singers of great music by Handel, who in my opinion wrote better for the voice than anyone else. Enjoy! You will listen to it again and again.

Average customer rating:

This could make you hate this opera
Pavarotti singing Trovatore?

Verdi: Il Trovatore
Sutherland , Pavarotti , Horne , Bonynge , and National Philharmonic Orchestra
Manufacturer: Decca/Universal
ProductGroup: Music
Binding: Audio CD

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ASIN: B000023ZF5
Release Date: 1998-12-18

Tracks:

All'erta All'erta
Di Due Figli Vivea Padre Beato
Che Piu T'arresti
Tacea La Notte Placida
Di Tale Amor Che Dirsi
Tace La Notte
Deserto Suilla Terra
Infida Qual Voce Di Geloso Amor Sprezzato
Vedi Le Fosche Notturne Spoglie
Stride La Vampa
Soli Or Siamo
Non Son Tuo Figlio
Mal Reggendo All'aspro Assalto
Perigliarti Ancor Languente
Tutto E Deserto
Ii Balen Del Suo Sorriso
Ah Se L'error T'ingombra
E Deggio E Posso Crederlo
Or Co' Dadi Ma Fra Poco
Squilli Echeggi La Tromba Guerriera
In Braccio Al Mio Rival
Giorni Poveri Vivea
Quale D'armi Fragor
Ah Si Ben Mio
L'onda De' Suoni Mistici
Di Quella Pira
Siam Qiunti Ecco La Torre
D'amor Sull'ali Rosee
Miserere D'un' Alma Gia Vicina
Tu Vedrai Che Amore In Terra
Udiste Come Albeggi
Te Davanti
Mira Di Acerbe Lagrime
Vivra.... Contende Il Giubilo
Madre Non Dormi
Si La Stanchezza M'opprime
Che.... Non M'inganna Quel Fioco Lume
Parlar Non Vuoi
Ti Scosta Non Respingermi
Prima Che D'altri Vivere

Customer Reviews:

This could make you hate this opera.......2004-05-22

There is a lot of good intent in this recording but it just doesn't come together. Bonynge's tempi are sluggish and his inclusion of the Paris ballet music exposes the listener to one of Verdi's most atrocious pieces of music - no wonder no other conductor included it. Sutherland, while still in her estimable prime, here sounds hooty and tired. Pavarotti sounds workaday - his adoption of heavy roles like Manrico was beginning to wear away at his voice. Marilyn Horne is totally miscast as Azucena - a heavy-handed, matronly personification. Ingvar Wixell sings Di Luna's music but little else.
There were so many other (bel canto)works in which this trio could have shone but Verdi's masterpiece is not for them. There are many fine recordings of this work which demonstrate how gripping and lyrical this piece is. Avoid this one!

Pavarotti singing Trovatore?.......2004-03-21

Legend has it that Verdi played some of the passages from this opera to critics of the time and they all agreed that it was one of Verdi's poorest works. Verdi was pleased with this, since he claims to have written this Opera for the people of Italy, not for it's critics. It has more than proven itself one of the best operas written by the Maestro and one of my personal favorites.

However, as far as this recording goes... I may be plead guilty of Pavarotti bashing if he didn't have great recordings where his voice really shines (Donizetti's Fille du Regiment and other Bel Canto roles), but what on earth was he thinking when he tried to take on Trovatore? His Pira is shameful! Singing Di quella Pira is not just about hitting the high notes, but about doing it convincingly! I mean, Pavarotti's voice can hit a high C, a D and probably even a D#, but it just doesn't have the size required for this role.

