Verdi - Luisa Miller / Millo · Domingo · Chernov · Quivar · Plishka · Rootering · MET · Levine

Editorial Reviews
Amazon.com
You can hear Verdi's genius growing through the course of this opera, in part because it is about (among other things) parent-child relationships, a theme that stirred him to the depths of his soul. Luisa Miller begins in the manner of early Verdi, goes on to a foretaste of his middle period (Rigoletto, Traviata) and even hints at his late manner (Aida, Otello). Placido Domingo's name is (coincidentally) evoked in his show-stopping aria, "Quando le sere al placido," and that may help explain the special energy he puts into it. Aprile Millo matches his power after a slightly strained beginning, and James Levine conducts a performance that is quite satisfactory (note Paul Plishka as the exquisitely named villain, Wurm), though many will prefer Peter Maag (on London) or Fausto Cleva (on RCA). --Joe McLellan

Tracks:

Sinfonia - Metropolitan Opera Orchestra And Chor/James Levine
Act One: Scene 1: Intorduzione: Orchestral Prld - Metropolitan Opera Orchestra And Chor/James Levine
Act One: Scene 1: Intorduzione: 'Ti Desta, Lusia, Regina De' Cori'
Act One: Scene 1: Intorduzione: 'Ecco Mia Figlia'
Act One: Scene 1: Intorduzione: 'Lo Vidi, E 'l Primo Palpito'
Act One: Scene 1: Intorduzione: 'T'amo D'amor Ch'esprimere'
Act One: Scene 1: Scena Ed Aria: 'Ferma Ed Ascolta'
Act One: Scene 1: Scena Ed Aria: 'Sacra La Scelta E D'un Consorte'
Act One: Scene 1: Scena Ed Aria: 'Costarti, O Vecchio Debole'
Act One: Scene 1: Scena Ed Aria: 'Ah! Fu giusto Il Mio Sospetto!'
Act One: Scene 2: Scena Ed Aria: 'Che Mai Narrasti!'
Act One: Scene 2: Scena Ed Aria: 'Il Mio Sangue, La Vita Darei'
Act One: Scene 2: Scena E Coro: 'Padre'...M'abbraccia'
Act One: Scene 2: Scena E Coro: 'Quale Un Sorriso D'amica Sorte'
Act One: Scene 2: Scena E Duetto: ' Duchessa'/'Dall'aule Raggianti'
Act One: Scene 3: Coro Di Cacciatori E Finale I: 'Sciogliete I Levrieri'
Act One: Scene 3: Coro Di Cacciatori E Finale I: 'Del Conte Di Walter Figlio'
Act One: Scene 3: Coro Di Cacciatori E Finale I: 'Tu, Signor, Fra Queste Soglie!'
Act One: Scene 3: Coro Di Cacciatori E Finale I: 'Fra' Mortali Ancora Oppressa'
Act One: Scene 3: Coro Di Cacciatori E Finale I: 'I Cenni Miei Si Compiano'
Act Two: Scene 1: Introduzione: 'Ah! Luisa, Luisa, Over Sei?'
Act Two: Scene 1: Scena Ed Aria: 'Il Padre Tuo'...'Finisci'
Act Two: Scene 1: Scena Ed Aria: 'Tu Puniscimi, O Signore'
Act Two: Scene 1: Scena Ed Aria: 'Qui Nulla S'attenta Imporre'
Act Two: Scene 1: Scena Ed Aria: 'A brani, A Brani, O Perfido'

Tracks:

Act Two: Scene 2: Scena E Duetto: 'Egli Delira: Sul Mattin Degli Anni'
Act Two: Scene 2: Scena E Duetto: 'L'alto Retaggio Non Ho Bramato'
Act Two: Scene 2: Scena E Quartetto A Voci Sole: 'Vien La Duchessa!'...'Conte!'
Act Two: Scene 2: Scena E Quartetto A Voci Sole: ' Presentarti Alla Duchessa'
Act Two: Scene 3: Scena Ed Aria/Finale II: 'Il Foglio Dunque?'...'Lo Tutto Gia Vi Narrai!'
Act Two: Scene 3: Scena Ed Aria/Finale II: 'Quando Le Sere Al Placido'
Act Two: Scene 3: Scena Ed Aria/Finale II: 'Di Me Chiedeste?'...'Appresati. Leggi'
Act Two: Scene 3: Scena Ed Aria/Finale II: 'L'ara, O L''avello Apprestami'
Act Three: Coro D'introduzione: 'Come In Un Giorno Solo'
Act Three: Coro D'introduzione: 'O dolce amica, e ristorar Non Vuoi'
Act Three: Scena E Duetto: 'Pallida, Mesta Sei!'...'No, padre Mio'
Act Three: Scena E Duetto: 'La Tomba E Un Letto Sparso Di Fiori'
Act Three: Scena E Duetto: 'Andrem, Raminghi E Poveri'
Act Three: Scena, Preghiera, Duetto E Terzetto Finale: 'Ah! I'ultima Preghiera'
Act Three: Scena, Preghiera, Duetto E Terzetto Finale: 'Piangi, Piangi; Il Tuo Dolore'
Act Three: Scena, Preghiera, Duetto E Terzetto Finale: 'Donna, Per Noi Terribile Ora Squillo...
Act Three: Scena, Preghiera, Duetto E Terzetto Finale: 'Paadre, Ricevi L'estremo Addio'

