Donizetti - Three Queens (Anna Bolena ~ Maria Stuarda ~ Roberto Devereux) [Box set]

Editorial Reviews
Amazon.com
Gaetano Donizetti didn't actually set out to compose a cycle based on the tragic histories of the Tudor Queens. The three works gathered here--including his breakthrough opera, Anna Bolena, Roberto Devereux, and the long-neglected Maria Stuarda--were created at various points in his maniacally prolific career, and each has its own rather complicated, haphazard genesis. But the belated reappreciation given to these works at New York City Opera during the heyday of the bel canto revival--a crucial step in the overall revival of Donizetti as well--conferred a sort of post facto sense of unity thanks to the signature contributions of Beverly Sills. These roles were, quite unpunningly, her crowning achievement. Yet despite a brief efflorescence of celebrity (even extending to a Time magazine cover) when she was considered perhaps the rival to Joan Sutherland, Sills slipped through the cracks. For all her formidable acting skill--a substantial aspect of her accomplishment in these interpretations--she never quite made it to the era of opera telecasting, and her problematic recorded catalog and relatively early retirement from the stage hindered the Sills legend from extending to a new generation.

But now, there's no excuse to overlook the Sills achievement. Coupled with the belated reissue of her early triumph in The Ballad of Baby Doe, this Donizetti box set gives a fuller portrait of the artist Sills. This is quite simply a can't-miss bonanza for Donizetti-heads and, for that matter, fans of beautiful singing. The original project started off with Roberto Devereux--recorded in London in 1969--and continued until the summer 1972 recording of Anna Bolena, but this is the first time the old LPs have been made collectively available on CD in remastered format. The box includes facsimiles of the original lengthy liner notes (with astute background, commentary, and translations--full libretti included--by William Ashbrook) and a bonus booklet of photos from the original NYC Opera productions.

Just as the musical content varies in quality from opera to opera, indeed within each opera, the level of performance is by no means seamless or at the same peak pitch throughout. Some listeners will prefer the less liberal but profoundly attentive and intuitively rich conducting of Charles Mackerras in Devereux, while others will overlook the rather surprisingly sloppy string ensemble and figuration committed by the London Symphony in Anna Bolena for the hectic energy and pacing Julius Rudel could conjure. The challenges demanded by Donizetti's heavy writing for Elisabetta in Devereux can manifest as strain, but this part also registers Sills's vocal acting with a powerful punch: just listen to the range of emotional content she sails through in the scene of her conflicted first duet with Roberto, beginning with "un tenero core" (Act I). One of the joys here is zeroing in on your own favorite passage, scena, flicker of insight: perhaps it's Anna in prison, the outburst of two queens meeting in the park outside Fotheringhay (who cares if history has been amended to suit dramatic license?), or Elisabetta's horrifying realization upon the execution of her beloved. And despite some unevenness in the casting, this set offers a number of other vocal treasures to set beside Sills's artistry: the utterly compelling Giovanna (Jane Seymour) of Shirley Verrett in Anna Bolena, Eileen Farrell's return to the studio for Maria Stuarda's imperious Elizabeth (interesting to compare with Sills's earlier slant on the queen from Devereux), Paul Plishka's imposing Henry the 8th, Peter Glossop's scheming Nottingham. If you're not already an addict, this set will bring you back for fix after fix. --Thomas May

Donizetti - Three Queens (Anna Bolena ~ Maria Stuarda ~ Roberto Devereux), Music, Christian du Plessis, Louis Quilico, Peter Glossop, Don Garrard, Gwynne Howell, Paul Plishka, Richard van Allan, Robert Lloyd, Gaetano Donizetti, Aldo Ceccato, Julius Rudel, Sir Charles Mackerras, Beverly Wolff, Patricia Kern, Shirley Verrett, London Philharmonic Orchestra, London Symphony Orchestra, Royal Philharmonic Orchestra, Beverly Sills, Eileen Farrell, Kenneth MacDonald, Robert Ilosfalvy, Robert Tear, Stuart Burrows, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Donizetti - Three Queens (Anna Bolena ~ Maria Stuarda ~ Roberto Devereux)
Average customer rating: 4.5 out of 5 stars
  • How LUCKY We ARE to have THESE recordings!
  • The great Beverly Sills on Cd in these masterpieces!
  • The Most Wonderful Compilation of the Tudor Queens
  • "3 Queens, 1 Soprano"
  • Please give it a rest!
 Donizetti - Three Queens (Anna Bolena ~ Maria Stuarda ~ Roberto Devereux)
Charles Mackerras , and London Symphony
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