Tracks:

Il Trovatore: Part One: 'All'erta! All'erta!' - Nicolai Ghiaurov
Il Trovatore: Part One: 'Di due figli vivea padre beato' - Nicolai Ghiaurov
Il Trovatore: Part One: 'Che piu t'arresti?' - Norma Burrowes
Il Trovatore: Part One: 'Tacea la notte placida' - Joan Sutherland
Il Trovatore: Part One: 'Di tale amor, che dirsi' - Joan Sutherland
Il Trovatore: Part One: 'Tace la notte!' - Ingvar Wixell
Il Trovatore: Part One: 'Deserto sulla terra' - Luciano Pavarotti
Il Trovatore: Part One: 'Infida!' 'Qual voce!' - Pavarotti/Sutherland
Il Trovatore: Part Two: 'Vedi! Le fosche notturne spoglie' - Peter Knapp
Il Trovatore: Part Two: 'Stride la vampa!' - Marilyn Horne
Il Trovatore: Part Two: 'Soli or siamo' - Luciano Pavarotti
Il Trovatore: Part Two: 'Non son tro figlio!' - Luciano Pavarotti
Il Trovatore: Part Two: 'Mal reggendo all'aspro assalto' - Luciano Pavarotti
Il Trovatore: Part Two: 'Perigliarti ancor languente' - Marilyn Horne
Il Trovatore: Part Two: 'Tutto e deserto' - Ingvar Wixell
Il Trovatore: Part Two: 'Il balen del suo sorriso' - Ingvar Wixell
Il Trovatore: Part Two: 'Ah, se l'error t'ingombra' - London Opera Chorus
Il Trovatore: Part Two: 'E deggio e posso crederlo?' - Joan Sutherland

Tracks:

Il Trovatore: Part Three: 'Or co'dadi, ma fra poco' - London Opera Chorus
Il Trovatore: Part Three: 'Squilli, echeggi la tromba guerriera' - London Opera Chorus
Il Trovatore: Part Three: 'In braccio al mio rival!' - Ingvar Wixell
Il Trovatore: Part Three: 'Giorni poveri vivea' - Marilyn Horne
Il Trovatore: Part Three: 'Quale d'armi fragor' - Joan Sutherland
Il Trovatore: Part Three: 'Ah si, ben mio' - Luciano Pavarotti
Il Trovatore: Part Three: 'L'onda de'suoni mistici' - Sutherland/Pavarotti
Il Trovatore: Part Three: 'Di quella pira' - Luciano Pavarotti
Il Trovatore: Part Four: 'Siam giunti: ecco la torre' - Graham Clark
Il Trovatore: Part Four: 'D'amor sull'ali rosee' - Joan Sutherland
Il Trovatore: Part Four: 'Miserere d'un'alma gia vicina' - London Opera Chorus
Il Trovatore: Part Four: 'Tu vedrai che amore in terra' - Joan Sutherland
Il Trovatore: Part Four: 'Udiste? Come albeggi' - Ingvar Wixell
Il Trovatore: Part Four: 'A te davanti' - Joan Sutherland
Il Trovatore: Part Four: 'Mira di acerbe lagrime' - Joan Sutherland
Il Trovatore: Part Four: 'Vivra!... contende il giubilo' - Joan Sutherland
Il Trovatore: Part Four: 'Madre, non dormi?' - Luciano Pavarotti
Il Trovatore: Part Four: 'Si; la stanchezza m'opprime, o figlio' - Marilyn Horne
Il Trovatore: Part Four: 'Che!...non m'inganna quel fioco lume?' - Luciano Pavarotti
Il Trovatore: Part Four: 'Parlar non vuoi?' - Luciano Pavarotti
Il Trovatore: Part Four: 'Ti scosta!' 'Non respingermi!' - Pavarotti/Sutherland
Il Trovatore: Part Four: 'Prima che d'altri vivere' - Joan Sutherland

Customer Reviews:

There are lots of good "Trovatores." This isn't one of them.......2006-05-25

This is a woefully misguided and magnificently miscast production of "Il trovatore." Only someone suffering from the lunatic delusion that Verdi's "Il trovatore" is a bel canto opera could love it.