Amazon.com

You can hear Verdi's genius growing through the course of this opera, in part because it is about (among other things) parent-child relationships, a theme that stirred him to the depths of his soul. Luisa Miller begins in the manner of early Verdi, goes on to a foretaste of his middle period (Rigoletto, Traviata) and even hints at his late manner (Aida, Otello). Placido Domingo's name is (coincidentally) evoked in his show-stopping aria, "Quando le sere al placido," and that may help explain the special energy he puts into it. Aprile Millo matches his power after a slightly strained beginning, and James Levine conducts a performance that is quite satisfactory (note Paul Plishka as the exquisitely named villain, Wurm), though many will prefer Peter Maag (on London) or Fausto Cleva (on RCA). --Joe McLellan

Customer Reviews:

Millo in riveting vocal beauty.......2003-09-07

What happened to Aprile Millo? A twenty year career that is still going strong. You might just ave to travel to hear her as she has perfroms exclusively in the USA. Her recent Adriana Lecouveur in New York was a towering example of italian phrasing,piani, and the style of singing not heard at all these days. To have had this glorious artist in this fabulous Luisa, the third act is such a momumental thing of beauty you have to buy this just to hear it. Domingo is ardent, Chernov is Verdian, very rare, and
Levine lets the music take us to pardise. One should hear her live, but this is just the right record to have until you do....
Millo, the last of the true great Italian Sopranos.

The unique verdian soprano voice.......2003-02-01

Aprile Millo is the greatest soprano of these days. Many people thinks she is over, but does not correct. Just listen her singing Maddalena (Andrea Chenier - Metropolitan Season 92/93). Few words: the great voice at her best. Full of power, energy and sharing with the audience her energy. She is the best Luis Miller and the best performer on this recording. Just the last track of the opera takes full value. Enjoy it!

A lovely Luisa.......2000-09-04

I just can't understand what happened to Aprile Millo, for some 5 years she sang magnificently and seemed the soprano we had been waiting for decades, and then the voice was gone and her international career was over. At least she left a handful of opera recordings very much worth collecting: Aida, Trovatore, Don Carlo and this Luisa Miller. Unfortunately she never recorded Ballo and Forza, she would have been wonderful as Amelia and Leonora di Vargas. In this recording of Luisa Miller her voice can be heard at its best, true spinto singing in the mold of Zinka Milanov. She has strong support from that fine baritone Vladimir Chernov, who sadly has also been having vocal difficulties lately. Both are very moving as father and daughter, and it's wonderful to hear two real Verdi voices together. Placido Domingo in his second recording as Rodolfo is still in fresh voice and totally involved. Is this the best Luisa Miller? Well no, there are 2 other recordings at least as good: the DG Maazel with Ricciarelli, Domingo and Bruson, and the DECCA Maag with Pavarotti, Caballe and Milnes. Katia Ricciarelli was very special as Luisa, probably her finest recording ever, and the great Renato Bruson was incomparable as Miller, if forced to choose, this will be my favourite recording. The Pavarotti/Caballe is marvelous too, especially for Caballe in one of her finest recordings, the voice itself unbelievably beautiful, if not as touching as Ricciarelli. All three recordings are admirable and worth owning.

Track Listings:

Track Listings

track listings

Track Listings

Defixiones: Will and Testament, Orders from the Dead

Marc Briquet: Oeuvres Pour Orchestre

Jane Eyre, the Musical (Original 2000 Broadway Cast) [Cast Recording]

Great Voices of the Twentieth Century: Beniamino Gigli [Import]

Live at Freakscene [Import]

link-web.net Music Review: A Prophecy of Peace: The Choral Music of Samuel Adler

Irving Berlin Songbook [Import]

Fiesta Tejana, Vol. 1

Fiesta Nortena, Vol. 3

Pre-History: The Lost Steeltown Recordings

I Trawl the Megahertz