All Works by DonizettiAll Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
Sills, BeverlySills, Beverly | ( S ) | Featured Performers, A-Z | Classical | Styles | Music
London Philharmonic OrchestraLondon Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
Donizetti, GaetanoDonizetti, Gaetano | C to G | 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
OperettasOperettas | Opera & Vocal | Styles | Music
Opera & VocalOpera & Vocal | Box Sets | Stores | Music
Deutsche Grammophon: MusicDeutsche Grammophon: Music | Specialty Stores | Music
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  3. Massenet: Manon
  4. The Ballad of Baby Doe
  5. Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel

ASIN: B000050I2W
Release Date: 2000-11-07

Tracks:

  1. Anna Bolena: Sinfonia (Overture) - Beverly Sills (Anna)
  2. Anna Bolena: Act 1 - Scene 1 - Introduzione - Beverly Sills (Anna)
  3. Anna Bolena: Ella di me, sollecita - Beverly Sills (Anna)
  4. Anna Bolena: Si taciturna e mesta - Beverly Sills (Anna)
  5. Anna Bolena: Deh! Non voler costringere - Beverly Sills (Anna)
  6. Anna Bolena: Come, innocente giovane - Beverly Sills (Anna)
  7. Anna Bolena: Legger potessi in me! Non v'ha sguardo - Beverly Sills (Anna)
  8. Anna Bolena: O! qual parlar fu il suo! - Beverly Sills (Anna)
  9. Anna Bolena: Si: l'avrete - Beverly Sills (Anna)
  10. Anna Bolena: La mia fama e a' pie dell'ara - Beverly Sills (Anna)
  11. Anna Bolena: Ella pure amor m'orrfia - Beverly Sills (Anna)
  12. Anna Bolena: Ah! qual sia cercar non oso - Beverly Sills (Anna)
  13. Anna Bolena: Act 1 - Scene 2 - Chi veggo?...in Inghilterra - Beverly Sills (Anna)
  14. Anna Bolena: Da quel di che, lei perduta - Beverly Sills (Anna)
  15. Anna Bolena: Ah! cosi nei di ridenti - Beverly Sills (Anna)
  16. Anna Bolena: Desta si tosto - Beverly Sills (Anna)
  17. Anna Bolena: Io sentii sulla mio mano - Beverly Sills (Anna)
  18. Anna Bolena: Or che reso ai patri i lidi - Beverly Sills (Anna)
  19. Anna Bolena: Questo di per noi spuntato - Beverly Sills (Anna)

Tracks:

  1. Anna Bolena: Act 1 - Scene 3 - E'sgombro il loco... - Beverly Sills (Anna)
  2. Anna Bolena: Ah! parea che per incanto - Beverly Sills (Anna)
  3. Anna Bolena: Basta...basta...tropp'oltre vai... - Beverly Sills (Anna)
  4. Anna Bolena: Anna! - Riccardo! - Beverly Sills (Anna)
  5. Anna Bolena: S'ei t'aborre, io t'amo ancora - Beverly Sills (Anna)
  6. Anna Bolena: Ah!...per pieta del mio spavento - Beverly Sills (Anna)
  7. Anna Bolena: Alcun potria ascoltarti - Beverly Sills (Anna)
  8. Anna Bolena: Tace ognuno - Beverly Sills (Anna)
  9. Anna Bolena: In quegli sgardi impresso - Beverly Sills (Anna)
  10. Anna Bolena: In separato carcere - Beverly Sills (Anna)
  11. Anna Bolena: Act 2 - Scene 1 - O! Dove mai ne andarono - Beverly Sills (Anna)
  12. Anna Bolena: O mie fedeli - Beverly Sills (Anna)
  13. Anna Bolena: Dio, che mi vedi in core - Beverly Sills (Anna)
  14. Anna Bolena: Sul suo capo aggravi un Dio - Beverly Sills (Anna)
  15. Anna Bolena: Dal mio cor punita io sono - Beverly Sills (Anna)
  16. Anna Bolena: Va, infelice, e teco reca - Beverly Sills (Anna)