"Trovatore" has its faults but even its faults have a shaggy grandeur to them. This performance has been willfully distorted to accommodate the talents of Joan Sutherland and Marilyn Horne, neither of whom is a singer in any way suited to this blood and guts opera. Pavarotti is only slightly better in the power-driven role of Manrico. The old warhorse does not deserve to be beaten in this manner. Even the Bocelli version--and you cannot imagine how it pains me to say this!--is more true to the intentions of the composer than this set.

One star for a performance that is miscast, misconceived, and misconducted--plus a star for the sheer, bitter laughter it engenders.

The middle of Verdi's three most popular operas in a great recording.......2005-10-20

"Il Trovatore" (The Troubadour) is the middle of the three great Verdi operas from the early 1850s (the first is "Rigoletto" and the third is "La Traviata"). It was a sensation when it opened (people waded through ankle deepwater and mud in the flooded streets near the theater the morning the opera was to open to claim their seat for that evening's performance). It soon swept Europe and the world and remains an audience favorite a century and half later.

The music has sometimes been criticized for appealing to the cheap emotions of its audiences, but it remains widely performed and greatly loved. There are many great musical moments in the opera, many of them given to Manrico, as you would expect, but there are also fabulous moments for the chorus including the crowd pleasing "Anvil Chorus" (which is really a song from the gypsy camp, not a bunch of blacksmiths or workers of fire from the infernal pits!).

The libretto is taken from a famous play of the time by Antonio Gutierrez and reworked for Verdi by Cammarano (completed by Bardare after Cammarano's death). It is a very convoluted plot, but very dramatic and provides any number of dramatic situations for a wide range of music and combinations of forces. Verdi completed the music quickly since he had a clear idea of where he wanted to go with the opera more than a year before the libretto was completed.

For Verdi, the role of Azecuna, Manrico's mother, was the central role. He had thought about calling the opera "The Gypsy" or "The Vendetta". The character of Azecuna is an innovation. She is a leading role and sung by a mezzo-soprano. Verdi did more with this vocal register in later operas. He uses characters in this vocal register as a mix of positive and negative qualities and they are usually quite troubled.

So, what is this wonderful opera about? As the opera opens we hear a soldier of Count de Luna keep his guards awake with a tale of a gypsy the Count's father had burned at the stake. She cursed the family as she died. The Count's brother was missing afterwards and a baby's bones were found in the ashes.

The Count and Manrico (the troubadour of the title and a soldier for the Count's rival) are rivals for Leonora (a lady-in-waiting for the Princess of Aragon). So, they fight not only for Lenora, but on different sides of the struggle for who will rule. It also turns out that Manrico's mother, Azecuna, is the daughter of the gypsy who was burned at the stake and sought by the Count for revenge.

There are duels, battles, captures, treachery and attempted rescues aplenty. In the end, Manrico and his mother are in prison. Leonora loves Manrico and promises the Count she will be his if he lets Manrico go. She takes a slow acting poison to cheat the Count of his prize, and goes to Manrico. He will not accept that she has given herself to the Count and is quite cruel to her until the poison begins acting too quickly. The Count sees their love and is incensed. Leonora dies, the count has Manrico beheaded, and the broken Azecuna who tried to warn the Count to not kill Manrico, now tells him that he has killed his own brother. He understands the horror, and Azecuna, sinking to the ground, tells her mother that she is finally avenged. The Count regrets that he must live.

This recording with Pavarotti as Manrico, Sutherland as Leonora, Horne as Azecuna, and Ingvar Wexell as the Count, is quite good. The solos and ensembles are quite effective and the choruses are magnificent. The ballet music was left off so it would fit on two compact discs. Rats. Considering the case holds up to four and the cost of a CD is about fifty cents or less and they charge us more than thirty dollars for this work, you would think they could spring for one more CD and give us everything. Anyway, this was recorded in London in 1976 and came out in 1977 and still sounds great.

