Maria Stuarda

Editorial Reviews
Amazon.com essential recording
This opera becomes a battle of the divas in its great second act, with Sutherland, as Mary Stuart, pitted against the jealous, paranoid, and vengeful Elizabeth I (Tourangeau). There is an intensely dramatic confrontation in which insults are violently exchanged between the powerful monarch and her imprisoned but still regal rival to the throne. Mary wins the battle of insults, but this is a dangerous victory over one who has the power of life and death. Elizabeth orders Mary's execution and Act III becomes a spectacle of pathos and horror. Sutherland's usual style is more attuned to pathos than to the swapping of insults, but she rises splendidly to the challenges of Act II and she has a splendid supporting cast. --Joe McLellan

Maria Stuarda, Music, Gaetano Donizetti, Richard Bonynge, Huguette Tourangeau, James Morris, Joan Sutherland, Luciano Pavarotti, Margreta Elkins, Roger Soyer, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio
Art of Beverly
Average customer rating: 4.5 out of 5 stars
  • WHAT CAN I SAY?
  • Rest in Peace Dear Bubbles (1929-July 2, 2007)
  • two beautiful discs!
  • Good example of the "Art of Beverly Sills"
  • Claws
 Art of Beverly
Beverly Sills
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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  4. Beverly Sills
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ASIN: B000075A7K
Release Date: 2002-11-12

Tracks:

  1. Mignon: Oui, Pour Ce Soir Je Suis Reine Des Fees...Je Suis Titania La Blonde
  2. Manon: Allons! Il Le Faut-Adieu, Notre Petite Table
  3. Manon: Je Marche Sur Tous Les Chemins-Obeissons Quand Leur Voix Appelle
  4. Louise: Depuis Le Jour
  5. Linda Di Chamounix: Ah! Tardai Troppo...O Luce Di Quest'Anima
  6. Lucia Di Lammermoor: Regnava Nel Silenzio...Quando Rapito In Estasi
  7. I Puritani: Fini...Me Lassa!
  8. I Puritani: Vieni, Vieni Fra Queste Braccia
  9. Roberto Devereux: L'amor Suo Mi Fe' Beata
  10. Maria Stuarda: O Nube
  11. Anna Bolena: Cielo A' Miei Lunghi Spasimi-Coppia Iniqua

Tracks:

  1. Les Contes D'Hoffman: Les Oiseau Dans La Charmille
  2. Les Contes D'Hoffman: Elle A Fui, La Tourterelle
  3. Zaide: Ruhe Sanft, Mein Holdes Leben
  4. Der Opernball: Im Chambre Separee
  5. Die Lustige Witwe: Es Lebt' Eine Vilja
  6. The Ballad Of Baby Doe: Gold Is A Fine Thing
  7. Die Tote Stadt: Cluck, Das Mir Verblieb
  8. Daphen: Was Blendet So...Ich Komme...Ich Komme
  9. Sechs Lieder Op.19 No.2: Breit' uber Mein haupt Dein Schwarzes Haar

Customer Reviews:

5 out of 5 stars WHAT CAN I SAY?.......2007-07-05

FOR THOSE WHO WANT A SAMPLER, IT IS THE BEST. YET, IT LEAVES YOU PINING FOR THE ITEMS SILLS NEVER RECORDED IN THEIR ENTIRETY. MORE STRAUSS, MORE OF EVERYTHING. A DEFINITIVE VOICE. HER LUCIA IS UNSURPASSED.

5 out of 5 stars Rest in Peace Dear Bubbles (1929-July 2, 2007).......2007-07-03

I have always loved the flowing, plaintive music of bel canto, and no other singer perhaps captured the synthesis of fioritura and expression so perfectly as Beverly Sills. Callas may have been a supreme dramatist, but Beverly Sills had a better command of the fioritura that skyrocketed her career during the 60s and 70s. It is indeed sad that America has lost one of its national treasures yesterday when Beverly Sills passed away in Manhattan. She truly was one of the greatest. Just listen to her singing any one of Donizetti's three queens and you will know what I mean. She is exemplary not only in Donizetti though. Her Manon is still the best, her Violetta in par with Callas, her Louise the most idiomatic ever recorded, her Fille du Regiment a joy, Linda di Chamounix ecstatic, and Gilda a lesson in the art of light Verdi. She was a supreme painter of characters. Has there ever been a more brilliant Zerbinetta? And how many singers have been able to truly convey the youth of Elvira in Puritani? In Rossini, she was also unparalleled in L'Assedio di Corinto, the role that she made her La Scala debut in. Beverly Sills was one of a great many singers who belonged to a great golden age of singing, and I am thankful that I was born into the right time to hear her glorious work. This CD is a wonderful compilation of the brand of singing that she brought into the lives of many an opera fan for years and years to come.

I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.

5 out of 5 stars two beautiful discs!.......2007-02-18

Beverly Sills not only survived being a child prodigy - a rare enough thing among singing musicians - she triumphed in a big way. Her fertile and beautiful art is wonderfully represented on this double disc set from Deutsche Grammophon. I sense today a resurgence of appreciation for her art, and to call it well deserved is saying the least. The singing's jam packed with pure musicianship, attention to nuance, fidelity to composer and character - in a word, everything requisite to making the operatic art thrive, qualities in short enough supply today among many opera stars, and it makes this package even more attractive. Sills not only understood bel canto art, she accomplished it memorably. Highlights include 'Ah! Tardai troppo...' (Linda di Chamounix), &an unearthly 'Regnava nel silenzio...' (Lucia), which I might prefer to Sutherland's for its committment and munificence. The gone too soon Thomas Schippers conducts a great performance - how that man could possess whatever orchestra and score he worked with. Two arias from I Puritani - especially 'Vieni, vieni fra queste braccia' with the singing of the genius Nicolai Gedda as Arturo, and an opening to Anna Bolena's aria 'Cielo, a' miei lunghi spasimi' that wipes clean every memory of other versions. All that on disc 1! I had forgotten Sills' beautiful pianissimos, singing so musicianly and free of ego - her interpretation is always only her adherence to score and composer, and greater praise cant be given a classical singer. Disc 2 offers a definitive version of Korngold's 'Gluck, das mir verblieb' (Die Tote Stadt) among a number of fine versions out there. The slowest version available and I feel I'm hearing it for the first time, and with a true Viennese (Rudel) conducting! You can put this track alone on repeat and live out the day in freedom! If you dont know Sills' art, or dont remember it well and truly, this set is a fine place to begin what will become transfixion with a musical art that proves itself urgent and inextinguishable! Highest recommendation.

5 out of 5 stars Good example of the "Art of Beverly Sills".......2007-01-27

Beverly Sills is one of the most well reputed coloratura sopranos of the past fifty years. This CD illustrates why she has attained such renown. First, it shows the range of her singing. While much of her work focused on Donizetti, Bellini, and Rossini, she sang about fifty roles in her career, before retiring in her late 40s. This 2 CD set provides a sense of the range of her work.

The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.

Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.

The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.

The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.

One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.

All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.

5 out of 5 stars Claws.......2003-11-16

I already wrote a great review of this collection. It is supreme artistry, and I find her high notes rather large and not shrill. My only question is about the cover photo. Those fingers look like something out of Edward Scissorhands or Nightmare on Elm Street! Does anyone else agree with me? Almost seems like someone must have done some false touch-ups to make them look like claws!
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

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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!
Mercadante: Maria Stuarda
Average customer rating: Not rated
    		Mercadante: Maria Stuarda
    Mercadante , Howarth , Larmone , Custer , and Lee
    Manufacturer: Opera Rara UK
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000N6UGQE
    Release Date: 2007-05-08
    Sumi Jo - Prayers / James Conlon
    Average customer rating: 4.5 out of 5 stars
    • Nice Voice
    • a voice teacher and early music fan
    • Sumi Jo- coloratura supreme
    • Prayerful and beautiful
    • A spectalce of voice and vocalization
    		 Sumi Jo - Prayers / James Conlon
    Gioachino Rossini , Wolfgang Amadeus Mozart , Richard Strauss , Giulio Caccini , Maurice Ravel , Gabriel Fauré , Anonymous , Franz Schubert , Charles Gounod , Gaetano Donizetti , Zbigniew Preisner , Leonard Bernstein , Johann Strauss II , Frederick Loewe , James Conlon , Sumi Jo , and Susan Graham
    Manufacturer: Erato
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B0000560N6
    Release Date: 2001-03-20

    Tracks:

    1. Kaddisch
    2. Laudate Dominum
    3. Ave Maria
    4. Amazing Grace
    5. Breit' Uber Mein Haupt
    6. L'assedio Di Corinto: L' Ora Fatal S'appressa... Guisto Ciel !
    7. Pie Jesu
    8. Der Vierjahrige Posten: Gott! hore Meine Stimme!
    9. Sanctus
    10. Maria Stuarda: Preghiera Di Maria
    11. Lacrimosa
    12. 1600 Pennsylvania Avenue: Take Care Of This House - Sumi Jo/Phil Chor Koln/Susan Graham
    13. Nun's Chor/Casanova: Laura's Song
    14. Gigi: Say A Prayer For me Tonight
    15. Sometimes I Feel Like A Motherless Child

    Amazon.com

    This program seems designed primarily to display soprano Sumi Jo's fabulous singing and famous stylistic eclecticism. However, it also exhibits an admirable religious inclusiveness, encompassing expressions of faith from the Latin liturgy to Negro spirituals; there is even a Richard Strauss song that is essentially a paean to love. An incongruous note is struck by a nun's song from an operetta by Benatzky that is a corny Viennese waltz and by a soundtracklike arrangement of a 16th-century Ave Maria. Ranging from Mozart to Broadway, this musical mix is held together by Sumi Jo's ravishingly beautiful, pure, warm voice and the way she can color and inflect it, and by her mastery of every style (though not every language; her German in particular is unintelligible). Her intonation is impeccable, her breath control incredible. Jo's top notes soar triumphantly, and she can sustain them indefinitely, with enough power left to make a crescendo at the end. Highlights include Ravel's "Kaddisch," which sends shivers down the spine; arias from operas by Rossini and Donizetti; and arias from sacred works by Gounod and Fauré. Of two spirituals, the second one is simpler and more convincing. The accompanying forces are excellent; James Conlon doubles as pianist when not conducting. Susan Graham also makes an appearance in the moving invocation "Take Care of This House" from Bernstein's 1600 Pennsylvania Avenue. --Edith Eisler

    Customer Reviews:

    3 out of 5 stars Nice Voice.......2007-05-06

    Sumi Jo has a beautiful voice but her renditions of Motherless Child and Amazing Grace were not impressive at all. The vibrato was too uncontrollable. The Ave Maria was so,so. I did not hear the richeness others have declared in their assesments. Don't get me wrong, the instrument is quite beautiful but only in some selected selections.

    5 out of 5 stars a voice teacher and early music fan.......2007-02-17

    "Music and poetry emerge from man's desire to give thanks, to praise and to pray to his gods. One of the magical powers of the human voice is that it can fly, on the wings of songs (a la Mendelssohn) to heaven and appear to be in direct communication with God." Therefore, it is no surprise that prayer is omnipresent throughout the history of music. Sumi Jo has chosen an excellent representation of songs including most styles and periods which include : Baroque (Caccini)-Classical (Mozart)-Contemporary (Preisner)-Romantic Opera (Rossini,Donizetti)-German 'Singspiel'(Schubert)-Lieder (Richard Strauss)-French church music (Gounod ,Faure)-traditional music (spiritual)-Jewish melodies (Ravel)-Viennese operetta (Johann Strauss) and the American musical (Bernstein).

    Sumi Jo, born in Korea,is a much sought after coloratura soprano, having triumphed on stage, and in recitals all over the world. Not being fond of coloraturas, I make an exception for her voice, because of its depth along with the very high register. She shows a great deal of sensitivity to all of her varied selections on this disc, and each delivery is a 'gem' unto itself.

    I must personally comment on those works that I particularly enjoy. Hearing her sing Mozart's 'Laudate Dominum' was a real treat; it doesn't matter how often one hears that lovely piece, just like all of his music, it 'wears' well. The 'Pie Jesu' was absolutely stunning as Sumi Jo sang it, and it is a pleasure for me to hear the selection from "GIGI" by Lerner & Loewe; not being a great broadway fan, I have always liked that specific musical. I think because it was well-done when I saw it years and years ago.

    This disc is abolutely totally enjoyable. There is something for all musical tastes, and the conductor/pianist James Conlon does a great job pulling it together!!!!!

    5 out of 5 stars Sumi Jo- coloratura supreme.......2006-04-09

    One word: Lacrimosa. It haunts you and will stay with you long after you hear it. I actually forced several if my coworkers to listen to it many of which are not opera fans and even they could not argue the beauty of it. One of my coworkers was actual on the verge of tears by the end of the song.

    The rest of the album is enchanting as well as breath taking. I am a harsh critic when it comes to singers so I do not give those compliments very often, nor am I easily moved by singers but Sumi Jo has certainly done that with this album.

    My only complaint is that I would have liked to hear her take of "Ave Maria" by Schubert which, while recorded many times over, would complimented her voice perfectly due to it's simplicity. "Sing low sweet chariot" would have been another great one to hear but as far as spirtuals are concerned I was very happy with her acepella version of "Amazing Grace." I was never a huge fan of "Amazing Grace" since it's been done a thousand times over but she brought such seetness and emotion to it. Of course I am kind of biased becuase I offically hate the "belting" version of this song and that's how it's usually done. It's nice to hear a simple, straight forward version.

    My last comment is that it's nice to hear Sumi Jo sing less operatic pieces considering most opera singers are rarely bold enough to sing anything other than classical pieces, excluding Renee Fleming of recent.

    5 out of 5 stars Prayerful and beautiful.......2005-11-14

    It is a refreshing change to have a collection of arias on a CD with a title that actually bears some relevance to the contents. This is indeed a prayerful collection. That means, of course, that you have to be in the appropriately contemplative mood in order to appreciate it.

    Another nice change is that the orchestral accompaniment enhances the singing rather than just tagging along as an afterthought, which often seems to be the case. It is fitting that James Conlon gets equal billing here. This is splendid singing to splendid music.

    Sumi Jo is comfortable in any language and in a broad range of styles. I was uncertain how she would tackle songs like Amazing Grace and Sometimes I Feel Like a Motherless Child. I need not have worried. In the latter she reveals a soulfulness that fits the lyrics perfectly.

    The only track not worthy of this collection is Bernstein's Take Care of This House. I suppose, as it is a prayer, it was an obvious song to include, and Jo sings it very well, but it is just a very poor song. That still leaves 14 excellent tracks that, if you are a lover of good singing, you will want in your collection.

    5 out of 5 stars A spectalce of voice and vocalization.......2004-12-29

    I bought this used from an Amazon.com dealer and it came with a cutout on the left side of the CD box. Can this specacular CD possibly have gone out of print by Christmas 2004? If so we have lost one of the benchmark recordings of this splendid artist.

    Never is there a weak moment in this incredibly beautiful collection of classical bleeding chunks and spirituals. I don't think you'll confuse Sumi for your favorite spiritual singer in "Amazing Grace" and "Sometimes I feel like a motherless child" but she is magnificent singing the complete and incomplete tunes elsewhere on the CD by famous classical composers including Mozart, Richard Strauss, Rossini, Schubert and Donizetti, to name some of them.

    She is in wonderful voice and fresh-faced for the Loewe-Lerner "Say a prayer for me tonight" and does an equally nice job with Susan Graham accompanying Leonard Bernstein's "Take care of this house" from "1600 Pennsylvania Avenue". I'm not much for this kind of music -- I bought this exclusively for her rendition of Mozart's "Laudate Dominum" -- but it adds a dimension to the concert that brings it into the realm of popular Broadway tunes.

    This is a wonderful concert of familiar and not so familiar songs from a singer whose voice is eloquent, beautiful and rich, with significant range and span from PPP to FFF. Sumi Jo controls her voice well throughout the concert, giving everyone something to think about regardelss of musical preference. This might have been improved if she'd included a Beatles tune -- maybe "Elenor Rigby" or "Yesterday" -- accompanied by the orchestra and James Conlon's direction. But it stands with any similar collection by any singer as it is.
    Opera Obsession! - Opera d'Oro's Greatest Hits
    Average customer rating: 5 out of 5 stars
    • A Great Introduction to Opera
    • Excellent Potpourri
    		 Opera Obsession! - Opera d'Oro's Greatest Hits

    Manufacturer: Opera D'oro
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000062Y9J
    Release Date: 2002-03-05

    Tracks:

    1. Aida: Celeste Aida - Placido Domingo
    2. The Pearl Fishers: Au Fond Du Temple Saint - Alfredo Kraus
    3. La Wally: Ebben? Ne Andro Lontana - Renata Tebaldi
    4. Manon: Io Son Sol... Ah Dispar, Vision! - Luciano Pavarotti
    5. La Fille Du Regiment: Il Faut Partir - Fernando Corena
    6. La Traviata: Libiamo Ne'lieti Calici - Jose Carreras
    7. Maria Stuarda: Oh Nube! Che Lieve - Montserrat Caballe
    8. Turandot: Nessun Dorma - Franco Corelli
    9. Don Giovanni: Dalla Sua Pace... - Alfredo Kraus
    10. Mefistofele: Die Campi, Dai Prati - Carlo Bergonzi
    11. Il Trovatore: Di Quella Pira - Franco Corelli
    12. Arabella: Und Du Wurst Mein... - Montserrat Caballe
    13. Tannhauser: Dich Teure Halle - Gundula Janowitz
    14. La Damnation De Faust: Merci, Doux Crepuscule! - Nicolai Gedda
    15. La Boheme: Si. Mi Chiamano Mimi - Mirella Freni
    16. Otello: Dio! Mi Potevi Scagliar - Jon Vickers
    17. Tosca: E Lucevan Le Stelle - Giuseppe Di Stefano
    18. Rigoletto: E Il Sol Dell'anima - Maria Callas
    19. Lucia Di Lammermoor: Tu Che A Dio... - Luciano Pavarotti

    Customer Reviews:

    5 out of 5 stars A Great Introduction to Opera.......2004-11-28

    This CD serves as a great beginner's guide to opera. there is plenty to choose from on this CD. Placido Domingo starts off the CD with his trademark "Celeste Aida." Next, Alfredo Kraus and Giuseppe Taddei sing "Au fond du temple saint," in Italian instead of French. Renata Tebaldi follows in "Ebben? ne andro lontana." You can't have a opera CD without Luciano Pavarotti, and you get him in "Io son sol...Ah dispar, vision!" from Manon. A great trio from La fille du regiment, "Il faut partir" follows, starring Beverly Sills, Fernando Corena, and Grayson Hirst. Jose Carreras and Renata Scotto follow in the Brindisi from La Traviata. Montserrat Caballe graces the #7 spot in "Oh nube! che lieve" from Maria Stuarda. Franco Corelli is excellent is "Nessun dorma" from Turandot. Alfredo Kraus returns again in "Dalla sua pace" from Don Giovanni. This is one of my favorite arias on the CD. Carlo Bergonzi follows in "Die campi, dai prati" from Mefistofele. Franco Corelli follows in the role he was made for: Manrico's "Di quella pira" from Il Trovatore. Montserrat Caballe and Siegmund Nimsgern sing in one of the only German arias on the CD: "Und du wurst mein..." from Arabella. Gundula Janowitz sings in "Dich teure Halle," the other German aria on this CD. I can't believe Nicolai Gedda isn't on this CD more than once. He sings "Merci, doux crepuscule" from La damnation de Faust. Mirella Freni comes next in "Si. Mi chiamano Mimi" from La Boheme. My favorite tenor, Giuseppe di Stefano comes in the next two clips: "E lucevan la stelle" from Tosca, and, with Maria Callas, "E il sol dell'anima" from Rigoletto. How can this great recording end? With Pavarotti in "Tu che a Dio" from Lucia di Lammermoor of course.

    5 out of 5 stars Excellent Potpourri.......2004-09-12

    Do not be misled by the incredibly low price on this album; the recording quality is quite good. I would have liked more information in the liner notes (especially the year of the performance), but that is a minor quibble when compared to hearing some of the best opera stars of the last century for less than a matinee movie ticket.

    So, indulge and enjoy!

    Donizetti: Maria Stuarda
    Average customer rating: 4.5 out of 5 stars
    • This Truly Is "Bel Canto"!
    • An essential Maria Stuarda...the only one, in fact
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    • Awful
    		 Donizetti: Maria Stuarda
    Gaetano Donizetti , Beverly Sills , Aldo Ceccato , Stuart Burrows , Eileen Farrell , and Louis Quilico
    Manufacturer: Decca U.S.
    ProductGroup: Music
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    ASIN: B00005AWIM
    Release Date: 2001-04-10

    Tracks:

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

    Tracks:

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

    Customer Reviews:

    5 out of 5 stars This Truly Is "Bel Canto"!.......2005-07-06

    Beverly Sills is justifiably famous for her performances and recordings of the three Donizetti "Mad Queen" operas--"Anna Bolena", "Roberto Devereux", and this one, "Maria Stuarda". All three recordings are wonderful examples of quintessential bel canto operas performed by excellent casts, but this recording of "Maria Stuarda" must stand out. While other sopranos may be considered to have richer voices, Sills' technical mastery, incredible musicanship and acting skills make her one of the finest performers of bel canto opera in the second half of the 20th century.
    And unlike in her recording of "I Puritani", here Sills is ably supported by her fellow cast members. Stuart Burrows is an elegant and refined Mozartean tenor--very different in style from Sills' fierce and somewhat "over the top" portrayal of Mary Stuart--but it works very well for his role as the ineffectual Leicester. And one of the joys of this recording is the chance to hear the sadly under-recorded American dramatic soprano Eileen Farrell in one of the very few (if not the only) full length opera roles she recorded. Her rich and powerful soprano is a joy to hear, and her duets with Sills are musically stunning--one of the major highlights of this opera. If you like bel canto opera, you'll love this recording.

    5 out of 5 stars An essential Maria Stuarda...the only one, in fact.......2005-05-01

    One might argue that Mary Stuart (bloody Mary) should never have been represented as a heroine, but here in the opera she is regally presented as a vulnerable, innocent woman. And who would be better to represent this queen that America's queen of opera, Beverly Sills? I've heard several renditions of Mary Stuart, from Montserrat Caballe to Leyla Gencer and even Edita Gruberova, but Beverly Sills outsings them all as Elizabeth's rival to the throne. She had all the notes in her throat, plus drama in her veins that makes her in every right of the word a queen. No other recording of Maria Stuarda has caught my attention as this, and I believe it should be a part of your collection. Eileen Farrell, who sings Elizabeth in this recording, is an amazing singer who not only sang Wagnerian roles well, but also bel canto roles. Listen to her duets with Sills...simply amazing. Highly recommended recording!

    5 out of 5 stars Glorious Maria Stuarda - The best on records.......2005-02-03

    Beverly Sills is famous for her recordings of Donizetti's Tudor-Queens, and this recordings proves how right her fans are. Her Mary has it all that some lack: Fire, dignity, vocal brilliance, touching drama, delirious passion and Bel Canto abilities that haven't been equalled since she and Montserrat Caballe sang these roles. Just listen to Maria's prayer... It'll take your breath away. Mary Queen of Scots may not have been such a heroine in real history but this recording certainly is nothing short of a miracle with an equally brilliant cast.

    4 out of 5 stars Remembrance of Things Past.......2004-05-30

    In this recording, I am pleasantly reminded of my early exposure to opera; and still hear much to validate my early impressions of the bel canto genre. Beautifully sung and played, this performance still stands out just for its pure flowing continuity; but no less admirable are the more dramatic moments, especially featuring the late Eileen Farrell. A pity she didn't sing more in complete opera performances, both onstage and recordings. Truly, a great dramatic soprano. Beverly Sills is, as always, a delight to hear. Such gorgeous tone and floating pianissimi. Also a notable range. Perhaps not the most depth of any voice in opera, still, always a pleasure. Just plain beautiful. Textually complete, particularly in comparison to the Sutherland version. This is opera as theatre, at least as close as one can get in bel canto. I only wish I had witnessed a performance onstage of this work featuring Sills. But, alas,I was a kid at the time, and it was never brought to my city, in spite of all my hopes. So, this recording on cd is a real treat for me, especially in view of the fact that the original lp pressings on audio treasury were a bit substandard. Also quite good are Stuart Burrows, and, to a lesser degree, Louis Quilico. If only his son had been singing professionally then. Recommended for anyone that appreciates beautiful singing.

    1 out of 5 stars Awful.......2004-05-20

    Right back at you, damn basher! If you won't leave Callas alone (You've done her enough harm!) we'll retaliate! We warned you! Sills has a thin, screechy voice and is miscast in this dramatic role! Go for Sutherland instead!
    Donizetti: Maria Stuarda
    Average customer rating: 4 out of 5 stars
    • What a trio , Sutherland, Tourangeau, Burrows (Welsh)
    • Fine performane spoiled by recording
    • A SUPERB RECORDING OF AN UNDERAPPRECIATED MASTERPIECE.
    • PRIME SUTHERLAND IN 'MARIA STUARDA"
    • Beautful Opera
    		 Donizetti: Maria Stuarda

    Manufacturer: Gala
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000006O2A
    Release Date: 2000-06-06

    Tracks:

    1. Maria Stuarda: Act I, Prelude: No. 1 - Chorus
    2. Maria Stuarda: Act I: No. 1, Chorus - 'Wait For Her Here'
    3. Maria Stuarda: Act 1: No. 2, Recitative And Cavatina - 'Yes, The King Of France Desires' (Elisabetta)
    4. Maria Stuarda: Act I: No. 2, Recitative And Cavatina - 'Ah, When I Am Led' (Elisabetta)
    5. Maria Stuarda: Act I: No. 2, Recitative And Cavatina - 'On Such A Happy Day' (Elisabetta)
    6. Maria Stuarda: Act I: No. 2, Recitative And Cavatina - 'Be Silent! I Cannot Yet Make Up My Mind' (Elisabetta)
    7. Maria Stuarda: Act I: No. 3, Scene - 'Why Do I Not See Leicester Among You?' (Elisabetta)
    8. Maria Stuarda: Act I: No. 3, Scene - 'Were You Asking For Me'
    9. Maria Stuarda: Act I: No. 4, Cavatina - 'Mary Has Sent You'
    10. Maria Stuarda: Act I: No. 5, Scene And Duet - 'Are You Embarrased?' (Elisabetta)
    11. Maria Stuarda: Act I: No. 5, Scene And Duet - 'She Was The Picture Of Love' (Elisabetta)
    12. Maria Stuarda: Act I: No. 5, Scene And Duet - 'My Rival Stretched' (Elisabetta)
    13. Maria Stuarda: Act II: No. 6, Scene And Cavatina - 'Do Not Walk So Fast Madam' (Maria Stuarda)
    14. Maria Stuarda: Act II: No. 6, Scene And Cavatina: 'O Cloud That Lightly Moves Across The Sky' (Maria Stuarda)
    15. Maria Stuarda: Act II: No. 6, Scene And Cavatina - 'In The Tranquility' (Maria Stuarda)
    16. Maria Stuarda: Act II: No. 7, Scene And Duet - 'Ah! This Joy Is No Illusion!' (Maria Stuarda)
    17. Maria Stuarda: Act II: No. 7, Scene And Duet - 'Forsaken By Everyone' (Maria Stuarda)
    18. Maria Stuarda: Act II: No. 7, Scene And Duet - 'Ah! If I Have Ever Been Afraid' (Maria Stuarda)
    19. Maria Stuarda: Act II: No. 8, Scene - 'What Place Is This?' (Elisabetta, Maria Stuarda)
    20. Maria Stuarda: Act II: No. 9, Sextet - 'She Is The Same As Ever' (Elisabetta, Maria Stuarda)
    21. Maria Stuarda: Act II: No. 10, Dialogue Of The Two Queens - 'Speak To Her' (Elisabetta, Maria Stuarda)
    22. Maria Stuarda: Act II: No. 11, Finale - 'Go, Mad Woman, Prepare' (Elisabetta, Maria Stuarda)

    Tracks:

    1. Maria Stuarda: E Pensi? E Tardi?-Are You Still Thinking About it? Are You Still Delaying? (Elisabetta)
    2. Maria Stuarda: Quella Vita, Quella Vita A Me Funesta-That Life Which Is So Deadly To Me (Elisabetta)
    3. Maria Stuarda: Ah, Deh! Per Pieta Sospendi-Ah! For Mer's Sake At Least (Elisabetta)
    4. Maria Stuarda: D'una Sorella, O Barbara-Oh Pitiless Woman, You Have Ordered (Elisabetta)
    5. Maria Stuarda: Vanne, Indegno-Away, Unworthy Woman
    6. Maria Stuarda: La Perfida Insultarmi Anche Volea-Even In My Tomb The Treacherous Woman (Elisabetta)
    7. Maria Stuarda: O Mio Buon Talbot!-Oh, My Good Talbot! (Maria Stuarda)
    8. Maria Stuarda: Quando Di Luce Rosea-When The Day Casts (Maria Stuarda)
    9. Maria Stuarda: Lascia Contenta Al Carcere-Leave Your Troubled Life (Maria Stuarda)
    10. Maria Stuarda: Vedeste? Vedemmo Oh Truce Apparato-Did You See? We Saw It. Oh Grim Array!
    11. Maria Stuarda: Anna! Qui Piu Sommessi Favellate-Anna! Speak More Quietly Here (Maria Stuarda)
    12. Maria Stuarda: Deh! Tu Di Un Umile Preghiera-Ah! Listen To Our Humble Prayer (Maria Stuarda)
    13. Maria Stuarda: Oh Colpo!-The Cannon Shot! (Maria Stuarda)
    14. Maria Stuarda: D'un Cor Che Muore Reca Il Perdono-Take The Forgiveness Of A Heart Which Is Dying (Maria Stuarda)
    15. Maria Stuarda: Giunge Il Conte-Here Is The Earl (Maria Stuarda)
    16. Maria Stuarda: Ah! Se Un Giorno-Ah! If Once... (Maria Stuarda)
    17. Maria Stuarda: Act III: No. 17, Grand Scene And Prayer - 'Anna! Speak More Quietly Here!'
    18. Maria Stuarda: Act III: No. 17, Grand Scene And Prayer - 'Ah! Listen To Our Humble Prayer'
    19. Maria Stuarda: Act III: No. 18, Aria del Supplizio - 'The Cannon Shot'
    20. Maria Stuarda: Act III: No. 18, Aria de Supplizio - 'Take The Forgiveness Of A Heart Which Is Dying'
    21. Maria Stuarda: Act III: No. 18, Aria del Supplizio - 'Here Is The Earl'
    22. Maria Stuarda: Act III: No. 18, Aria del Supplizio - 'Ah! If Once...'

    Amazon.com essential recording

    This opera becomes a battle of the divas in its great second act, with Sutherland, as Mary Stuart, pitted against the jealous, paranoid and vengeful Elizabeth I (Tourangeau). There is an intensely dramatic confrontation in which insults are violently exchanged between the powerful monarch and her imprisoned but still regal rival to the throne. Mary wins the battle of insults, but this is a dangerous victory over one who has the power of life and death. Elizabeth orders Mary's execution and Act III becomes a spectacle of pathos and horror. Sutherland's usual style is more attuned to pathos than to the swapping of insults, but she rises splendidly to the challenges of Act II and she has a splendid supporting cast. --Joe McLellan

    Customer Reviews:

    4 out of 5 stars What a trio , Sutherland, Tourangeau, Burrows (Welsh).......2001-05-31

    It's a pleasure listening to these, with Bonynge ochestrating for his wife, and the superb projection of Tourangeau, makes this a must (although it appears to be unavailable at present).I enjoy music, and have very personal views, not musically/theoritically founded, but a simple inborn (Welsh)love of "the melody", and this recording fulfills my criteria, namely, memorising, and then whistling or humming the "tune". And this recording is full of "hummers and whistlers". With the added bonus of a Welsh tenor. A bargain at the proce. A four star, it has too much stage sound...

    3 out of 5 stars Fine performane spoiled by recording.......2000-05-28

    No one is likely to be disappointed with the singing and playing on this recording. The problem with it is that it was recorded live, and every movement of the performers on stage, every rustle in the restless audience is extremely audible. Furthermore, no libretto is included. It should also be pointed out that this is not the Maria Stuarda with Pavarotti which is praised in the Penguin Guide. Lovers of Donizetti and of Sutherland will be pleased, particularly at such a bargain price, but there are many bel canto recordings available which are far more listanable and accessable.

    5 out of 5 stars A SUPERB RECORDING OF AN UNDERAPPRECIATED MASTERPIECE........1999-10-06

    Sutherland is magnificent as the tragic Mary Stuart. I loved the Sills version(not available on cd)and I love this recording as well. A great performance of a classic role.

    5 out of 5 stars PRIME SUTHERLAND IN 'MARIA STUARDA".......1999-06-24

    Another wonderful souvenir from the San Francisco Opera, this "Maria Stuarda" took place in November, 197l and it marked a high-water point in Sutherland's career. She had just completed a series of Rossini's "Semiramide" in Chicago, and had already contracted to open the 1972 San Francisco opera season in "Norma" (which has also been recorded and is available). This marked Sutherland's first performances of Donizetti's "Maria Stuarda", and proved to be a wonderful assumption. She is every inch the injured and martyred queen, and she is aided enormously by the Queen Elizabeth of Huguette Tourangeau. The two opposing roles are sung with alternative options in both directions ------ Sutherland takes all of the high options (which take her to D and E flat) while her lower-voiced counterpart goes down to the basement notes with a true contralto color. The huge vocal contrasts between the voices only enhances and heightens the gulf between the two queens. The supporting cast is excellent, and Bonynge shapes an involving and compelling performance. This is 1971 prime Sutherland and it doesn't get better than this.

    4 out of 5 stars Beautful Opera.......1999-05-11

    Sutherland is past her prime here, but still has the great technique to pull off a tour de force. This is probably the easiest of Donizetti's Operas, in terms of coloratura. But Sutherland's voice sounds very tragic here, and her acting is excellent. Look for Sutherland's voice before 1975 if you want to hear the greatest coloratura of this century.
    Luigi Dallapiccola: Il Prigioniero; Canti di Prigionia
    Average customer rating: 4.5 out of 5 stars
    • Amazing display of creative composition!
    • Great opera, and topical
    • Don't like modern music? You haven't heard THIS!
    		 Luigi Dallapiccola: Il Prigioniero; Canti di Prigionia

    Manufacturer: Sony
    ProductGroup: Music
    Binding: Audio CD

    General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
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    ASIN: B000002BZZ
    Release Date: 1995-10-24

    Tracks:

    1. Il Prigioniero - Prologo: 'Ti Rivedro', Mio Figlio!'
    2. Il Prigioniero - Prologo: Ballata. 'Vedo! Lo Riconosco!'
    3. Il Progioniero: Primo Intermezzo Corale: 'Fiat Misericordia Tua'
    4. Il Prigioniero: Atto Unico - Act 1: Ero Solo. Tutt' Era Buio'
    5. Il Prigioniero: Atto Unico - Act 2: 'Solo, Son Solo Un'Altra Volta'
    6. Il Prigioniero: Atto Unico - Act 2: Aria. 'Sull'Oceano, Sulla Schelda'
    7. Il Prigioniero: Atto Unico - Act 2: 'Torna, Sole, Sulle Citta Liberate!'
    8. Il Prigioniero: Atto Unico - Act 2: 'No, No,,,Vaneggio'
    9. Il Prigioniero: Atto Unico - Act 3: 'Signore, Aiutami A Camminare'
    10. Il Progioniero: Atto Unico - Act 3: Ricercare Primo Super 'Signore, Aiutami A Camminare'. 'Buio. Silenzio'
    11. Il Prigioniero: Atto Unico - Act 3: Ricercare Secondo Super 'Fratello'. 'Non Reggo'
    12. Il Prigioniero: Atto Unico - Act 3: Ricercare Terzo Super Roelandt. 'Quegli Occhi Mi Guardavano'
    13. Il Prigioniero: Secondo Intermezzo Corale: 'Domine, Labia Mea Aperies'
    14. Il Prigioniero: Atto Unico - Act 4 (Ultima): 'Alleluja!'
    15. Canti Di Prigionia: Songs Of Imprisonment: Mary Stuart's Prayer
    16. Canti Di Prigionia: Songs Of Imprisonment: The Invocation of Boethius
    17. Canti Di Prigionia: Songs Of Imprisonment: Girolamo Savonarola's Farewell

    Customer Reviews:

    5 out of 5 stars Amazing display of creative composition!.......2005-10-08

    If you like Richard Strauss, Sergei Prokofiev, Olivier Messiaen, Georgy Ligeti Operas than GET THIS ONE! That is if you can find a copy...

    4 out of 5 stars Great opera, and topical.......2002-04-25

    This opera should change the minds of the most truculent enemies of 20th century music (even 12-tone)because, as the other reviewer has said, its dramatic power and the sheer beauty of the music will capture and hold almost any listener. Dramatically it has much to say to us in the 21st century; although it is set during the sixteenth century Spanish inquisition, the issues of the abuse of power and the ambiguities of guilt and innocence in the midst of political conflict are derived from 19th century sources and resonate in today's political climate. More importantly, the marriage of music and drama in this brief work is unusually effective for a modern opera. This performance is well-recorded and the orchestral and choral forces perform excellently, as does Jorma Hyninnen in the title role; what keeps this recording from being unquestionably superior to the Mondo Musica set, which includes also Dallapiccola's _Job_, is the less effective singing of Phyllis Bryn-Julson. Bryn-Julson is an effective singing actress, but her voice is edgy and unpleasant at times and seems not as right for the role as that of Magda Laszlo on the other recording. Because this set is a single CD and less expensive, it is likely to be the usual choice and there is no harm in that--it is a fine introduction to a great work, but if possible, try to hear the Gracis recording as well.

    5 out of 5 stars Don't like modern music? You haven't heard THIS!.......1998-09-13

    Everyone arguing that recent modern music took a wrong track with Schonberg and his followers needs to hear what happens when serialism goes to Italy, via Dallapiccola. I call him the 12-tone Puccini. What a vibrant, passionate, accessible composer who at the same time never sacrifices or panders.z Why isn't this wonderful opera on all the world's stages? The opening line of the mother is indelible, the choral interludes stunning, the "fratello" motif both musically haunting and politically charged. The Songs of the Imprisoned is an amazingly beautiful choral work and utilizes the Dies Irae in a most moving fashion. Great instrumental sounds from an unusual instrumentation. Check out his Sappho Fragments also. The conducting and playing are superb, and the engineering is fine.
    The 3 Tenors ~ José Carreras · Luciano Pavarotti · Plácido Domingo
    Average customer rating: 5 out of 5 stars
    • One of Great album for Opera
    • Best yet from the 3 Tenors!
    		 The 3 Tenors ~ José Carreras · Luciano Pavarotti · Plácido Domingo
    Plácido Domingo , Luciano Pavarotti , José Carreras , and Giuseppe Verdi
    Manufacturer: Goldies Records
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B0000086DX
    Release Date: 1997-04-24

    Tracks:

    1. Quanto E Bella - Luciano Pavarotti
    2. Una Furtiva Lacrima - Luciano Pavarotti
    3. A Te O Cara - Luciano Pavarotti
    4. Egli S'avanza - Luciano Pavarotti
    5. Cuius Aninam - Luciano Pavarotti
    6. Oh Fede Negar Pstessi Agl'occhi Miei - Luciano Pavarotti
    7. La Donna E Mobie - Luciano Pavarotti
    8. Che Gelda Manina - Luciano Pavarotti
    9. Nessun Dorma - Luciano Pavarotti
    10. La Mia Letizia - Jose Carreras
    11. Oh Belle A Questa Misera - Jose Carreras
    12. Questa O Quella - Jose Carreras
    13. Ella Mi Fu Rapita - Jose Carreras
    14. La Donna E Mobile - Jose Carreras
    15. Brindisi - Jose Carreras
    16. S'avanza Il Conte - Jose Carreras
    17. Ma Se M'e Forza Perderti - Jose Carreras
    18. Ah Dessa E La - Jose Carreras
    19. Ah Rimiro Il Bel Sebiante - Jose Carreras
    20. Ideale - Jose Carreras
    21. Malia - Jose Carreras
    22. L'alba Separa Dalla Luce Lombra - Jose Carreras
    23. Merce Diletti Amici - Placido Domingo
    24. Se Quel Guerrier Io Fossi...celeste Aida - Placido Domingo
    25. Parle Moi De Ma Mere - Placido Domingo
    26. La Fleur Que Tu M'avais Jetee - Placido Domingo
    27. L'anima Ho Stanca - Placido Domingo
    28. Bridnisi - Placido Domingo
    29. Recitar...vesti La Giubba - Placido Domingo
    30. Ideale - Placido Domingo

    Album Description

    Import exclusive compilation features one disc apiece for the '3 Tenors', Luciano Pavarotti, Placido Domingo, & Jose Carreras. Goldies. Standard jewel cases housed in a slipcase. 1999.

    Album Details

    This Box Set is Comprised of Live Recordings of the Three Tenors, Each Performing Separately During the Mid-To Late 1960's & Early 1970's. Luciano Pavarotti Performs Excerpts from Sabat Mater, Turandot, La Boheme & Other Works. Jose Carreras Sings Passages from La Traviata, Rigoletto, I Lombardi & More. Placido Domingo Vociferates Sections from Carmen, Cavalleria Rusticana, Aida & Others.

    Customer Reviews:

    5 out of 5 stars One of Great album for Opera.......1999-03-21

    I can't expressed my felling about how much I love it! The only thing can say is very very great! I listen it more than 100 times in first 3 months after bought.

    5 out of 5 stars Best yet from the 3 Tenors!.......1998-08-30

    I've been waiting since early July for the CD of this Paris performance. The wait was worth it, and the video is not bad either.
    Luciano Pavarotti - Donizetti Arias ~ Una furtiva lagrima
    Average customer rating: 5 out of 5 stars
    • "The" Voice!
    • Pavarotti Arias
    • Achingly, Heartwrenchingly, Beautiful
    • Luciano at his best
    • this is a wondeful recording
    		 Luciano Pavarotti - Donizetti Arias ~ Una furtiva lagrima
    Gaetano Donizetti , Richard Bonynge , Sir Edward Downes , Leone Magiera , Luciano Pavarotti , Nicolai Ghiaurov , Eric Garrett , Ambrosian Singers , and Roger Soyer
    Manufacturer: Decca
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000009OUA
    Release Date: 1998-08-11

    Tracks:

    1. Ah! mes amis ... Pour mon ame: La Fille du regiment
    2. Pour me rapprocher de Marie: La Fille du regiment
    3. Quanto e bella: L'elisir d'amore Romani
    4. Una Furtiva Lagrima: L'elisir d'amore
    5. Una vergine, un'angel di Dio: La favorita Royer, Vaez
    6. Si, che un solo accento: La favorita
    7. Favorita del re! ... Spirto gentil: La favorita
    8. Inosservato, penetrava ... Angelo casto e bel: Duca d'Alba Scribe
    9. Deserto in terra: Don Sebastiano
    10. Com'e gentil: Don Pasquale
    11. Ah! rimiro il bel sembiante: Maria Stuarda
    12. Tombe degli avi miei: Lucia di Lammermoor
    13. Tu che a Dio spiegasti l'ali: Lucia di Lammermoor

    Amazon.com essential recording

    This CD contains arias recorded by Pavarotti between 1967 and 1975, and it would not be an overstatement to say that it is probably the most beautiful CD by a tenor ever released. This was Pavarotti in his early prime--indeed, a couple of the arias are first bloom. It covers music from eight Donizetti operas, from the almost startlingly virtuosic "Ah! mes amis..." (La Fille du Régiment), with its nine perfectly placed high Cs, through the ever popular "Una furtiva lagrima" (L'Elisir d'Amore) and three stunners from La favorita to Edgardo's final scene from Lucia and more. But the two priceless pieces of music here are from the little-known Il Duca d'Alba and Don Sebastiano, two arias of such exquisite beauty that were they the only things Donizetti had ever composed--or the only extant singing by Pavarotti--both would still be considered great. This is a treasure trove. Grab it. --Robert Levine

    Customer Reviews:

    5 out of 5 stars "The" Voice!.......2007-02-15

    If ever a human voice sung fom heaven, Luciano Pavarotti in this album is that voice.
    He is reported to have said that Juan Diego Florez has taken over from him the 'King of high Cs' title.
    Well, to me at least, that is an overtly over-statement, even if coming from Pavarotti himself.
    Juan happened to possess a voice that could sing high passages with ease. Of course, he sings it well, too.
    Even so, any one that have heard Pavarotti in his 'Regiment' aria "Ah! mes" would agree that it is entirely different from Juan's version. Not that Juan does not sing the notes beautifully. Rather, it appears to be that Pavarotti's timbre is more 'grounded' or 'earthy', thereby throwing the 9 High Cs to greater 'relief' (or contrast) than does Juan.
    I agree that this recording captures Pavarotti in his younger and even more beautiful voice than his more mature works.
    Everyone should own this CD as a real tribute to Luciano.

    5 out of 5 stars Pavarotti Arias .......2006-06-26

    This is a very high quality recording made by the greatest tenor of our time, singing arias we all know and love.

    5 out of 5 stars Achingly, Heartwrenchingly, Beautiful.......2004-03-13

    Pavarotti is arguably the most gifted and accomplished operatic tenor of the twentieth century. While other contemporary tenors may be stylistically flawless and a joy to listen to, Pavarotti is in a class by himself. He drifts effortlessly from the low, lyrical passages to soaring high notes which have a tendency to sound strained when anyone but Pavarotti (and of course, the incredible Mario Lanza) attempts them.
    As many of the reviews mention, this IS Pavarotti in his prime, and this is most apparant in his flawless command of the stratospheric high C's. He's not known as "The King of the High C's" for nothing! In addition, unlike many opera compilations that trundle out the most overplayed snipits from the most well known works, Una Furtiva Lagrima gives us some of the greatest arias from one of opera's most talented composers, Donizetti. This album is a celebration not only of Pavarotti's brilliance, but Donizetti's as well. For an introduction to opera, this album is great. For an introduction to Donizetti, this album is excellent. And for a showcase of the power and range of one of opera's greats, this album is fantastic!

    5 out of 5 stars Luciano at his best.......2003-01-22

    I can only repeat what has been said above. Pavarotti singing Donizetti in his prime years - outstanding. His voice is pure gold and suits perfectly for Donizetti. Especially the arias from Il Duca d'alba and Don Sebastiano are wonderful.

    5 out of 5 stars this is a wondeful recording.......2002-05-09

    all I can do is echo the Amazon reviewer. This is if not the most beautiful recording ever made by a tenor at least one of the most beautiful. Pavarotti's voice and musicianship are outstanding. This is just a wonderful CD for anyone interested in Donizetti, in Pavarotti, or in great singing. At the price, it's a bargain.

    Track Listings:

    1. Mendelssohn: String Quintets 1 & 2 - L'Archibudelli
    2. Mozart: Concertos for piano No27; Concerto for pianos No10
    3. Mozart: Eine Klein Nachtmusik, Symphonies [Import]
    4. Mozart: Favourite Works For Piano
    5. Mozart: PIANO SONATAS KV 331 - 333
    6. Mozart: Symphonies Nos.28, 29 & 35 "Haffner"
    7. Mozart:The Piano Concertos
    8. Mozart: Violin Sonatas, Vol. 3 (K. 378-380)
    9. Music Minus One Soprano: BELLINI Opera Scenes and Arias for Soprano and Orchestra
    10. Mussorgsky: Pictures at an Exhibition/Háry János Suite

    Track Listings

    track listings

    Track Listings

    All the Fame of Lofty Deeds

    Dvorak: "New World" Symphony; Smetana: Ma vlast

    Fish-Tree-Water Blues [Enhanced]

    1951-52

    Man on the Line [Import]

    Dance Funk

    From Swing to Bebop [Box set] [Import] [Original recording remastered]

    Flute a Bec, Lute & Guitar

    Album Review: 'The Chic Murray Show' Britain's Funniest Comedian Live in Concert

    Dad Music

    Green

    El Dueto Romantico

    Con Exitos de Reventon

    Moods

    Gigi Gryce and the Jazz Lab Quintet