Tracks:

  1. Anna Bolena: Act 2 - Scene 2 - Ebben? dinanzi ai giudici - Beverly Sills (Anna)
  2. Anna Bolena: Scostatevi...il Re giunge... - Beverly Sills (Anna)
  3. Anna Bolena: Ambo morrete - Beverly Sills (Anna)
  4. Anna Bolena: Al Consiglio sien tratti - Beverly Sills (Anna)
  5. Anna Bolena: Sposa a Percy - Beverly Sills (Anna)
  6. Anna Bolena: Per questa fiamma indomita - Beverly Sills (Anna)
  7. Anna Bolena: Stolta! non sai... - Beverly Sills (Anna)
  8. Anna Bolena: Ah! pensate che rivolti - Beverly Sills (Anna)
  9. Anna Bolena: Act 2 - Scene 3 - Tu pur dannato a morte - Beverly Sills (Anna)
  10. Anna Bolena: Vive tu, te ne scongiuro - Beverly Sills (Anna)
  11. Anna Bolena: Nel veder la tua costanza - Beverly Sills (Anna)
  12. Anna Bolena: Chi puo verderla - Beverly Sills (Anna)
  13. Anna Bolena: Piangete voi? - Beverly Sills (Anna)
  14. Anna Bolena: Al dolce giudami castel natio - Beverly Sills (Anna)
  15. Anna Bolena: Qual mesto suon?... - Beverly Sills (Anna)
  16. Anna Bolena: Cielo, a miei lunghi spasimi - Beverly Sills (Anna)
  17. Anna Bolena: Coppia iniqua - Beverly Sills (Anna)

Tracks:

  1. Maria Stuarda: Overture - Christian du Plessis (Cecil)
  2. Maria Stuarda: Act 1: Preludio - Christian du Plessis (Cecil)
  3. Maria Stuarda: Act 1: Qui si attende - Christian du Plessis (Cecil)
  4. Maria Stuarda: Act 1: Si, vuol di Francia il Rege - Christian du Plessis (Cecil)
  5. Maria Stuarda: Act 1: Ah! quando all'ara scorgemi - Christian du Plessis (Cecil)
  6. Maria Stuarda: Act 1: Fra voi perche - Christian du Plessis (Cecil)
  7. Maria Stuarda: Act 1: Hai nelle giostre - Christian du Plessis (Cecil)
  8. Maria Stuarda: Act 1: Questa immago - Christian du Plessis (Cecil)
  9. Maria Stuarda: Act 1: Sei tu confuso? - Christian du Plessis (Cecil)
  10. Maria Stuarda: Act 1: Quali sensi - Christian du Plessis (Cecil)
  11. Maria Stuarda: Act 2: Allenta il pie, Regina - Christian du Plessis (Cecil)
  12. Maria Stuarda: Act 2: Oh nube! - Christian du Plessis (Cecil)
  13. Maria Stuarda: Act 2: Ah! non m'inganna la gioia! - Christian du Plessis (Cecil)
  14. Maria Stuarda: Act 2: Da tutti abbandonata - Christian du Plessis (Cecil)
  15. Maria Stuarda: Act 2: Qual loco e questo? - Christian du Plessis (Cecil)
  16. Maria Stuarda: Act 2: E'sempre la stessa - Christian du Plessis (Cecil)

Tracks:

  1. Maria Stuarda: Act 2 - Deh! I'accorgli! - Christian du Plessis (Cecil)
  2. Maria Stuarda: Va, preparati furente - Christian du Plessis (Cecil)
  3. Maria Stuarda: Act 3 - E pensi? E tradi? - Christian du Plessis (Cecil)
  4. Maria Stuarda: Quella vita - Christian du Plessis (Cecil)
  5. Maria Stuarda: Si!...Regina! - Christian du Plessis (Cecil)
  6. Maria Stuarda: D'una sorella, o barbara - Christian du Plessis (Cecil)
  7. Maria Stuarda: La perfida insultarmi - Christian du Plessis (Cecil)
  8. Maria Stuarda: Che vuoi? - Christian du Plessis (Cecil)
  9. Maria Stuarda: Oh mio buon Talbo! - Christian du Plessis (Cecil)
  10. Maria Stuarda: Quando il luce rosea - Christian du Plessis (Cecil)
  11. Maria Stuarda: Vedeste? Vedemmo - Christian du Plessis (Cecil)
  12. Maria Stuarda: Anna?...Qui piu sommessi favellate - Christian du Plessis (Cecil)
  13. Maria Stuarda: Deh! Tu di un umile preghiera - Christian du Plessis (Cecil)
  14. Maria Stuarda: Oh colpo!... - Christian du Plessis (Cecil)
  15. Maria Stuarda: Giunge il Conte - Christian du Plessis (Cecil)
  16. Maria Stuarda: Ah! se un giorno da queste ritorte - Christian du Plessis (Cecil)

Tracks:

  1. Roberto Deveraux: Overture - Richard Val Allan (A Servant Of Nottingham)
  2. Roberto Deveraux: Act 1 - Geme!...pallor funereo - Richard Val Allan (A Servant Of Nottingham)
  3. Roberto Deveraux: All' afflito e dolce il pianto - Richard Val Allan (A Servant Of Nottingham)
  4. Roberto Deveraux: Duchessa...Alle fervide preci - Richard Val Allan (A Servant Of Nottingham)
  5. Roberto Deveraux: L'amor suo mi fe beata - Richard Val Allan (A Servant Of Nottingham)
  6. Roberto Deveraux: Nunzio son del Parlamento - Richard Val Allan (A Servant Of Nottingham)
  7. Roberto Deveraux: Donna reale, a' piedi tuoi... - Richard Val Allan (A Servant Of Nottingham)
  8. Roberto Deveraux: Un tenero core - Richard Val Allan (A Servant Of Nottingham)
  9. Roberto Deveraux: Roberto...Che?...fra le tue braccia! - Richard Val Allan (A Servant Of Nottingham)
  10. Roberto Deveraux: Forse in quel cor sensibile - Richard Val Allan (A Servant Of Nottingham)
  11. Roberto Deveraux: Duca, vieni... - Richard Val Allan (A Servant Of Nottingham)
  12. Roberto Deveraux: Qui ribelle ognum ti chiama - Richard Val Allan (A Servant Of Nottingham)
  13. Roberto Deveraux: Tutto e silenzio - Richard Val Allan (A Servant Of Nottingham)
  14. Roberto Deveraux: Dacche tornasti, ahi misera! - Richard Val Allan (A Servant Of Nottingham)

Tracks:

  1. Roberto Devereux: L'ore trascorrono - Beverly Sills (Elizabeth, Queen Of England)
  2. Roberto Devereux: Ebben? - Beverly Sills (Elizabeth, Queen Of England)
  3. Roberto Devereux: Segui!... - Beverly Sills (Elizabeth, Queen Of England)
  4. Roberto Devereux: Non venni mai si mesto - Beverly Sills (Elizabeth, Queen Of England)
  5. Roberto Devereux: Ecco l'indegno!... - Beverly Sills (Elizabeth, Queen Of England)
  6. Roberto Devereux: Scellerato!...Malvagio!... - Beverly Sills (Elizabeth, Queen Of England)
  7. Roberto Devereux: Va, la morte sul capo ti pende - Beverly Sills (Elizabeth, Queen Of England)
  8. Roberto Devereux: Ne riede ancora il mio consorte! - Beverly Sills (Elizabeth, Queen Of England)
  9. Roberto Devereux: Non sai che un nume vindice - Beverly Sills (Elizabeth, Queen Of England)
  10. Roberto Devereux: Ed ancor la tremeda porta - Beverly Sills (Elizabeth, Queen Of England)
  11. Roberto Devereux: A te diro' negli ultimi singhiozzi - Beverly Sills (Elizabeth, Queen Of England)
  12. Roberto Devereux: Bagnato il sen di lagrime - Beverly Sills (Elizabeth, Queen Of England)
  13. Roberto Devereux: E sara in questi orribili momenti - Beverly Sills (Elizabeth, Queen Of England)
  14. Roberto Devereux: Vivi, ingrato, a lei d'accanto - Beverly Sills (Elizabeth, Queen Of England)
  15. Roberto Devereux: Che m'apporti? - Beverly Sills (Elizabeth, Queen Of England)
  16. Roberto Devereux: Quel sangue versato al ciel - Beverly Sills (Elizabeth, Queen Of England)

Amazon.com

Gaetano Donizetti didn't actually set out to compose a cycle based on the tragic histories of the Tudor Queens. The three works gathered here--including his breakthrough opera, Anna Bolena, Roberto Devereux, and the long-neglected Maria Stuarda--were created at various points in his maniacally prolific career, and each has its own rather complicated, haphazard genesis. But the belated reappreciation given to these works at New York City Opera during the heyday of the bel canto revival--a crucial step in the overall revival of Donizetti as well--conferred a sort of post facto sense of unity thanks to the signature contributions of Beverly Sills. These roles were, quite unpunningly, her crowning achievement. Yet despite a brief efflorescence of celebrity (even extending to a Time magazine cover) when she was considered perhaps the rival to Joan Sutherland, Sills slipped through the cracks. For all her formidable acting skill--a substantial aspect of her accomplishment in these interpretations--she never quite made it to the era of opera telecasting, and her problematic recorded catalog and relatively early retirement from the stage hindered the Sills legend from extending to a new generation.

But now, there's no excuse to overlook the Sills achievement. Coupled with the belated reissue of her early triumph in The Ballad of Baby Doe, this Donizetti box set gives a fuller portrait of the artist Sills. This is quite simply a can't-miss bonanza for Donizetti-heads and, for that matter, fans of beautiful singing. The original project started off with Roberto Devereux--recorded in London in 1969--and continued until the summer 1972 recording of Anna Bolena, but this is the first time the old LPs have been made collectively available on CD in remastered format. The box includes facsimiles of the original lengthy liner notes (with astute background, commentary, and translations--full libretti included--by William Ashbrook) and a bonus booklet of photos from the original NYC Opera productions.

Just as the musical content varies in quality from opera to opera, indeed within each opera, the level of performance is by no means seamless or at the same peak pitch throughout. Some listeners will prefer the less liberal but profoundly attentive and intuitively rich conducting of Charles Mackerras in Devereux, while others will overlook the rather surprisingly sloppy string ensemble and figuration committed by the London Symphony in Anna Bolena for the hectic energy and pacing Julius Rudel could conjure. The challenges demanded by Donizetti's heavy writing for Elisabetta in Devereux can manifest as strain, but this part also registers Sills's vocal acting with a powerful punch: just listen to the range of emotional content she sails through in the scene of her conflicted first duet with Roberto, beginning with "un tenero core" (Act I). One of the joys here is zeroing in on your own favorite passage, scena, flicker of insight: perhaps it's Anna in prison, the outburst of two queens meeting in the park outside Fotheringhay (who cares if history has been amended to suit dramatic license?), or Elisabetta's horrifying realization upon the execution of her beloved. And despite some unevenness in the casting, this set offers a number of other vocal treasures to set beside Sills's artistry: the utterly compelling Giovanna (Jane Seymour) of Shirley Verrett in Anna Bolena, Eileen Farrell's return to the studio for Maria Stuarda's imperious Elizabeth (interesting to compare with Sills's earlier slant on the queen from Devereux), Paul Plishka's imposing Henry the 8th, Peter Glossop's scheming Nottingham. If you're not already an addict, this set will bring you back for fix after fix. --Thomas May

Customer Reviews:

5 out of 5 stars How LUCKY We ARE to have THESE recordings!.......2007-07-07

Well, I guess it's time I added my comments on these recordings.

First, however, I'd like to say that I do not understand "bashing". This has been going on, in my remembrance at least, since Callas/Tebaldi in the 50's. How stupid is this! Does one REALLY think that two different singers, with two different voices and/or approaches to a role can be, truthfully, compared to one another? I have never understood this kind of thinking. I LOVE Callas (in nearly everything she sang), but she had an ugly voice....do I let this bother me or lead me to compare her to others??? NO! She was, unquestionably, the greatest singing actress of our time, period! Tebaldi...was there EVER a voice as beautiful as hers?? Sills...Was there ever a voice as light and as fresh as hers??? Sutherland?? She wasn't called La Stupenda for nothing, folks. I could go on, but I think the point is made. Every one of these singers (and others) are themselves, with their own interpretations of roles. Some sing some roles better than others, but bashing??? I don't think so!!! This shows one's uncomfortable shallowness quite clearly, I believe.

The review:

Sills had a wonderously light and silvery voice, that I find quite her own. I simply love her Baby Doe, and her Traviata, as her voice is simply made for the parts. Her Lucia is, also, really good. Casting her as the three Tudor Queens was a wonderful thing, it made her a real solid star at the New York City Opera. She was the only one singing these roles at the time, and it was good for her career, and, also, good for the music world to become familiar with these three great tragic, long neglected, works of Donizetti.

But, as they were really beyond the capability of her instrument, she, eventually, damaged her voice with the parts, especially Elizabeth in Roberto Deveraux. This is, I guess, inevitable, as most singers do at some point in their careers, delve deeply into waters beyond their capability, and the downward progression begins. Repeatedly, singer after singer has done this.

That aside, let me say that we are so very fortunate to have these three recordings, even with their flaws (and there certainly are flaws), both as a remembrance of Beverly Sills, and her colleagues, but also documentation of her performances and the presentation of Donizetti's works. All three of these works are so rarely performed, much less recorded, that they are a treasure for sure.

Personally, Roberto Deveraux, I feel, hangs together the strongest in Mackerras' leadership. Sills is, admittedly, pushing the limits of her capabilities...but, by doing the role in sessions, she is really very good on the recording. Admittedly, in a live performance, straight through, there is the electricity of interaction with other characters on stage, taking the heights up a notch, and this is where she really did the damage to her voice. Her compatriots here are all really serviceable...we are so lucky to have this recording, why be objectionally picky? DG has done a remarkable job remastering this particular recording. I remember the ABC pressing on LP years ago, and am pleased with the care attended here to the remastering.

Maria Stuarda, is, again, another special recording....Eileen Farrell came out of retirement to do this recording as a favor to Beverly, and we are very lucky to have them paired together. I must admit that I wish Mackerras was again at the helm here, however. There is no doubt in my mind that the whole would have been greater with his control and "color" on the orchestra. But, with the only other exceptions the old Callas with great cuts, and the Sutherland, we have few choices, and we take this recording most gladly. It is commendable.

I feel that Anna Bolena is the weakest of the three works, but it has some extrodinary things in it, particularly the confrontation in the garden! Man, the first time I heard this, I stood right up out of my chair! Paul Plishka was a wonderful Henry, and Shirley Verrett certainly made her mark with Jane Seymour. Again, most commendable.

I, as stated above, remember the old ABC LP pressings....they were terrible, as we all know! It is so wonderful to have these recordings, again, this time in pristine, lovingly remastered editions. Thank You, DG/Universal for lavishing the care on these lovely old recordings that you have for our enjoyment.

A tremendous, and fitting, tribute to Beverly Sills.

I might add that I feel you might wish to pick up this set very soon, as lately things have been getting re-issued in budget sets without libretti and informational booklets, and this is a shame, especially with a great set like this one. Also, noting the complaints about them being so "expensive"....come on, folks, wise up!!! You're getting three operas here for $80 or less, through secondary dealers, just how expensive does one really think this is? OK, enough preaching! Enjoy this set, and be thankful that we have it! ~operabruin

5 out of 5 stars The great Beverly Sills on Cd in these masterpieces!.......2007-07-03

It is July 3rd and Beverly Sills has passed away..it is very sad, but, when you listen to these cds nothing about her career as a singer was at all sad.

I treasure these and all of her other works. She was the glory of American opera.

Buy all of her cds and see how persuasive they are, how ravishing, and how generous. Her presence on the Met Live Broadcasts was so invigorating, and her wonderful praise of Anna Netrbko, and others singing her repertoire. It is hard to imagine Lincoln Center without her, a presence so positive, so high vibration...

The stars are brighter with her as our representative in the heavens!

5 out of 5 stars The Most Wonderful Compilation of the Tudor Queens.......2006-12-26

Donizetti revolutionized the way dramatic opera was written when he penned the scores of Anna Bolena, Maria Stuarda, and Roberto Devereux. These were the operas that put tragedy on the map after a long history of Italian opera constantly refurbished for a comic ending to please the tastes of the public. Donizetti's magnificent music, with its complex runs and melodramma-infused composition, changed all of that, and history owes much of the great Verdi and Puccini dramas to Donizetti. Take the confrontation between Maria Stuarda and Elisabetta, for example. This scene alone was the inspiration for the several great soprano-mezzo confrontation scenes that would grace the plots of Aida and Don Carlo, to name a few of the operas that Donizetti influenced. Anna Bolena, one of my favorite operas, was the first opera that put tragedy on the operatic map, eliminating the necessity to give operas comic endings (remember that Tancredi had to be revised by Rossini to please the public). Roberto Devereux, a product of Donizetti's more mature musical skills, combines many of these great attributes that makes Donizetti so exciting and gives the prima donna a chance to display her vocal and dramatic prowess.

Of course, the very critical art lover would scrutinize the Donizetti librettos with disdain after he slashed these operas and turned fact around to give way to dramatic fireworks. But who cares if he did this especially if Mary Stuart calls Elizabeth a "vil bastarda!?" With such dramatic pyrotechnics in these operas, one would imagine that perhaps a heftier voice with the Norma metal is needed to make these roles more vivid, such as that of Maria Callas. Beverly Sills, however, makes these roles so real, regal, and dramatically powerful that one forgets all the shortcomings that come as a result of the lightness of her voice. Among these three recordings, if I had to pick any one of them, I would say that her greatest achievement is her Roberto Devereux made with Sir Charles Mackerras. Every vocal gesture, inflection, emotion, and firework is covered by Sills with a grace and technique that escapes several of today's Elizabeths. She is the queen incarnate, and if it did cut ten years out of her career, I am only glad that she sang the queen. She is partnerred by a cast that is not up to her level, but her singing alone makes her queen worthwhile. A definitive recording there.

Her Maria Stuarda is also perhaps the most satisfying account of the opera that I've heard. With Eileen Farrell as Elizabeth hurling dynamites whenever her mouth opens and Sills is superb form as Maria, I would say that this recording is my favorite Maria Stuarda on disc. The confrontation scene is simply to die for, and the last act with Sills saying her prayer is heartfelt and beautiful. Ceccato is not the most exciting conductor, but Stuart Burrows makes a very sensitive and graceful Leicester. I must add this though: if you really want to find a great Maria Stuarda, you must search very hard for a live recording of the opera from New York made in 1972 with Beverly Sills and Marisa Galvany as the colliding queens. The heat of that recording is simply out of this world and if you cannot find it, I am willing to burn you a copy. Just send me an email.

Anna Bolena is no weak link either. Some people would compare this to Maria Callas' live Scala performance, a legendary night which in my opinion would never be repeated again. Sills was no Callas in terms of voice, but she was equipped with a voice that could handle the role in her own special way. Sills had a very touching Anna Bolena with a conductor, supporting cast, and a complete score that makes her Bolena essential. Her Giovanna Seymour is Shirley Verrett, a perfect foil to Sills vocally and dramatically. Verrett also sounds younger than Simionato, which is an asset to this recording of the opera. My favorite recording though, is another pirate recording. This recording is a live performance from New York with the superb, magnificent, mind-blowing soprano Marisa Galvany as Bolena, Olivia Stapp as Seymour, and Samuel Ramey's definitive Henry. A recording that must not be missed, and one that you must hunt for.

5 out of 5 stars "3 Queens, 1 Soprano".......2003-08-23

Sills was most renowned for her fiery portrayal as Elizabeth, and i believe she worked the hardest on that particular role. She researched the character, studied her personality, practiced gestures, practically slept with the books under her pillow. And here, we can hear the results (without even seeing!). Of course, Beverly already was great with voice acting to begin with, but add on top of it all the research, commitment, and unflawed singing...you get a truly astounding recording!

In Maria Stuarda, check out the confrontation scene. This is one of the most dramatic moments in opera. And there's the added bonus of having the underrecorded but extremely talented dramatic soprano Eileen Farrell as Elizabeth. Hear how they lash out at each other. Incredibly exciting! And Maria's final scene is touching. In one NYCO performance a woman cried out, "NO!" just when Maria's head was going to be chopped off (lights go out-blackout). If this isn't dramatic I don't know what is.

For me the most exciting scene in Anna Bolena is the mad scene. This is actually just as great as Lucia's mad scene, in my opinion. Anna, though being in jail, has illusions of herself being with King Henry. When reality comes crashing back on her, WOW, get ready for the intense madness. Coppa Iniqua is heartbreaking. Sills uses a weeping timbre, and outbursts of anger in her voice, all to incredible effect.

I have begun listening to opera only about 3 years ago. I feel very happy that these 3 recordings together gave me a sense of what opera can be- incredible musical theatre. Beverly Sills and the 3 Queens will always have a special place in my heart.

5 out of 5 stars Please give it a rest!.......2003-08-13

This is a Callasfan speaking. I love Callas and Sills, I think this and "The art of the Primadonna" (With Joanie) is supreme. But hear me out: I think it's obvious that only the famous Callas-recs on Emi are slandered and the efforts on other labels judged fairly, even if the reviewers didn't like Callas. Lets get back to balance and fairness. I never wrote a one-star review on Beverly and I never will. Here and there I complained and fought against fanatism. Neither Callas-fanatism nor Sutherland-fanatism nor Sills-fanatism is good. Neither of them was perfect. Both had their pros and cons. Please, you guys, edit your reviews and write them fairly. Thus we'll prevent an even greater outrage. Us operafans should stick together. I'm willing to start. Please, lets be on this together!

Track Listings:

  1. Dvorak: Lieder
  2. Edgar Meyer: Quintet; Ned Rorem: String Quartet No. 4
  3. Encore Collection, Vol. 3
  4. Frederick Delius: Florida Suite/North County Sketches
  5. G. Charpentier - Louise / Cotrubas · Domingo · Bacquier · Berbié · NPO · Prêtre
  6. Gabrielli: Glory of Venice [Import]
  7. Giacomo Puccini: Madama Butterfly - Mirella Freni / José Carreras / Teresa Berganza / Juan Pons / Ambrosian Opera Chorus / Philharmonia Orchestra / Giuseppe Sinopoli
  8. Glinka: Russlan and Ludmilla; Prokofiev: Lieutenant Kijé
  9. Godowsky's Studies on the Chopin Etudes
  10. Great Arias & Ensembles from Your Favorite Operas

Track Listings

track listings

Track Listings

Manifest Destiny

Royal Fantasies

My Hero [CD-single] [Import]

My Funny Valentine: Great Jazz Trio Portrait [Import]

Bolex Dementia [Import]

That's How It Is: The Chess Years

Standard Time

Telemann: Trumpet Concerto; Trumpet Suite; Overture

Prophets Seers & Sages [Import] [Original recording remastered]

Skrowaczewski - Concerto Nicolo / Concerto For Orchestra

Steamer [Import]

Palpita Mi Corazon

Puro Mexico

Golden Boy

When the Wrong One Loves You Right