Excellent Trovatore.......2003-07-29

This is an excellent recording of Verdi's masterpiece, Il Trovatore. Sutherland is in very fine form, efforlessly singing this difficuot late bel canto role. Pavarotti is likewise in peak voice, creating a most impassioned hero, with a killer high C to boot. Horne is my favorite Azucena on record - she can really trill, which is not always the case with mezzos singing this role. Wixell is a little less competitive, but has a nice ring to his voice. Bonynge conducts the revised French version of the score, which differs in a few places. The recording originally included the ballet music Verdi wrote for Paris, but this has been deleted to fit the opera on two CD's.

A winner.......2003-05-24

Sutherland and Pavarotti were borned to see Travotore. The opera has strained many famouns divas and divos with the extremely high notes and coloratura. These, of course, are effortless for the two giants of opera.
As for Sutherland adding extremely high notes to Leonora, it makes the opera all that much excited. I love this set.

Miscasting woes.......2000-04-01

While I am admirers of both Pavarotti (to some degree) and Sutherland, I have to say that they are both miscast in this opera. Pavarotti is a wonderful LYRIC tenor - when he ventures into spinto or dramatic repertory, I find him unconvincing. Manrico is a heavy role, and Pavarotti is reduced to yelling at the end of "Di quella pira." Sutherland, of course, has a wonderful coloratura ability, but only two arias of Leonora's really call for any coloratura at all ("Di tale amor" and "D'amor sull'ali rosee"). The rest of the role finds her out of her league in a primarily spinto part. She changes the whole musical structure of the character by changing what she can't do in terms of power into her strengths, like very high notes that are not in Verdi's score. Bonynge is not his usual dramatic self, Horne and Wixell are only adequate, and the only redeeming feature of this recording is the powerful Ferrando of Nicolai Ghiaurov. Turn to Mehta's magnificent recording on RCA if you want to hear a Trovatore worth listening to.

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

Average customer rating:

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

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

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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Operettas | Opera & Vocal | Styles | Music

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

Giuseppe Verdi: Il Trovatore [Scenes And Arias]

Average customer rating:

Giuseppe Verdi: Il Trovatore [Scenes And Arias]

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Horne, Marilyn | Divas | Opera & Vocal | Styles | Music

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music

Tracks:

Che piu t'arresti? - Norma Burrowes/Joan Sutherland
Tacea la notte - Joan Sutherland/Norma Burrowes
Vedi! Le fosche notturne spoglie - London Opr Chor
Stride la vampa! - Marilyn Horne/Luciano Pavarotti/Peter Knapp/London Opr Chor
Tutto e deserto - Ingvar Wixell/Nicolai Ghiaurov
Il balen del suo sorriso - Ingvar Wixell/Nicolai Ghiaurov/London Opr Chor
Or co' dadi - London Opr Chor/Nicolai Ghiaurov
Squilli, echeggi - London Opr Chor/Nicolai Ghiaurov
Di qual tetra luce... Ah si, ben mio - Joan Sutherland/Luciano Pavarotti/Graham Clark
Di quella pira - Luciano Pavarotti/Joan Sutherland/Graham Clark/London Opr Chor
Siam giunti - Graham Clark/Joan Sutherland
D'amor sull'ali rosee - Joan Sutherland
Miserere - London Opr Chor/Joan Sutherland/Luciano Pavarotti
Ti scosta! - Luciano Pavarotti/Joan Sutherland/Ingvar Wixell/Marilyn Horne

Average customer rating:

Opera Francais
Crespin , Sutherland , Pavarotti , Horne , and Corelli
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
ASIN: B00000E3SI
Release Date: 1991-05-10

Average customer rating:

Verdi: World of Verdi
Sutherland , Pavarotti , Vickers , Horne , Bergonzi , and Milnes
Manufacturer: Decca/Universal
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

The Decca Records Store | Specialty Stores | Music
ASIN: B000027BNC
Release Date: 1991-12-10

Tracks: