Verdi: Falstaff [Import]

Track Listings

1. Falstaff!

2. Sei Polli, Sei Scellini

3. Ma É Tempo D´Assottigliar

4. L´Onore! Ladri!

5. Alice - Meg

6. Fulgida Alice! Quell´Otre!

7. In Due Parole, L´Enorme Falstaff

8. Labbra Di Foco

9. Del Tuo Barbaro Diagnostico

10. Siam Pentiti E Contriti

11. Alice É Mia!

12. Signore, V´Assista Il Cielo!

13. C´È A Windsor Una Dama

14. E Sogno- O RealtÀ-

15. Presenteremo Un Bill- Giunta All'albergo

16. Fra Poco S'incomincia La Commedia

17. Al Fin T'ho Colto Raggiante Fior

18. Quand'ero Paggio Del Duca Di Norfolk

19. Mia Signora C'e Mistress Meg

20. C'e ---C'e

See all 29 tracks on this disc

Verdi: Falstaff, Music, Perry, Ludwig, Karajan, Wiener Philharmoniker, Giuseppe Verdi, Herbert Von Karajan, Classical

Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Average customer rating:

The Brown-Wrapped Version Just as Good

Va, vecchio John. Go, old Jack, go thy ways

Indispensable--will we ever see its like again?

The benchmark Falstaff

Best falstaff in the world.

Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Giuseppe Verdi , Herbert von Karajan , Tito Gobbi , Elisabeth Schwarzkopf , Philharmonia Orchestra and Chorus , Nan Merriman , Anna Moffo , Rolando Panerai , Fedora Barbieri , Tomaso Spataro , Nicola Zaccaria , and Luigi Alva
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin

ASIN: B00000K4GH
Release Date: 1999-09-21

Tracks:

Falstaff: Act One - Part One: Falstaff!...Ola!
Falstaff: Act One - Part One: So che se andiam, la notte
Falstaff: Act One - Part One: Ma empo d'assttigliar l'ingegno
Falstaff: Act One - Part One: L'onore! Ladri!... lo stesso, si, io, io
Falstaff: Act One - Part Two: Alice!... Med!... Nannetta!
Falstaff: Act One - Part Two: Fulgida Alice! amor t'offro
Falstaff: Act One - Part Two: Ripeti...In due parole
Falstaff: Act One - Part Two: Pst, pst, Nannetta!...Vien qua...Labbra di foco!
Falstaff: Act One - Part Two: Falstaff m'ha conzonata
Falstaff: Act One - Part Two: Torno all'assalto...Torna alla gara
Falstaff: Act One - Part Two: Udrai quanta egli sfoggia magniloquenza altera
Falstaff: Act One - Part Two: Del tuo barbaro dignostico
Falstaff: Act Two - Part One: Siam pentiti e contriti
Falstaff: Act Two - Part One: Reverenza!
Falstaff: Act Two - Part One: Va, vecchio John
Falstaff: Act Two - Part One: Signore, v'assista il cielo!
Falstaff: Act Two - Part One: Ve lo dir' Windsor una dama
Falstaff: Act Two - Part One: Lo conoscete?...Il diavolo lo porti all'inferno
Falstaff: Act Two - Part One: E sogno? o realt
Falstaff: Act Two - Part One: Eccomi qua. Son pronto

Tracks:

Falstaff: Act Two - Part Two: Presenteremo un 'bill' per una tassa al parlamento
Falstaff: Act Two - Part Two: Giunta all'albergo della Giarrettiera
Falstaff: Act Two - Part Two: Gaie comari di Windsor! E I'ora!
Falstaff: Act Two - Part Two: Alfin t'ho colto,raggiante fior
Falstaff: Act Two - Part Two: T'immagino fregiata del mio stemma
Falstaff: Act Two - Part Two: Quand'ero paggio del Duca di Norfolk
Falstaff: Act Two - Part Two: Vien qua. Che chiasso!
Falstaff: Act Two - Part Two: Al ladro!
Falstaff: Act Two - Part Two: Facciamo le viste d'attendere ai panni
Falstaff: Act Two - Part Two: Bella! ridente!
Falstaff: Act Three - Part One: Ehi! taverniere!...lo, dunque, avro vissuto tanti anni
Falstaff: Act Three - Part One: Buono. Ber del vin dolce
Falstaff: Act Three - Part One: Reverenza! La bella Alice...
Falstaff: Act Three - Part One: T'aspetterl Parco Real
Falstaff: Act Three - Part One: Brava! Quelle corna saranno la mia gioia!
Falstaff: Act Three - Part One: Avrn me dei putti
Falstaff: Act Three - Part Two: Dal labbro il canto estasiato vola
Falstaff: Act Three - Part Two: Nossignore! tu indossa questa cappa
Falstaff: Act Three - Part Two: Una, due, tre, quattro, cinque, sei
Falstaff: Act Three - Part Two: Ninfe! Elfi! Silfi! Doridi! Sirene!
Falstaff: Act Three - Part Two: Sul fil d'un saffio etesio
Falstaff: Alto l
Falstaff: Act Three - Part Two: Ahimu puzzi come una puzzola
Falstaff: Act Three - Part Two: Un poco di pausa
Falstaff: Act Three - Part Two: Ogni sorta di gente dozzinale
Falstaff: Act Three - Part Two: Un coro e terniniam la scena...tutto nel mondo urla

Amazon.com essential recording

This Karajan Falstaff has much to recommend it: Fedora Barbieri's Mistress Quickly is a force of nature, Elisabeth Schwarzkopf, only slightly affected, is a liquid, appealing Alice Ford, and Luigi Alva and the young Anna Moffo are ideal as the young lovers, Fenton and Nanetta. But the star--as it should be--is Tito Gobbi in the title role. As is usual with this great singing actor, his characterization comes from within--his is a Falstaff born to be deflated, arrogant and self-deluding on a level that is actually funny. And the nice surprise is what good voice Gobbi's in--he's in charge of all of his vocal colors here and he uses all of them well. Karajan's touch is light and, yes, funny, and he treats the opera as the divine ensemble work it is, all leading up to a superb final scene. A good time is had by all--listeners included. --Robert Levine

Customer Reviews:

The Brown-Wrapped Version Just as Good.......2007-06-12

Now that this is available in the lower-priced brown-wrapped version (shades of an old LP or even 78 sleeve), expect no less in this superb recording. The only sacrifice is the lack of a libretto -- but that's available from EMI at its website. And at this incredibly low price of about $14 (same as the Gobbi-Callas TOSCA) everything that counts is still there -- in spades.

Va, vecchio John. Go, old Jack, go thy ways.......2006-05-08

.
Source: Studio recording made at Kingsway Hall, London on June 21-23 and June 25-29, 1956. Originally issued by EMI on Lps in 1957.

Sound: The booklet accompanying this issue has this to say: "This recording was made in 1956 in the early days of stereo. As a consequence, the listener may notice some slight technical flaws that derive from the original tapes." This set was digitally remastered in 1999 with considerable success. Audiophiles who spend far more time listening to hisses and joins than they do to performances may cavil, but it sounds fine to me.

Cast: Sir John Falstaff - Tito Gobbi; Ford - Rolando Panerai; Alice Ford - Elisabeth Schwarzkopf; Nanetta Ford - Anna Moffo; Meg Page - Nan Merriman; Mistress Quickly - Fedora Barbieri; Fenton - Luigi Alva; Dr. Cajus - Tomaso Spataro; Bardolfo - Renato Ercolani; Pistola - Nicola Zaccaria. Conductor: Herbert von Karajan with the Philharmonia Orchestra and Chorus. Producer: Walter Legge.

Format: Disk 1 - Act I, Part One, tracks 1-4; Act I, Part Two, tracks 5-12; Act II, Part One, tracks 13-20;55:04. Disk 2 - Act II, Part Two, tracks 1-10; Act III, Part One, tracks 11-16; Act III, Part Two, tracks 17-26; 64:38.

Documentation: Libretto in German, Italian, English and French. Short synopsis of the plot. Photographs of the conductor (of course!) and the principal singers. Track list that identifies characters singing, provides timings and the page of the libretto on which the text is to be found. Richard Osborne contributed a brief history of the opera and a gush of adulation for von Karajan. (Not recommended for readers who must control the sugar in their diet.)

Let me be up front with this: I consider "Falstaff" to be one of the two greatest operas ever written. I am fully aware that it is not and has never been especially popular with audiences and I think that a dirty rotten shame.

This is far and away the best stereo "Falstaff." No subsequently recorded Jack Falstaff approached Gobbi in the part: Taddei in Karajan's second stereo version was caught too late in his career; Terfel lost the character amid the mugging; Evans was good but no match for Gobbi in either voice or style; Fischer-Dieskau was inherently mismatched and miscast in Italian opera.

No subsequent recording musters an ensemble of singers that even comes close to the 1956 cast assembled by producer Walter Legge. Beside the extraordinary Gobbi were the equally impressive Panerai as Ford and Anna Moffo as Nanetta Ford. Luigi Alva was certainly one of the best light tenors of the day. Merriman was an old pro as Meg Page, having served under Toscanini in the same role. Barbieri was a tremendous Mistress Quickly. Her hilarious variations on the greeting, "Reverenza," ring in the mind. Schwarzkopf was an exquisite and sharp-witted Alice Ford.

Legge and von Karajan put in a great deal of time and work into preparation of this performance and it all appears in the sound of the set. Seldom has any conductor achieved such accuracy and unanimity of purpose. The Philharmonia Orchestra was at its peak of prowess and sounds tremendous.

All these things fully justify a five star rating.

That said, I feel bound to point out that while Karajan's 1956 recording is the best stereo performance, it is not the best recorded performance. Karajan's handling of any opera always requires something of an acquired taste. The ensemble is good but not perfect. Alva was a fine technician but he lacked fire. Cesare Valetti would have been preferable and Ferruccio Tagliavini better yet. Schwarzkopf, Walter Legge's wife, was wonderful, but no-one would ever mistake her for a true Italian soprano or a natural Verdian. Tebaldi was tied to rival Decca Records and therefore unavailable, but there were other full-voiced sopranos at the time, such as Antonietta Stella or Caterina Mancini. Or Callas.

The best performance is Toscanini's 1950 mono version with Giuseppe Valdengo as the Fat Knight. (Some would argue that Toscanini's pre-war "Falstaff" is better still, but time and recording technology put that one out of the running as far as I am concerned.) Toscanini's cast is very nearly a match for Karajan's and his earthy, fiery conducting makes Herr Doktor K's seem restrained and over-refined.

A 1949 performance, in mono naturally, has strong claim to be regarded as at least an equal of the 1956 Karajan. It was led by Mario Rossi, a conductor who could find the fun in the score that sometimes eluded Karajan. It's excellent all-Italian cast included the Falstaff of the young Giuseppe Taddei, who understood the character as well as Gobbi and possessed a better singing voice.

Indispensable--will we ever see its like again?.......2005-09-29

The legendary producer Walter Legge was adored by musical artists because he demanded only the very best from them and ignored any resistance from corporate higher-ups complaining about costs or from the artists themselves, who often wound up recording late in the day after dozens of takes. Now we can be grateful that Legge went the extra mile. His opera recordings, especially the ones under Karajan, have rarely been equalled and never surpassed. In later lifeKarajan himself tried to repeat these early triumphs but never succeeded in artistic terms.

The other reviewers here have pointed out all there is to say in praise of this classic EMI Falstaff. The only reservation would be with Gobbi's voice, which isn't plush or rich and exhibits a fast beat. These shortcomings are more than compensated for by his vocal acting.

For what it's worth, Karajan recorded a second Falstaff on Philips with an aging Giuseppe Taddei in the lead, and it was not half as successful overall. Other eminent conductors, among them Giulini, Bernstein, and Abbado, have tried to find magic in this elusive score. The Giulini is too straitlaced, the Bernstein has a woefully wrong Fischer-Dieskau in the lead, and the Abbado showcases Bryn Tefel's signature portrayal, currently the best in the world if you like his extreme overacting, but the rest of the cast is forgettable. Karajan and Legge got everything right five decades ago, and in that they are unique.

The benchmark Falstaff.......2004-07-16

Reference recordings are the touchstone by which all others are judged. The Callas-Gobbi Tosca is the universal example of a recording whose excellence so towers over the field as to bend the artistic vision of every subsequent laborer in the operatic vineyard in homage, conciously or not. Such recordings are extremely rare. Perhaps two dozen at best. By such rigorous standards this 1956 recording of Verdi's miraculous final Opera falls short of attaining the lofty status of Reference recording. Rather, it occupies that second tier of presumptive best for a large number (but not all!) of Opera devotees to whom the status of favorite recording is defended with a rabid zeal best reserved for fanatic warriors and religious zealots. Opera fans are a tough crew prepared to defend their favorites with a level of Mutually Assured Destruction not seen since the Cold War. It can get positively radioactive in the lobby of the Met between acts. I know. I've seen it.

There is a Golden-Age warmth to this recording. EMI had perfected the business of Vocal recordings in the 1950's. Something in the water, perhaps. One can hear it in all
of EMI's classic Opera recordings of the era. Even the ones in Mono (for which we can thank Producer Walter Legge's alleged hatred of stereophonic sound). Recorded in London's Kingway Hall in June 1956 there is a Midsummer's magic in the sparkle with which Gobbi inhabits the role of Falstaff. Recording during those long days was an inspiration not to be ignored. Everything about this Opera screams "more light!" As if the 80 year old Verdi willed himself youth through art. Karajan in his youth - well before illness slowed him considerably - had a clarity of style I have always admired. Listen to the way the woodwinds cavort throughout this recording. They seem to speak, commenting on the action. Sometimes they merge with women's voices with truly magical effect. Afterall, this is an Opera of texture, of delicacy of sound prefiguring Webern by 30 years. In this it is truly modern: pointing the way to a new century while simultaneously (and literally) ending an era.

Sure it's tuneful. The tunes are shorter. It's as simple as that. Don't be put off by the lack of bang-up aria. The entire Opera is a song. Schwarzkopf, Merriman and Moffo (What a cast!) are suberb. They have rarely sounded so youthful yet wise. Vocal quality (to my ear at least) sounds easy and natural for each member of the cast. I cannot find a hint of Scarpia in Gobbi's performance. That's quite a feat since Gobbi is not a Falstaff that comes quickly to mind when discussing casting this role. Everything falls comfortably into place in this classic recording. It is a personal touchstone Opera performance.
In a review of Gardiner's recent recording of this Opera, I mention Toscanini's justifiably lauded performance as occupying one of the antipodes of Falstaff performance practice. Karajan's is unquestionably the other. Lighting the way for all that comes after. Not bad for a long day's work. I love this record. 5 out of 5 stars with no debate.

Best falstaff in the world........2003-12-29

This is the best falstaff in the world bar none. As the Gramophone puts it aptly, it stands peerless in the catalogue. Enough said!!

Average customer rating:

To me, her best
One of Gheorghiu's best recitals
exquisite!
Angela Gheoghiu is Wonderful
A Pleasant Surprise

Angela Gheorghiu - Arias
Giuseppe Verdi , Jules Massenet , Alfredo Catalani , Vincenzo Bellini , Giacomo Puccini , Arrigo Boito , Charles Gounod , Gaetano Donizetti , John Mauceri , Angela Gheorghiu , and Orchestra del Teatro Regio di Torino
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000429G
Release Date: 1996-04-16

Tracks:

Falstaff: Sul fil d'un soffio etesio
Chbin: Aubade: Vive amour qui reve
La Wally: Ebben?... Ne andrntana
Hdiade: Il est doux, il est bon
I Capuleti e i Montecchi: Eccomi... Oh! quante volte
La Boh: Donde lieta usci al tuo grido d'amore
Mefistofele: L'altra notte
Faust: Air des bijoux
Don Pasquale: Quel guardo il cavaliere
La Boh: Si. Mi chiamano Mimi
Valurile Dunarii: Muzica

Customer Reviews:

To me, her best.......2007-07-01

I have several CDs of Gheorghiu. This is the one I prefer. I also have the DVD of her and her husband in Elisir. It was entertaining, but like in her Casta Diva disc, I didn't think her coloratura passed muster. I thought her singing in the Verdi disc was anemic. Every time she bursts into Tu che le vanita, I immediately and always think of Callas. That was one of the things that hooked me on opera in the first place, though I'm not a big fan of Callas. It just isn't there when Gheorghiu does it, though that's only one aria on the disc. I think Gheorghiu is a little overrated (still), and I think it came about when she burst on the scene in lovebird duets with her husband. But in this recital, I think she does an adequate job, and I still have her other CDs (and more amazing, bought them in the first place). She has a pretty voice and uses it well enough I think in at least this recital.

One of Gheorghiu's best recitals.......2007-01-09

I have played this CD numerous times since buying it many years ago. Whilst not 'perfect' to some, I still think it is one of Gheorghiu's best recitals recorded.

exquisite!.......2006-11-02

In this recording Ms. Gheorghiu shows why she is one of the most extraordinary voices of our time. Her phrasing, musicality and expression is impecable. I seriously recommend this CD to anyone who wants to know how an opera singer is supposed to be heard.

Angela Gheoghiu is Wonderful.......2006-08-06

I love this album I can listen to her all day long.

A Pleasant Surprise.......2006-02-24

I purchased this CD for one specific selection, and to my surprise found that I thoroughly enjoyed the entire recording! Ms Gheorghiu has a wonderful voice and knows how to "sell" an aria!!

Verdi without Words: Grand Opera for Orchestra

Average customer rating:

The Music Behind The Grand Opera: Verdi Spectacular
Dreadful Sound Engineering
Karaoke fans - eat your heart out!
Great, but you are not really singing the tune !
HIGHLY RECOMMEDED.....

Verdi without Words: Grand Opera for Orchestra

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000003D03
Release Date: 1995-01-24

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Grand Entrance ...'Su! Del Nilo Al Sacro Lido'
'Celeste Aida'
Triumphal Scene 'Gloria All'Egitto'
'Ave Maria'
'Vedi! Le Fosche Notturne Spoglie'
'Di Quella Pira'
Prelude
Introduction To Act I
'Brindisi'
Waltz
'Un Di Felice'
La Traviata: 'Sempre Libera Degg'io'
'Di Provenza Il Mar, Il Suol'
'Questa O Quella'
'Caro Nome'
'La Donna E Mobile'
'Un Di, Se Ben Rammentomi'
'Tutto Net Mondo E Burla'
'Va, Pensiero' (Prisoners' Chorus)

Customer Reviews:

The Music Behind The Grand Opera: Verdi Spectacular.......2005-10-04

This recording is a delight for fans of classical music. In opera, the singing/words/text is married to the music, but it is the music above all that must create moods and evoke sentiment- whether it is pity, romance, jealousy, rage, pomp, melancholy, heartbreak, ecstasy, passion, mystery, etc. Eric Kunzel and his Pops Orchestra performs a wonderful array of Verdi music scores from his most famous grand operas. This album opens with Aida and there is much to admire here. The Triumphal March is a spectacle-scene which features parades of dancing girls and wild animals as Radames returns victorious. This music is famous for its prominent use of trumpet and chorus. Its orchestral version is equally bombastic. The Anvil Chorus from Il Trovatore is another smash Verdi hit, a chorus piece but on orchestra, it is very catchy as well. Further to these fine works, the album features music from Verdi's Otello and La Traviata. This is a fine intro to opera for those who wish to begin by listening to the orchestral music first.

Dreadful Sound Engineering.......2005-06-17

Such beautiful Verdi and tis a shame to have to fiddle with the volume control on every single track (and even within the track). One will be inaudible, the next will blare.

Karaoke fans - eat your heart out!.......2002-12-29

This disc, containing selections of Verdi's most famous operatic works, is a must buy for fans of Opera that want to "try out their pipes".

What Opera fan hasn't at least sung a few bars of "La Donna e mobile" while in the shower? This 70 minutes of Opera greats from the pen of Verdi under the able direction of the Cincinati Pops orchestra under the baton of Erich Kunzel will make most opera fans dreams come true.

There are no words on any of these numbers - making it a cross between a Karaoke disc and Verdi's greatest hits. It contains some selections from "Aida", "Othello", "Il Trovatore", "La Traviata", "Rigoletto", "Falstaff", and "Nabucco".

My only "complaint" is that the lyrics to the numbers were not included in the liner notes. That would have made this the world's first Opera Karaoke.

Still worth listening to for the majesty of the music behind the words - music that is often overshadowed by the singers. Worth a look for inclusion in any opera fan's classical library.

Great, but you are not really singing the tune !.......2002-05-24

"Celeste Aida"
1. Cincinnati Pops did not play the recitativo. Something is missing, if you are an opera freak.
2. The second verse does not include "Il tuo bel cielo vorrei ridarti", which will mislead a whistling person.

"La donna e mobile"
In the second verse, the "refrain" (la donna e mobil qual piu mal vento ...) is replayed. This gives a "queer" feeling for a singing person who is used to practicing singing it "the way it should be sung".

HIGHLY RECOMMEDED............2002-03-13

I LIKE OPERA WITHOUT THE WORDS AND THIS IS ONE OF THE BEST I HAVE
PURCHASED LATELY (AND I HAVE BOUGHT MANY LATELY). CARMAN WITHOUT
WORDS IS ALSO VERY ENJOYABLE, AS ARE ALL THE "OPERA WITHOUT WORDS" CDS OUT TODAY. I HIGHLY RECOMMEND THIS CD TO ADD TO ANY
COLLECTION OF CLASSICAL MUSIC..

Average customer rating:

Look out world
What fun!
I LOVE YOU, BRYN!
awesome..
Why do people think this guy can SING???

Bryn Terfel - Opera Arias / MET, Levine
Wolfgang Amadeus Mozart , Richard Wagner , Jacques Offenbach , Charles Gounod , Alexander Borodin , Gaetano Donizetti , Gioachino Rossini , Giuseppe Verdi , James Levine , Bryn Terfel , and The Metropolitan Opera Orchestra
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GP8
Release Date: 1996-04-09

Tracks:

Le nozze di Figaro: Non pirai, farfallone amoroso
Don Giovanni: Deh, vieni alla finestra
Don Giovanni: Madamina, il catalogo uesto
Cosi fan tutte: Rivolgete a lui lo sguardo
Die Zauberfl Der Vogelfer bin ich ja
Tannher: Wie Todesahnung Drung deckt die Lande...O du mein holder Abendstern
Der Fliegende Holler: Die Frist ist um
Les Contes d'Hoffmann: Allez!...Pour te livrer combat...Seintille, diamant
Faust: Vous qui faites l'endormie
Prince Igor: Ni sna ni otdycha izmucennoj duse
Don Pasquale: Bella siccome un angelo
La Cenerentola: Miei rampolli femminini
Macbeth: Perfidi! All'anglo contra me v'unite!
Falstaff: Ehi! paggio!...L'Onore!

Customer Reviews:

Look out world.......2006-01-20

Maestro Terfel throws down the vocal gauntlet in this tour de force offering of selected opera arias and dares any male singer, future or current, to pick it up. From the elegance and humor of Mozart, to the giddy delights of Rossini, and the vocal power of Verdi, Bryn Terfel diplays clearly why he is the preeeminent bass-baritone of our age. Short of some misguided forays into American Musical Theater, there seems to be nothing that this proetean singer cannot do. James Levine leads the bravura Met Orchestra with equal parts style and substance. A must have for a fan of great singing and artful music making.

What fun!.......2005-11-22

This is definitely the best recording of the selections chosen from "le Nozze de Figaro" I have ever heard. Terfel has a wonderful sense of musical humour, and is able to make his voice do seemingly, whatever he likes. In fact I think one could liken his voice to a big red bouncy ball, it's so round and fun to play with, you can tell that he himself has fun using it. However this is the only one of his albums I have really fallen in love with, in spite of listening to quite a few. Some of the same pieces are on his other cds, but not as well-sung as in this one.

I LOVE YOU, BRYN!.......2005-06-03

Terfel is amazing. The voice is warm, wide and sensous, and the acting is top-notch. This recital is the best recording I have heard of him outside full operas, where he is (of course) at his best. Every peice on it is a gem, but especially the first five Mozart arias. You will never hear a better Catologue Aria. I make it a point to listen to his at least once a week.
If you are an opera lover and (God forbid!) have not yet stumbled upon Terfel, this is an excellent introduction. And by the way, you needn't be a singer to appreciate his voice - I know very little of the technicalities of singing (about as much as a year in the church choir can give you), but I play the violin and we violinists are very keen on singers who know what they are doing. In the words of my violin teacher, Terfel is "charming!"

awesome.........2004-03-10

this is an awesome cd. if you're a fan of Bryn Terfel, you should buy this. you'll enjoy every song in this cd. I also recommend his recital dvd.

ps) don't listen to what the guy under my review said. i don't think this person knows how to sing.

Why do people think this guy can SING???.......2004-02-09

It baffles me that people think that Bryn Terfel is a great singer. It sounds like he is SINGING HOLDING HIS NOSE CLOSED. Absolutely AWFUL. Just because you can sing LOUD and POWERFUL does NOT mean you are GOOD. I would rather listen to my dishwasher running than this stuff!! The TONE of the voice is what matters to MOST people, and this guy doesn't have it. If you want to hear a beautiful voice, do yourself a favor and go buy Josh Groban's new CD, Closer. You won't regret it!!

Average customer rating:

Story Of Verdi In Words And Music

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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The Story of Tchaikovsky
Story Of Johann Strauss In Words And Music
The Story Of Brahms
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Story Of Wagner In Words And Music

ASIN: B000001KDJ
Release Date: 1995-04-16

Tracks:

La forza del destino: Overture
Aida: Ballet
Otello: Drinking Song
Otello: Ave Maria
La forza del destino: Overture
Requiem: Requiem aeternam
Un Ballo in Maschera: Eri tu, Che Macchiavi
Nabucco: Chorus Of The Hebrew Slaves
Aida: Ballet
Rigoletto: La Donna e Mobile
Requiem: Agnus Dei
Anvil Chorus
La Traviata: Libiamo (Drinking Song)
La Traviata: Sempre Libera
La forza del destino: Solenne in Quest'Ora
La forza del destino: Pace, Pace, Mio Dio
Aida: Celeste Aida
Aida: O Patria Mia
Requiem: Dies Irae
Otello: Opening
Falstaff: L'Onore! Ladri!
La Traviata: Addio Del Passato
Il Trovatore: Stride la Vampa
Nabucco: Chorus Of The Hebrew Slaves
Aida: Chorus And Triumphal March From Act II
La forza del destino: Pace, Pace, From Scene 4
Aida: Qui Radames verra, From Scene 3

Average customer rating:

A sound compilation of Verdi's famous works

Verdi: Greatest Hits

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002A2B
Release Date: 1994-08-09

Tracks:

Aida: Grand March
Rigoletto: La donna e mobile
Il Trovatore: Anvil Chorus
La forza del destino: Overture
Aida: Celeste Aida
Don Carlos: O don fatale
La Traviata: Drinking Song
La Traviata: E strano!... Ah, fors'e lui
Falstaff: L'onore!...L'onore! Ladri
Aida: Ritorna vincitor
Luisa Miller: Quando le sere al placido
Nabucco: Slave Chorus
Manzoni Requiem: Dies irae
Simon Boccanegra: Come in quest'ora bruna
Don Carlos: E lui!...desso!...l'infante

Customer Reviews:

A sound compilation of Verdi's famous works.......2007-05-05

This disc, along with all of the Sony Classical catalog, has very good sound quality, little if any background noise (aside from applause at the beginning or end of a track), and very respectful interpretations of the works of a master.

Giuseppe Verdi was one of the 19th centuries most influential composers of operas and orchestrated music. Verdi's operas are very, well 'user-friendly', if you are new to opera. I am slowly learning to appreciate operas after a decade of love for classical music without vocals.

This is a very good CD for those looking to break in to operatic scores. It has large, haunting compositions for chorus, solos, duets, trios and a good mix of orchestrations with no vocals, perfectly showcasing Verdi's gift as a composer.

Performers on the album include Luciano Pavarotti, Jose Carreras, Dietrich Fischer-Dieskau and other well known and talented artists as well as some of the most famous, gifted and revered orchestras in the world.

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La Regina
How beautiful is the female voice? try this!

A Celebration

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Very Best of
Mirella Freni, Vol. 2
Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
Russian Album

ASIN: B0007404H8
Release Date: 2005-04-12

Tracks:

Si, Mi Chiamano Mimi
Mario! Mario! Mario! Son Qui...Ah! Quegli Occhi...Qual'occhio Al Mondo
Vissi D'arte
Viene La Sera
Vogliatemi Bene
Un Bel Di, Vedremo
Con Amor Muore...Tu? Tu? Piccolo Iddio!
In Quelle Trine Morbide
Sola, Perduta, Abbandonata
Tu Che Di Gel Sei Cinta
Ebben? Ne Andro Lontana
Poveri Fiori
S'allontanano Alfine...Selva Opaca
Qual Fiamma Avia Nel Guardo...Stridono Iassu

Tracks:

Ritorna Vincitor!
Ecco L'orrido Campo
Tu Che Le Vanita
Canzone Del Salice (Willow Song)
Ave Maria
Come In Quest'ora Bruna
Sul Fil D'un Soffio Etesio
L'altra Notte In Fondo Al Mare
Puskai Pogibnu Ya, No Pryezhde (Letter Scene)

Customer Reviews:

La Regina.......2005-05-31

I believe Mirella Freni to be one of the greatest artists of all time, as these discs will attest. The aria from La Wally is definitive, nobody sang it better. Her Mimi is legend and she is considered the ideal Butterfly. The way she wraps her voice around Tschaikovsky is miraculous. She is a fabulous Verdian and Tebaldi said that "Freni is the last of the Italian spintos." Her progression from lyric to dramatic roles is totally convincing. Hearing Freni as Fedora in Washington was a revelation. Her voice was big and beefy. Having heard Jane Eaglen in Seattle many times, I feel that Freni's voice is every bit as big.
Enjoy this tribute to a simple Modenese goddess.
Thank you for the music, Miss Freni.

How beautiful is the female voice? try this!.......2005-05-05

This 2005 two CD compilation of operatic favorites will likely please Mirella Freni fans for two reasons: first reason is the selection of songs chosen to highlight such a long and lustrous career. DECCA chose wisely by not going off and producing a "little known" salute, but rather focused on the singer herself, and those songs and characters she has become identified with over the years. How beautiful is Mimi's "Si, mi chiamo Mimi" from Puccini's , La Boheme? How passionate and poignant is Butterfly's, "Vogliatemi beni", especially when sung against Pavarotti's Pinkerton? How dramatic can a soprano shade Verdi's Elisabetta voice in Don Carlo', "Tu che le vanita"? How much emotion can one pump into poor Desdemona's final "Ave Matria" in Verdi's Otello? And without going over the edge, how much innocent excitement can a soprano bring to Tchaikovsky's "Pulskai poginbnu ya, no pryezhde (Letter scene) in Eugene Onegin?
DECCA's "In Celebration" answers these questions unequivocally. This CD answers such questions and leaves the listener in awe - at least it did me - of the beauty, power and subtlety of the female voice.
Second reason to own this CD is the voice itself. Mirella Freni's soprano is round, open and full. Said another way: no nasal lapses from this singer. Her tone is rich and smooth, and her diction is - well, she was born in Modena, Italy. It's a voice that needs no further explanation. Musically and vocally, this 2-CD set is a winner all around.
As readers of these reviews know, it is this reviewer's opinion that a CD has to set and hold a mood and not break that mood once established. It's no joy to have to reach for the "skip" button on the remote when listening to music. That's not to say this collection doesn't have variations or that it's all maudlin - not that there's anyting wrong with being maudlin. By consistent theme I mean it doesn't have unnecessary interruptions in its overall operatic mood. You expect to hear Mirella Freni's voice in some of her most communicative moments, and that's what you get. Lasty, accompaniment is provided by different orchestras at different times in her career, but the different orchestras present no problem. The overall sound quality of this CD set is superb throughout. The transition to digital is balanced and won't necessitate any adjustment in volume in any of the 23 enjoyable and vocally descriptive cuts. I recommend it.

Sumi Jo - Bel Canto / Arevalo · ECO · Carella

Average customer rating:

The artistry of Sumi Jo
Nice Collection, Pure Voice. Slightly Weak High Notes
Angels sings like this...
This is a tribute to Bel Canto
Another Sutherland, yet even better...

Sumi Jo - Bel Canto / Arevalo · ECO · Carella
Gioachino Rossini , Vincenzo Bellini , Giuseppe Verdi , Gaetano Donizetti , Federico and Luigi Ricci , Giuliano Carella , Sumi Jo , Octavio Arevalo , and English Chamber Orchestra
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005E5A
Release Date: 1997-09-16

Tracks:

Semiramide: Bel raggio lusinghier
La Sonnambula: Care compagne
Falstaff: Sul fil d'un soffio etesio
I Puritani: Son vergin vezzosa
I Capuleti e i Montecchi: Eccomi in lieta vesta...Oh! quante volte, oh! quante
Linda di Chamounix: O luce di quest' anima
Tancredi: No, che il morir non e
I Puritani: Qui la voce sua soave
Crispino e la Comare: Io non sono piu l'Annetta
La Traviata: E strano, e strano

Customer Reviews:

The artistry of Sumi Jo.......2007-02-28

This CD shows Sumi Jo's bel canto technique off to good effect. She has a light agile voice that exemplifies top notch coloratura singing (and I know that bel canto and coloratura are not the same). Indeed, she probably must be rated as one of the best coloratura sopranos of the current era.

Some samples of her work. . . .

"Bal raggio lusinghier," from Rossini's "Semiramide" is enchanting. She displays, as always, an agile voice with a lovely quality to it. Her technique is good; this is fun to listen to. She hits a nice high note at the end.

From Bellini's "I Puritani," we have "Son vergin vezzosa." There are iconic versions of this, first, from Joan Sutherland, and, second, from Beverly Sills. However, Sumi Jo's rendering of this work stands well in comparison. She sings this at a quick pace, as seems appropriate. She shows a nice trill; her florid singing is nicely done. She hits high notes cleanly, although one appears a bit thin and strained--but that's a mere quibble. The repeat is very well done.

"O luce di quest'anima," from Donizetti's "Linda di Chamonix," is also well sung. The opening portion is prettily sung. The cabaletta picks up the pace. She shows off nice appoggiaturas and her singing is, as always, very agile. She displays a decent trill before the final high note.

And then there is one of the great showpieces for coloratura sopranos, "Qui la voce. . .Vien diletto," from Bellini's "I Puritani." "Qui la voce" is poignantly and touchingly sung, showing some nice characterization. The cabaletta is smoothly and agilely sung the first time through. Her voice sounds quite sweet in the slower parts of this segment. The repeat features nice ornamentation, including a good trill here and there. Her repeat is not as florid as some, but it is nonetheless nicely done. The final high note is hit dead on.

Finally, from Verdi's "La Traviata," "E strano". . ."Sempre libera." This has been well sung by many who came before her, such as Renata Scotto and Anna Moffo from decades ago. Her singing seems to represent a nice characterization of the doomed Violetta. The early parts are well sung and expressive. "Sempre libera," of course, picks up the pace. And so does Jo. She handles the demands of this music well. She, once more, manifests considerable vocal agility. The repeat is fine, with some nice runs and a final high note well done.

In short, this is a good representation of the work of Sumi Jo. For what it's worth, in my estimation, she rates very high among the current crop of coloratura sopranos, alongside Natalie Dessay, for instance. With singers such as these, the current generation of coloratura sopranos ranks well against their historical predecessors.

Nice Collection, Pure Voice. Slightly Weak High Notes.......2003-04-09

I don't want to say more about her since she is too famours to introduce. I just bought two of her cds recently, which I had big expection for her.

Undoubtly, she has beautiful voice and wonderful coloratura style, I was amazed by the flexiblity in her voice. However I was slightly disappointed by the weakness in her high notes. It seems that she never has strong high notes, and those high notes can't last as long as Dilber's or Organasova's.

Sorry to say this to the pretty Sumi.

Angels sings like this..........2002-06-18

This is, without doubt, the most beautiful bel canto recital disc since Dame Joan's Art of the Prima Donna. Sumi Jo is without equal in this repertoire today. Her interpretations are immaculately rendered and her technique (just incredible) is beyond reproach.

This disc is worth ever penny because it contains the best Elvira ever recorded. Sumi's angelic (albeit small) voice floating above a chamber orchestra creates one of the most intimate operatic portraits of Elvira in recent history. Callas gave us penetrating pyscholgical insights into Elvira, Dame Joan gave us vocal fireworks, but Sumi Jo IS Elvira. She's simply exquisite.

This is a tribute to Bel Canto.......2002-01-06

This record is realy a Tribute to Bel Canto.
When we talk about bel canto, we have to refer Sutherland. Dame Joan had (has) the most beautiful voice I've ever heard. The range of her voice is incredible and I have to desagree with the reviewer that says that Sutherland lower range was heavy. It was strong, not heavy. With that voice range she could do any kind of reportoire.

Now, let's talk about Sumi Jo. Miss Jo is realy a coloratura Soprano and in bel canto she is the best we have now. All the high notes are very clean and she has no difficulties to reach them. Qui la voce sua soave is very good, I even prefer this interpretation over Sutherland's.

Well, she is not Sutherland, but she is with no doubt a Tribute to Bel Canto.

Another Sutherland, yet even better..........2000-12-28

As I have explained in another review I wrote of Sumi Jo's music, she has become one of my favorite sopranos. I started out with Dame Joan Sutherland, La Stupenda herself in her recital disk "The Art of the Prima Donna." A fantastic CD. And I must say that it has been hard to find other sopranos that could do as well as Dame Joan in such traditional bel canto repertoire. You know how it is, once you hear one version, it's hard to find another that is better. And although some of the arias on this CD are different than you find on Sutherland's, they are just as great, if not better. What one finds with Sumi is a gorgeous voice, clear and pure throughout(not mushy and heavier as Sutherland had in her lower range... Ahhh!! I can't believe I admitted it... I hate to put Sutherland down), and the enunciation is never a problem. So what is there to complain about?... Nothing really, except maybe if her top note wasn't a high F, and instead a C above high C, and then I wouldn't like Natalie Dessay just for her high notes(she has a high A flat I believe). But a high F is more than enough for any bel canto piece as Sutherland showed us throughout her career(I just love high notes, the higher the better).

Now that I've settled with my love of the voice... the recording itself is to be talked about. Bel raggio lusinghier from Rossini's Semiramide is the first track. A different interpretation than Sutherland, but gorgeous. All throughout this recording, Sumi Jo shows us just how effortless her coloratura is, and this track especially conveys this. As for Sumi Jo's lyrical skills, the perfect track for that is track 5, "O quante volte" from Bellini's "I Capuleti e I Montecchi." What a gorgeous Juliette she is! And if only the previous reviewer knew I was going to see Sumi this coming February in this exact role. I know I can't wait, and I'm sure Ms. Jo will not disappoint. Anyways, this entire recording, each and every song is wonderful. And the Violetta aria from Verdi's "La Traviata" is a nice end to the CD, summing up just how great Sumi Jo is. To those who say bel canto has withered away lately, they should hear this disk. Sumi Jo would convert them right away. And could there be no better praise than the fact that Sutherland's husband Maestro Richard Bonynge has worked with Sumi Jo... Afterall, his wife was practically the Queen of Bel Canto. It's obvious that Bonynge has found his new reigning queen. We could be in for a real treat in the coming years!!!

This is bel canto at its finest. Enjoy

Tracks:

La Ran La Lera...Largo Al Factotum
O Sainte Medaille...Avant De Quitter Ces Lieux
Ce Breuvage...Vision Fugitive
C'est Toi...Au Fond Du Temple Saint - Placido Domingo
La Fatigue Alourdit Mes Pas...Comme Une Pale Fleur
Ecoute!...Dieu, Tu Semas Dans Nos Ames
C'est Mon Jour Supreme
Tout Est Desert...Son Regard
Ove Son Io?...Vada In Fiamme
Perfidi! All'Anglo Contro Me...Pieta, Rispetto Amore
Di Provenza Il Mar, Il Suol
E Sogno? O Realta?
Komm!
Der Garten Des Herzens
Lied Des Venezianischen Gondoliers
Le Lazzarone
L'Ultimo Ricordo

Tracks:

Mein Sehnen, Mein Wahnen
Wo Berg' Ich Mich?...So Weih' Ich Mich Den Rachgewalten
Wie Todesahnung...O Du Mein Holder Abendstern
Gruss Op.48 No.1
Im Wunderschonen Monat Mai
Aus Meinen Tranen Spriessen
Die Rose, Die Lilie
Ich Will Meine Seele Tauchen
Ich Grolle Nicht
Gute Nacht
Die Post
Blicke Mir Nicht In Die Lieder
Ich Atmet' Einen Linden Duft
Ich Bin Der Welt Abhanden Gekommen
Von Der Schonheit
O Vaterland, Du Machst Bei Tag
Als Flotter Geist
Komm, Zigany
An Old Song Re-Sung
At Dawning (I Love You) Op.29 No.1 - Armen Guzelimian
Jeanie With The Light Brown Hair
Beautiful Dreamer

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

SImply Untrue.......2006-08-16

The previous review is simply a gross falsification. I have been an obsessed opera fan for a long time, and Thomas Hampson is a truly special singer. He is not the possesor of the largest or most interesting voice, which he will tell you and indeed says so all the time. His commitment to text, his willingness to search out parts to fit his voice, and his dedication to art song make im invaluable to Americans as a ture Troubador. His light Baritone was ideally suited to Figaro and to Valentin and the art song he loves. He must stretch to sing Verdi, where his voice sounds dry and small but many singers have chanced Verdi at their peril, and his innate ablity to inhabit a song, here evidenced in Di Provenza overcomes fact that it is out of his fach. You misinformed opinion of Hampson is mean and strangly bitter. I love Opera, but I do not love every singer, which doesn't mean I debase their very artistic existance. I have seen Hampson live, and have loved him (in Thias) and somewhat disliked him (in Simon Boccanegra) As for him being pretentious, somwetimes I find him mannered, but always charming. SOmetimes Intellectualism can appear pretentious, but surely you wont hold an opera singer to the charge that he must be unintellectual. what a vitriolic review, please buy this Cd, it merits repeated listening to a true American SINGER,

an extra star for all the guest artists.......2006-05-08

The title of this album is an oxymoron. Or a sick joke. I can't decide. Sure he has made millions by luring the uninitiated listener into his web of deceit and conceit, but don't be fooled any longer. How fortunate Hampson has been to sing for and with great artists to shoulder his heavy load.

An Homage to a Great Artist.......2005-10-30

EMI is wisely creating a series of recordings to gather the moments of artists that showcase the very reasons they become so highly regarded. Usually these collections are produced late in careers or even posthumously, but in the case of THE VERY BEST OF THOMAS HAMPSON the artist is still one of the more active and premiere singers of our day. Yet while he doesn't still perform all of these inclusions, it is wonderful to have excerpts from various successful recordings to remind us of the artistry that Hampson represents.

The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.

But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.

Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05

superb vocals.......2005-08-07

Mr.Hampson really gets the chance to showcase his wonderful baritone voice in this "Best of" collection which includes excellent selections from his various other CDs. I like the diversity of the selections featuring operatic arias,works from classical composers, and folk songs. For Thomas hampson fans, as well as fans of the baritone voice, this CD is for them.

Average customer rating:

Ruffo- The Voice of the Lion!

Prima Voce: Ruffo

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Muzio
De Luca: Prima Voce
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ASIN: B0000037JB
Release Date: 1992-12-02

Tracks:

Amleto: O Vin, Discaccia La Tristezza
La Traviata: Di Provenza
La Gioconda: O Monumenta!
La Gioconda: Ah! Pescator
Pagliacci: Si Puo?
Zaza: Buona Zaza!
Zaza: Zaza, Picola Zingara
Non Penso A Lei
La Favorita: Vien, Leonora
Thais: Ecco Dunque
Otello: Credo
Otello: Era La Notte
Otello: Si, Pel Ciel
Nabucco: Tremin Gl'Insani
L'Africana: All' Erta, Marinar!
Un Ballo In Maschera: Eri Tu
Tosca: Gia, Mi Dicon Venal
Il Barbiere Di Siviglia: Largo Al Facatum
Rigoletto: Pari Siamo
Falstaff: Quand' Ero Paggio
La Gioconda: Enzo Grimaldo

Customer Reviews:

Ruffo- The Voice of the Lion!.......2001-09-15

This CD is an excellent introduction to the voice of one of the greatest singers ever to grace the operatic stage. The transfers are excellent, and I can guarantee that you won't have a `drop out' of the voice here, as happens on some `live' recordings, many of which seem to be done by people holding the microphone under their coats. The sound is what one can expect from the beginning of the century, as far as the accompaniments go. (Yes, they do sound weak and muffled.) The voice is crystal clear, however, and shows why many people think of Ruffo's voice as the greatest baritone of all time.
I personally cannot speak for the era before recording, but any accounts we have of any singers on records shows Ruffo to be unique. Was it the largest baritone voice? I don't know; one critic claims Domenico Viglione Borghese had a larger voice. I have heard a few of Borghese's recordings, and the man had an awesome voice. He also sang in an exciting fashion, with emotion and conviction. However, judging from the recordings, Ruffo had a richer voice, and an almost relaxed mode of singing, which is almost paradoxical when one thinks about it. (Listen to his little song from Verdi's Falstaff.) His Credo from Verdi's Otello, old as it is, reaches out and grabs the listener by the throat. (This is not one of those old recording where you'll barely be able to hear the singer. Ruffo's voice dominates the environment here, and I'm talking about your listening environment. Only Sherrill Milnes, among modern singers, comes at all close to Ruffo's savagery here, and even with a full orchestra backing him, there isn't half the presence. And Milnes had one of the most awesome voices I've ever heard.) That's followed by the Dream, which is a masterpiece of insinuating, serpentine evil, as Iago pours his poison drop by drop into Otello's ear. What follows? The justly celebrated vengeance duet with Enrico Caruso. What power! And what sheer insane anger! Among modern recordings there are only two I've heard which come close: Del Monaco with Leonard Warren (This is from one of the Metropolitan Opera's premiums.) and Jon Vickers with Tito Gobbi from the classic Serafin conducted recording, with Leonie Rysanek as Desdemona.
In Tremin Glinsani from Nabucco, Ruffo takes two parts; Zaccaria, the priest, and Nabucco himself. If anyone out there has heard anyone else come close to Ruffo's singing of Nabucco's aside here, let me know. I've heard Capuccili, Gobbi, and Juan Pons. What about Scarpia's aria from Tosca? The police chief's carnality and evil are on display here, with stunning power.
All'erta Marinar from Meyerbeer's L'Africaine is a showpiece for Ruffo's voice. The full range is on display here, from his rather weak lower voice, to a ringing sustained high A natural that has to be heard to be believed. This aria, in Ruffo's hands, can leave your ears ringing. And it all sounds so easy! The older Ruffo voice is displayed on the only electrical recording available on this CD; Enzo Grimaldo, with the great Beniamino Gigli. This is my favorite version of this duet, even though Ruffo's voice does sound a little worn by the years. Barnaba is an evil man, and one can feel the evil oozing out, as if under pressure. For those who like La Gioconda, there are also Ruffo's O Monumento and Pescator, which are sung in his prime. The richness of tone and variety of color on display here have never ceased to astound me.
Ruffo was not just a loud singer. He had many moments when he sang in half voice, which was very light and tenorish. I would not care to listen to him if he was only a bellower, believe me. Don't expect to be lulled to sleep here however; this man is not Perry Como. Expect to be astounded and moved. For further listening, get the CD's on which Ruffo sings Rigoletto, with Galvany and Pareto, and Ambroise Thomas' Hamlet. Even though the accompaniments sound rather primitive, given the limitations of the horn they had to sing and play into back then, the voices are clear and very exciting. For similar voices? Gino Bechi comes close, in terms of style, and the man is an exciting performer. Mattia Battistini had a similar type of voice (glorious top, small lower notes) and a snarling delivery. If you like Ruffo, and don't know about these two, give them a try. In more recent times, we have the beautiful and awe inspiring voice of Sherrill Milnes. This man sounds a little like Ruffo, with Leonard Warren mixed in. Try his Rigoletto, Iago, and Figaro from Rossini's Barber of Seville for a great deal of gorgeous singing.
Back to Ruffo; if you like his work in opera, try him out in the popular songs of his day. Maria Mari should be heard by anyone interested in the genre.

Track Listings:

Track Listings

track listings

Track Listings

Jinx [Explicit Lyrics]

MMC New Composer Series

Slanted & Enchanted

Goldberg Variations Pt.1 [Import]

Early Years [Import]

Missin You It Will Break My Heart [CD-single] [Import]

Smoke Gets in Your Eyes: Best of Dinah Washington

Mozart: Six Piano Trios

Native Sons

Liszt: Paganini Studies; Schubert March Transcriptions

Perception

Melodias De Amor

Para Amanecer Bailando, Vol. 7

Blockbleeders

The Indestructible Beat of Soweto

1. Falstaff!
2. Sei Polli, Sei Scellini
3. Ma É Tempo D´Assottigliar
4. L´Onore! Ladri!
5. Alice - Meg
6. Fulgida Alice! Quell´Otre!
7. In Due Parole, L´Enorme Falstaff
8. Labbra Di Foco
9. Del Tuo Barbaro Diagnostico
10. Siam Pentiti E Contriti
11. Alice É Mia!
12. Signore, V´Assista Il Cielo!
13. C´È A Windsor Una Dama
14. E Sogno- O RealtÀ-
15. Presenteremo Un Bill- Giunta All'albergo
16. Fra Poco S'incomincia La Commedia
17. Al Fin T'ho Colto Raggiante Fior
18. Quand'ero Paggio Del Duca Di Norfolk
19. Mia Signora C'e Mistress Meg
20. C'e ---C'e