Saint-Saens: Samson Et Dalila [Import]

Track Listings

1. Act 1 Scene 1 - Dieu D'israel!

2. Arretez, O Mes FrÈRes!

3. Implorons À Genoux

4. Act 1, Scene 2 - Qui Donc ÉLÈVe Ici La Voix-

5. Ce Dieu Que Votre Voix

6. Israel , Rompts Ta ChaÎNe!

7. Act 1, Scene 3 - Que Vois-Je- AbimÉLech!

8. Act 1, Scene 4 - Seigneur! , Maudite À Jamais Soit La Race

9. Act 1, Scene 5 - Hymne De Joie

10. Act 1, Scene 6 - Voici Le Printemps

11. Je Viens CÉLÉBrer La Victoire

12. Danse Des PrÊTresses De Dagon

13. Printemps Qui Commence

14. Act 2 - PrÉLude

15. Act 2, Scene 1 - Amour, Viens Aider Ma Faiblesse!

16. Act 2, Scene 2 - Il Faut Pour Assouvir Ma Haine

17. Act 2, Scene 3 - En Ces Lieux

18. C'et Toi

19. Mon Coeurs S'ouvre A Ta Voix

20. Vois Ma Misere

See all 24 tracks on this disc

Tracks:

Rigoletto: Act I - Caro nome
Rigoletto: Act III - La donna e mobile
Gianni Schicchi: O mio babbino caro
Carmen: Act I - Habanera: La voila...L'amour est oiseau rebelle
Orfeo ed Euridice: Act III - Che faro senz Euridice
Madama Butterfly: Act III - Un bel di, vedremo
Romeo et Juliette: Act I - Ah! je veux vivre
Le nozze di Figaro: Act II - Voi che sapete che cosa e amor
Samson et Dalila: Act II - Mon coeur s'ouvre a ta voix
Tosca:: Act II - Vissi d'arte, vissi d'amore
Aida: Act I-Celeste Aida
Il Barbiere Di Siviglia: Act I-Una voce poco fa
Lakme: Act II - Ou va la jeune indoue?
La Wally: Act I - Ebben? Ne andro lontano
La Boheme: Act I - Che gelida manina
Die Zauberflote: Act II-Die Holle Rache kocht in meinem Herzen

Customer Reviews:

Great for kids!.......2007-06-27

I'm generally not a fan of music "samplers," but opera can be tough to introduce to children. And hey--even adults played cards, ate, and talked through the recitative sections of the early operas while they waited for the next aria! So I feel that getting kids hooked on opera through great arias probably can't hurt (the next 10 years or so will determine whether I'm right or not). My 4-year-old loves this CD; it's a delight to watch her imitate Anna Moffo (the sincerest form of flattery, for sure). Highly recommended resource for introducing young kids to opera. More top picks: Siberell's Bravo! Brava! A Night at the Opera, and the Black Dog Opera Library CDs.

Mediocre Sound Quality.......2007-03-31

If you note the album was released in 1994, and includes selections from many years prior, you will understand that the quality of the sound engineering is not going to dazzle your ear.

It's a very nice collection to hum along to, but don't expect shivers down your spine as the sound quality is not sufficient to reproduce the dynamic range of these voices.

I was pleased.......2007-02-18

I am by no means an opera expert, but found this to be a wonderful CD. Along with the songs I already knew I liked (such as a song from Carmen,) I found many others I enjoyed. In fact, Samson et Dahlila turned out to be my favorite. If you are just getting started or at any point in your adventure of opera, I would recommend this one.

The Most Famous Opera Arias.......2007-01-05

I was completely surprised in the product as well as the time in which it was delivered.

I would not only refer this seller but I will come back myself.

Okay But.... - a review of "The Most Famous Opera Arias".......2006-08-18

My daughter (6 y.o.) and I like opera; but sitting for two hours to watch Turandot is just not within the realm of possibilities for my 4 year old son right now... so I was looking for an opera CD for the car. He will sit and listen to short arias.

This was the first we purchased and it is okay but not great.

Problem #1 - where is Wagner. No Wagner?
Problem#2 - Elena Obraztsova - she sounds like Carmen's grandmother. Rather matronly for a vixen (imho--lol)

Three Stars. [C+] Great Price and good sound quality for the car. The operatic styles of some of the performers are antiquated and frilly sounding, but I would probably buy this CD again.

Note: We purchased and really preferred "The # 1 Opera Album". It has more selections and better artists in our opinion. Also it's a two CD set. Just something to consider.

Average customer rating:

Audio beauty and magnificence, Maria Callas
sublime
Good "Best Of"
The Very Best of Maria Callas
Classic Callas

The Very Best Of Maria Callas
Maria Callas
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

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ASIN: B00005Y1YQ
Release Date: 2002-02-12

Tracks:

Carmen: L'Amour Est Un Oiseau Rebelle
Gianni Schicchi: O Mio Babbino Caro
La Wally: Ebben? Ne Andro Lontana
Samson Et Dalila: Mon Coeur S'ouvre A Ta Voix
Tosca: Vissi D'arte, Vissi D'amore
Andrea Chenier: La Mamma Morta
Le Nozze Di Figaro: Porgi Amor
Orphee Et Eurydice: J'ai Perdu Mon Eurydice
Aida: Ritorna Vincitor!
Adriana Lecouvreur: Respiro Appena... Lo So L'Umile Ancella
Madama Butterfly: Un Bel Di Vedremo
Norma: Casta Diva
Turandot: Signore, Ascolta!
Louise: Depuis Le Jour
La Boheme: Si. Mi Chiamano Mimi
La Gioconda: Suicidio
La Forza Del Destino: Pace, Pace Mio Dio!

Customer Reviews:

Audio beauty and magnificence, Maria Callas.......2007-03-31

There are moments on this recording that are virtually audio heaven.
Ms. Callas' voice goes beyond the normal concept of beauty.

sublime.......2007-02-14

she is an angel , a voice without parallel , a collection very interesting of arias from different masters.

Good "Best Of".......2007-02-09

Maira Callas was never a favorite of mine, but she is notable as a passionate, (but sometime shrill to my ears) performer. This collection is a good single record tribute to her operatic legacy.

The Very Best of Maria Callas.......2006-08-20

Second on my list for CDs that should be recommended for people who want to start on a long trail of Callas to the Carmen with Gedda and Prétre. This has perhaps the best excerpts of all time from Maria Callas. The 'Ritorna vincitor' and 'Una voce poco fa' are to be treasured. Any long-time Callas fan will find this CD of little to no interest, because anything they haven't heard before, there's a better, low-audio-quality version of somewhere. 4 stars for that reason.

Classic Callas.......2006-07-11

Countless assessments of Maria Callas' life and career, as well as re-issues of some of her definitive recorded performances have been fueled by the 25th anniversaary of her tragic and prophetic death alone in her Paris flat on September 16, 1977. One of those such discs, this 17 track retrospective compilation from the archives of EMI is among the best. Every character she portrays is bought to life by her incomparible ability both vocally and emotionally. Enjoy!

Average customer rating:

the most sensetive music ever
Cool Camille
Astounding!!!
Great Selections, So-So Collection
Classical is the best

Saint-Saëns: Greatest Hits

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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General | Chamber Music | Classical | Styles | Music

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ASIN: B000002C61
Release Date: 1995-11-14

Tracks:

Samson et Dalila: Bacchanale
Carnival Of The Animals (Chamber Version): No. 13. The Swan
Carnival Of The Animals (Chamber Version): No. 14: Finale
Dance Macabre, Op.40
Suite algerienne, Op. 60: Marche militaire francaise
Introduction and Rondo capriccioso, Op.28
Samson et Dalila: 'Mon coeur s'ouvre a ta voix'
Concert Piece For Horn & Orchestra, Op.94
Romance, Op.37
Piano Concerto No.2 In G Minor, Op.22: III. Presto
Symphony No.3 In C Minor, Op.78 'Organ': II. Allegro moderato - Presto - Maestoso - Allegro

Customer Reviews:

the most sensetive music ever.......2005-10-26

This music take me away from every day troubles and brings my soul to a beutiful world of music.Saint-Saent's vision of music is different, his creations are sensitive and intence. He is agreat talent.

Cool Camille.......2003-03-06

I think that the sound of Saint Saens Music is very unique. I think that anyone out there wanting to listen to some excellent writing I assure you that Saint Saens has written it. On behalf of Amazon I would definitely rate this music 5 stars. I thank Amazon for a perfect portrayal of his works. You shoppers out there might want to take a look at buying this.

RIGHT AWAY!!!
-Nick

Astounding!!!.......2000-10-06

I have come accross very few CD's that have 74 minutes of music that I enjoy. This CD is one of those. Mason Jones does a great job on Morceau, everyone likes danse bachannalle, the piano concerto is great, it's just a really enjoyable CD to own. I recommend it highly, it's one of my favorites.

Great Selections, So-So Collection.......2000-06-23

As all good elementary school music teachers know, Saint-Saëns could evoke emotions from a rock. I don't know if it's his masterful command (or creation) of the idioms of music, or whether it's the formal structure of his compositions, but there's never any confusion about how one feels when listening to this Apollo.

This Sony recording supposedly collects his best. It does and it doesn't. The "Danse Macabre"--a perennial Saint Saëns fave--is definitely better than any others on the market--crisper, livelier, and ... er... creepier. And the Bacchanale is also superbly done. (Don't take my word for it though--you can compare these yourself from the various samples.) But as great as these individual pieces are, Sony failed to bring to the "Swan" the rest of the zoo from "Carnivale des Animaux," and, worse, they forgot the "Aquarium," too! Plus, the "Organ Symphony" *must* be heard in its entirety to sound like the serious piece of music that it is.

I haven't found the noumenal Saint-Saëns collection yet. But this one surely isn't phenomenal.

Classical is the best.......2000-06-22

It's composition very good. Thanks Sony for this great album.

Average customer rating:

Beautiful Collection of Songs
A Legend in all.....La Callas.
Excellent compilation of La Divina's arias
Some people have no business reviewing this
BELLA BELLA BELLA!

Maria Callas, the Voice of the Century

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music
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The Most Famous Opera Duets

ASIN: B00000631B
Release Date: 1998-03-17

Tracks:

Norma: Casta Diva (Atto I): Norma
La Sonnambula: Compagne, teneri amici...Come per me sereno (Atto I): La Sonnambula
Il Barbieri Di Siviglia: Una Voce poco fa (Atto I): Il barbiere di Siviglia
Lucia di Lammermoor: Regnava nel silenzio...Quando, rapito in estasi (Atto I): Lucia di Siviglia
Rigoletto: Gualtier Mald...Caro Nome (Atto I): Rigoletto
La Traviata: E Strano!...Ah, Fors'e lui...Sempre libera (Atto I): La traviata
La Boheme: Si, Mi chiamo Mimi (Atto I): La boheme
La Boheme: Donde Lieta Usci (Atto III) (Mimi's Farewell): La boheme
Madama Butterfly: Un Bel di Vedremo (Atto II): Madama Butterfly
TOSCA: Vissi D'arte (Atto II): tosca
Turandot: In questa reggia (Atto II): Turandot
La Wally: Ebben? ne andro lontana (Atto I): La Wally
Andrea Chenier: La mamma morta (Atto III): Andrea Chenier

Tracks:

Orphee et Eurydice: J'ai perdu mon Eurydice (Acte V)
Alceste: Divinites du Styx (Acte I)
Dinorah: Ombra leggiera (Atto II) (Shadow Song)
Romeo et Juliette: Ah! Je veux vivre (Acte I) (Waltz Song)
Faust: Les grand seigneurs...Ah! je ris (Acte III)
Lakme: Dov'e l'indiana bruna? (Atto II) (Bell Song)
Samson et Dalila: Printemps qui commence (Acte I)
Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte II)
Les Pecheurs De Perles: Me voila seule...Comme autrefois (Acte II)
Carmen: L'amour est un oiseau rebelle (Habanera)(Acte I)
Carmen: Les tringles des sistre tintaient (Acte II)
Le Cid: De cet affreux combat...Pleurez mes yeux! (Acte III)
Manon: Je ne suis que faiblesse...Adieu, notre petite table (Acte II)
Louise: Depuis le jour (Acte III)

Customer Reviews:

Beautiful Collection of Songs.......2006-07-15

I have listened samples of 5 Callas CDs before buying this one. This one has a very beautiful collection of songs on just 2 CDs. he sings with so much expression. Most the recordings are from the fifties and early sixties when her voice was very young and lovely. I'll try to get her on DVD so I can see her sing.

A Legend in all.....La Callas........2005-04-24

I would just like to refer to an article that was published by a German Newspaper in 1959, mentioned on the Callas Edition (CED:100342)
'...her voice is of unparalleled beauty, having an inimitable, completely own timbre of sopranos and altos...a performance of superior musical quality..a phenomenon amongst contemporary singers'
' ...One of the most spectacular Verdi arias, of Elizabeth from Don Carlo, and one, In Germany tottaly unknown, terrific scene from Bellini's opera Il Pirata were enough to enchant huge numers of television viewers, who can say at her next performance: 'we have seen La Callas''(Hamburg concert 1959)
'- from the contra-alt-f to the f - thats Callas' voice range, spanning over 37 half-tones. Callas herself has drawn the range of her voice. In her concert repertoire the contra-alt-f can be found in e.g. the aria from I Vespri Siciliani. In an aria from Rossini's opera Armida she reaches the 'F'. five half-tones above the high C. Normal voices couldnt possibly even whistle this high F. Though there are other singers, whose voices contain these three octaves - Erna Sack with her coloratura soprano, the lyrical singer Ema Berger and the dramatical singer Zinka Milanov from the New York Metropolitan Opera - simple fact is that the phenomenon Meneghini-Callas lies in her fabulous vocal versatility. She is a coloratura singer, drama-player and lyrist in one person - and an exceptionally talented ac-tress at that.'
Excuse from a journalist of the German Newspaper for the Diva :

Article Title : 'I am sorry!'

'I owe Maria Callas an apology. She is a unique vocal talent, a great artist. She is a primadonna. And she has her moods. Moods for which i ask her to forgive me. Because i misunderstood them - and many others too. That much i gathered from her latest television concert. Even in the flickering of the screen this woman's nervousness and enormous effort were visible.
La Callas is a fragile, rather shy person. Her moods are fear of failure. The moloch audience expects her to always go to any lenght, show the brilliance others just dont have. She is not allowed to get weak. Decent country singers are not decapitated for a false note. La Callas, on the other hand, is the identifying mark of the extraordinary. Even the slightest hint of a mistake would cost her her uniqueness, her stardom....a perverse triumph for all bathtube singers.
That explains her inhibitation to perform when she isnt well, her cancellations when she is not in the right mood. I understand them now. If she werent moody, she wouldnt be a primadonna, would not be La Callas.
Stars like her do not fit in our world of standards and programmed data. They pay dearly for their moods, have to put up fights and, undoubtedly, shed many a tear. So one more, my apologies, Maria Callas'
(Hans im Bild)
That's all folks!:D

Excellent compilation of La Divina's arias.......2005-03-21

This is one of the best compilations EMI has ever made for Maria Callas' arias. Each and every aria lets us listen to the best of her voice from each period of her career. An excellent collection!

Holly Mathews doesn't know how to appreciate art. Kathleen Battle and Renee Fleming themselves have admitted to the supremacy of Callas' singing over theirs, even if their voices seem more beautiful than La Divina. Why else would Callas be a legend and they wouldn't? They are equally good in their own right, but none of them would surpass the accuracy of La Divina's singing and phrasing. Holly Mathews' left side of the brain must be made of clay or foam, dead material that couldn't absorb any beauty.

Some people have no business reviewing this.......2005-01-25

My goodness, what is a non-musical person like Holly Mathews doing in this board? Do you know what other album she has reviewed? Hayley Westenra! And she's not even an opera singer! She obviously doesn't know her business! Disgraceful review! Ignore it! It obviously was not based on good judgement. I'm sure she is a pop fan who just likes tender music. Oh, her insulting language! What an ignorant Maria basher!

Anyway, this is an excellent compilation of SOME of Maria Callas' greatest arias. Although I do wish some arias like Pace Pace Mio Dio were included here, I do think it is a very good compilation all in all. Although she has many detractors, they still have to admit that Callas is the sheer embodiment of singing and drama. She was an actress...a panther on the stage. Listen to her La Mamma Morta and her Suicidio...those brought chills to my spine when I listened to them. Maria is the only singer in the history of opera besides the great Caruso-tenor Franco Corelli who touched me, moved me even. This is probably the reason why I love Maria Callas' music so much. If you want to hear Medea's anger and Norma's anguish and Butterfly's hopeful blindness, listen to Maria Callas. If you just want a golden voice, then go to Renata Tebaldi or Joan Sutherland. And don't even compare her with Charlotte Church or Hayley Westenra! The distaste of some people!

BELLA BELLA BELLA!.......2004-11-23

THIS WAS THE FIRST ALBUM I EVER BOUGHT FEATURING ANY OPERATIC SOPRANO. I WAS 15 AND WAS GIVEN MY VERY FIRST CLASSICAL PIECE "CARO MIO BEN" WHICH WAS NOT AN OPERA ARIA BUT DUE TOTHIS SONG I WAS SUDDENLY IN LOVE WITH OPERA. I HAD HEAR OF HER A FEW TIMES IN THE PAST BUT MY IDEA OF A GOOD SOPRANO AT THE TIME WAS SARAH BIRGHTMAN (YES I KNOW I KNOW!!!BUT I WAS YOUNG!)BUT IT DIDN'T TAKE LONG TO REALIZE HOW WRONG I WAS!! THIS CALLAS RECORDING HAD THE MOST PROFOUND EFFECT ON ME WHICH LED TO MY OBSESSION WITH MY OWN OPERATIC ASPIRATIONS. IT WAS STRANGE AS SHE DID NOT SOUND LIKE A FAT WOMAN SCREAMING HER HEAD OFF IN FULL BODY ARMOR. YES YES...I AND MANY MANY SAD AMERICANS HAVE THOUGH OF THIS WHEN GIVEN THE WORD OPERA. (NOW NOW, WE ALL FELT LIKE THAT AT SOME POINT) I NEVER REALIZED THAT THERE COULD BE SUCH PASSION. HER NORMA WAS IS SO BEAUTIFUL IN IT'S SIMPLICITY AND UNDERLINING STRENGTH. HER TAKE ON "COME OER ME SERENO" AND "UNA VOCE POCO FA" WERE SWEET AND APPROPRIATELY INNOCENT. HER BEL CANTO ROLES WHICH INCLUDED HER FANTASTIC LUCIA (ALTHOUGH LATER I WOULD PREFER SUTHERLAND) AND GILDA JUST THRILLED ME. I HAD NO IDEA SOMEONE COULD ACTUALLY SING THOSE PIECES! OF COURSE UP UNTIL THIS POINT I DIDN'T EVEN KNOW OPERA COULD SOUND LIKE THAT!! (SILLY ME!) I WAS SURPRISED TO REALIZED I KNEW THE ARIAS SHE SUNG FROM LA BOHEME, LA TRAVIATA, AND MADAME BUTTERFLY. THEY DIDN'T MAKE A HUGE IMPRESSION BECAUSE THEY DID NOT HAVE THE FIREWORKS I WAS LOOKING FOR BUT I STILL FOUND THEM TO BE BEAUTIFUL. AFTER ALL OF THIS I LANDED ON CALLAS' TAKE OF TOSCA'S "VISSI D'ARTE". IT WAS AND HAS BEEN THE ONLY TIME I'VE BEEN SO MOVED BY A PERFORMER THAT I CRIED. IT WAS SO PURE BUT THE PAIN WAS SO EVIDENT THAT IT JUST CHILLED ME. I MUST HAVE LISTENED TO IT THOUSANDS OF TIMES OVER THE YEARS AND STILL HAVE YET TO HEAR A MORE STIRRING RENDITION. DUE TO THE OVERWHELMING FIRST CD I MUST ADMIT I KIND OF IGNORED THE SECOND HALF. EVENTUALLY I DID GET TO IT AND FOUND WHAT I FELT WAS THE GREATEST SONG EVER WRITTEN. MY WHOLE BEING LIVED FOR LAKME'S BELL SONG. AFTER LISTENING TO HER I WAS CONVINCED THIS WOMAN WAS MAGICAL BECAUSE I COULDN'T FIGURE OUT HOW SHE OR ANY HUMAN COULD SING LIKE THAT! HER SECOND DISC WAS INTERESTING BECAUSE IT WENT FROM WHITE HOT COLORATURA TO MEZZO? AAHHH BUT YES SHE WENT THERE. INTO THE INTENSITY OF SAMSON ET DELILA. I THOUGHT THEY WERE BEAUTIFUL!!! OF COURSE I KNOW PREFER MARILYN HORNE TO CALLAS ON THOSE SONGS....BUT IT SHOWED ME THAT NOT EVERY SONG HAS TO BE HIGH TO BE BEAUTIFUL. I LOVED AND STILL DUE LOVE THIS COLLECTION....IN FACT I HAVE BOUGHT IT THREE TIMES AS MINE DETERIORATED QUICKLY 'CAS I PLAYED THEM SO MUCH! AND I'VE GIVEN THIS COLLECTION TO COUNTLESS FRIENDS AND FAMILY. THIS IS THE BEST COLLECTION OF CALLAS' WORK AND I WOULD RECOMMEND IT TO EVERYONE AND ANYONE! VIVA LA DIVA!

Average customer rating:

Very Good Opera Mix CD
A real treat
Wonderful orchestral rendering of opera classics!
nice music incorrect tempi
Song list incorrect, though !

Opera without Words

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Easy Listening | Pop | Styles | Music

Orchestral Pop | Easy Listening | Pop | Styles | Music

$6.99 and Under | Classical Music Blowout | Stores | Music

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ASIN: B0000026QP
Release Date: 1989-11-20

Tracks:

Intermezzo
Che Gelida Manina
Mi Chiamano Mimi
O Soave Fanciulla
Quando M'En Vo' Soletta
Sono Andati?
O Mio Babbino Caro
Recondita Armonia
Vissi D'Arte
E Lucevan Le Stelle
Entrance Of Butterfly
Un Bel Di Vedremo
Je Crois Entendre Encore
Celeste Aida
Mon Coeur Souvre A Ta Voix
Flower Song
Habanera
March of the Toreadors
La Donna E Mobile
Ah Fors' E Lui & Sempre Libera
Vesti La Biubba
Children's Prayer
Barcarolle

Customer Reviews:

Very Good Opera Mix CD.......2007-04-24

For someone that isn't too keen on Opera, I really enjoyed this CD. As a choreographer, having famous operatic themes without lyrics is such a blessing. The only criticism I have about the CD is that the volume level isn't consistent throughout, and for some of the songs it is extremely low. I had to constantly adjust the volume from one song to the next, even within one track.

A real treat.......2006-09-25

This wonderful CD, is a collection of some 23 arias, drawn from the works of such maestros as Pietro Mascagni, Guiseppe Verdi, and Engelbert Humperdinck (no, the German composer...sorry, I couldn't resist!). All of the tunes sound excellent, performed to perfection by Russian-American conductor and arranger Andre Kostelanetz and his orchestra. Overall, I found this to be a real treat to listen to, with lively arias that will not send any passionate music fan to sleep. I especially loved Mascagni's Cavalleria Rusticana, Verdi's Celeste Aida, and of course Bizet's March of the Toreadors.

So, if you like could orchestral music, then I must say that you will like this CD. I love it and give it my highest recommendations!

Wonderful orchestral rendering of opera classics!.......2004-08-10

Opera fans will enjoy this collection of celebrated arias without vocals for rest and relaxation. From the thrilling "March of the Toreadors" to the plaintive "Madame Butterfly" this CD is a great background for easy listening, romantic dinners, or just the drive to and from work. Even people who don't like opera can enjoy this one.

nice music incorrect tempi.......2003-01-03

This CD is great for listening and, perhaps, for singing along a few passages (e.g. "..la speranza!") but NOT for actual singing practice. The tempi, while sweeping and engaging, can easilty throw you off, particularly the omissions of certain phrases or simply jumping to ba-boom conclusion. For those who like the music minus singing, it offers instruments taking up the voice parts. The order of the tracks is listed incorrectly, so you'll have to make your own list to paste on the back of this CD. Don't even think of turning on your metronome, just enjoy the music. Barcarolle from Tales of Hoffmann is the best piece.

Song list incorrect, though !.......2002-05-24

In the back cover of song list, "Celeste Aida" is printed BEFORE "La donna e mobile", while in the song list inside, there is no such song. In reality, the disk does have a "Celeste Aida", but it's number 14, as the list in Amazon.com. This "Celeste Aida" has the complete tune compared to that of "Verdi Without Words".

Tracks:

Madama Butterfly: Un bel di, vedremo (Atto ll)
Carmen: L'amour est un oiseau rebelle (Habanera) (Acte l)
La Wally: Ebben? ne andro lontana (Atto l)
Il Barbiere di Siviglia: Una voce poco fa (Atto l)
Norma: Casta Diva (Atto l)
Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte ll)
Rigoletto: Caro nome (Atto l)
La Traviata: Sempre libera (Atto l)
Romeo et Juliette: Je veux vivre dans ce reve (Acte l)
La Boheme: Si, mi chiamano Mimi (Atto l)
Don Giovanni: Mi tradi quell'alma ingrata (Atto ll)
Cavalleria Rusticana: Voi lo sapete, o mamma
La Gioconda: Suicidio! (Atto lV)
Gianni Schicchi1: O mio babbino caro
Turandot: In questa reggia (Atto ll)
TOSCA: Vissi d'arte, vissi d'amore (Atto ll)

Amazon.com

If you want to know the reason behind all the fuss about Maria Callas, buy this CD. Callas's great gift was not purity of tone or emission, reliability, or sheer loveliness; it was, rather, her ability to change her vocal color and style to suit not only particular periods of opera but to get under the skin of the individual characters she portrayed. Here you will hear the 18-year-old Butterfly imagining the return of her beloved; the sultry, adult Carmen seducing all around her; the youthful Wally telling her cruel father that she will go off into the cold wilderness rather than give up her boyfriend; the sly Rosina planning to outfox her guardian; the priestess Norma performing a sacred rite; Dalila wrapping Samson around her little finger and more; Gioconda contemplating suicide when all hope is gone; Gilda recalling the name of the boy she's just fallen for; and the icy princess Turandot reliving the rape of her ancestor and swearing that no man will possess her. And you'll believe them all. At times Callas's vocalism is a bit wiry (Juliette sounds stressed, for instance); but, in all, this is like a visit with 16 women, all of them interesting, and all of them great singers! --Robert Levine

Customer Reviews:

Landmark Soprano. An essential work for opera listeners........2007-05-26

Maria Callas may be the only female 'superstar' working in my lifetime. In the 1950s and early 1960's, she had all the star power and paparrazi draw of Jackie and Marilyn, far outstripping the fame to the world at large of her primary rival, Renita Tibaldi. I am not an expert, or even an experienced amateur at evaluating operatic sopranos; however I've listened to several of the modern crop, and while the newbies probably do a better job of keeping on key, none of them can match the drama emoted by Ms. Callas on any given aria. All three releases are especially good buys, as they all run to over 72 minutes; however the recording quality does show its early (pre-multitrack, pre-digital) recording technology. Each is as good as the next regarding content, but 2 and 3 are a bit better in sound quality.

Terrific introduction to the art of Callas.......2007-04-24

This album is entitled "Divina," not to be confused with "Divina 2," itself a very nice example of Callas at her best. This CD samples a variety of her roles, indicating the range of her art. A few examples. . . .

"Un bel di" from Puccini's "Madama Butterfly" is very well done. She displays a rich voice and a passionate rendering of this aria. At greater volume, her voice remains under control and attractive sounding (something that does not always occur as her career developed further).

The "Habanera" from Bizet's "Carmen" is normally a mezzo soprano work. However, Callas features a good lower tone, and it works pretty well here. She shows nice breath control, too. The orchestral backing is exceptional.

"Sempre libera," from Verdi's "La Traviata," is a soprano's dream. Here, though, Callas' voice is not as attractive as in other cuts. There is some harshness with higher notes. Alfredo Kraus' singing, by the way, is most attractive. There is some unpleasantness with Callas technique in this work, although there is a nice characterization as well (this is the price you pay for Callas). She shows off some nice runs, but zero in the way of trills (some other sopranos display nice trills in this piece).

Finally, a very well done version of "Si, mi chiamano Mimi" from Puccini's "La Boheme." Sweet sounds at the outset. She seems to capture the character well. Smooth singing, done well.

Thus, a good introduction to the art of Maria Callas. There are cuts here that feature some of the wondrous nature of her work. There are other cuts where one hears some unattractive aspects of her singing and one wonders about her technique. But, in the end, this is a good representation of the work of Callas.

Callas was the greatest.......2007-02-06

It's amazing how the anti-Callas claquers continue to thrive. I'll side with Leonard Bernstein, who labeled Callas "The Bible of Opera," and who described her 1952 performance of La Sonnambula under his baton as "pure electricity." Unfortunately, recordings don't do justice to any artist, given the lack of spontaneity and a full audience, as well as a host of other reasons. Even Callas withheld many recordings from release because she was her own worst critic and they did not meet her high standards. I've been listening to opera for over 30 years and although I can appreciate the artistry of Tebaldi, Sutherland, Sills, Freni, Carteri, Moffo, Price, etc., some of whom had better pure voices, there was none that could match Maria's intensity, passion, range, personality, acting ability and pure emotion. Callas could sing bel canto colaratura but drop down to a near-mezzo voice that included many dramatic roles.

The Callas bashers will always be with us, but thankfully they will always be in the tiny minority. True connossiers of opera know there never has been and never will be as great a singer as La Divina.

Great starter CD.......2005-11-24

As simplistic as this sounds, this is a perfect CD if you know you like opera, but don't know exactly what you want to hear. You'll definitely recognize some of the more popular arias, and will grow to love the others.

The epitome of divinity.......2005-03-31

Divine and then some.
A unique mezzo voice delivering a 'one-two-three punch': one in the gut, one in the heart and one in the head.
The listener instinctually senses all she imparts-regardless of French,Italian,German literacy or opera knowledge.
Her gifts were many-the 'voice'(simultaneously:sharp,buttery,bright and dark),inimitable phrasing,timing,dramatic intensity and versatility.
A fine jumping off point for Callas neophytes and Opera 'sissies' who say they don't like Opera, but never really listened to any.
For all of us already converted, I say turn it up!

Average customer rating:

listening to this cd
If you are unsure about opera, this is where to begin
The Perfect Opera CD
Romantic

Amor--Opera's Great Love Songs

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Similar Items:

The Most Famous Opera Arias
Amore II ~ Great Italian Love Arias
The Most Famous Opera Duets
The Best of Italian Opera
The #1 Opera Album

ASIN: B000009OU8
Release Date: 1998-08-11

Tracks:

Celeste Aida
O mio babbino caro
Donna non vidi mai
Quando le sere al placido
Mon coeur s'ouvre a ta voix
Una furtiva lagrima
Signore, ascolta!
Recondita armonia
Vissi d'arte
E lucevan le stelle
Habanera: L'amour est un oiseau rebelle
Amor ti vieta
Gualtier Malde...Caro nome
Cielo e mar
Quando m'en vo
La fleur que tu m'avais jetee
O mio Fernando
Pourquoi me reveiller
Voi che sapete
Un bel di (One fine day)
Nessun dorma

Customer Reviews:

listening to this cd.......2007-02-19

this is a wonderful cd. i have it in my car and listen to it all the time. you wont go wrong buying this cd if you love the operah and great voices.

If you are unsure about opera, this is where to begin.......2004-06-22

Many people are turned off of opera because of the nature of the beast - unknown tongue, the continual singing and particularly the sopranos whose voices are as piercing as they are diffdicult to understand. These selections are ravishing in their beauty. It has been estimated that 2/3 of all classical effort was put into opera. Thus it is not surprising that some of the best music ever penned can be found here, particularly those that deal with that most human of emotion - love.

The orchestration is wonderful, the voices emotional and quite sincere, the authenticity is present. It is difficult to surpass Verdi or Puccini in plumbing the emotional depths. All in all a good experience.

The Perfect Opera CD.......2002-08-08

I'm so in love with this CD, I'm giving it to as many ppl as I can. It's a great introduction to opera for ppl who don't listen to it very often. It has all the great hits with all the great singers, who can make shivers go down your spine. My friends who don't know opera as much as I do love it too.

Romantic.......2000-05-12

If you have just got to be interested in Opera, this is a good start. You can listen to the best pieces of the most famous (an romantic) Operas performed by the best singers. If you are a long-time Opera lover, this CD will remind you of all the performances that you went with your loved one and romantic moments after the concerts.

Saint-Saëns - Samson et Dalila / Domingo · Obraztsova · Bruson · Lloyd · Orchestre de Paris · Barenboim

Average customer rating:

OPERA'S BEST
An excellent effort
Still a favourite performance of Samson and Dalila
The Biblical tale of the Russian Mezzo & Spanish Tenor!

Saint-Saëns - Samson et Dalila / Domingo · Obraztsova · Bruson · Lloyd · Orchestre de Paris · Barenboim
Camille Saint-Saëns , Daniel Barenboim , Placido Domingo , Elena Obraztsova , Orchestre de Paris , Choeur de l'Orchestre de Paris , Renato Bruson , Robert Lloyd , and Pierre Thau
Manufacturer: Deutsche Grammophon
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Saint-Saëns: Piano Concertos 1-5
Bizet: The Pearl Fishers (Complete opera); Hendricks, Aler, Plasson, Capitole de Toulouse

ASIN: B000001G4Z
Release Date: 1992-01-16

Tracks:

Samson et Dalila: Dieu! Dieu d'Israel! (Choeur des Hebreux)
Samson et Dalila: Arretez, o mes freres! (Samson)
Samson et Dalila: Qui donc eleve ici la voix? (Abimelech)
Samson et Dalila: C'est toi que sa bouche invective... (Samson)
Samson et Dalila: Que vois-je? Abimelech! Frappe par des esclaves! (Grand-Pretre)
Samson et Dalila: Hymne de joie... (Choeur des Vieillards hebreux)
Samson et Dalila: Voici le printemps... (Choeur des Philistines)
Samson et Dalila: Je viens celebrer la victoire... (Dalila)
Samson et Dalila: Danse des Pretresses (Ballet)
Samson et Dalila: Printemps qui commence... (Dalila)

Tracks:

Samson et Dalila: Prelude
Samson et Dalila: Samson, recherchant ma presence... (Dalila)
Samson et Dalila: J'ai gravi la montagne... (Le Grand-Pretre)
Samson et Dalila: Oui...deja par trois frois... (Dalila)
Samson et Dalila: Se pourrait-il que sur son coeur... (Dalila)
Samson et Dalila: En ces lieux, malgre moi... (Samson)
Samson et Dalila: Mon coeur s'ouvre a ta voix... (Dalila)
Samson et Dalila: Mais!... Non! Que dis-je, helas! (Dalila)
Samson et Dalila: Vois ma misere, helas! (Samson)
Samson et Dalila: Interlude
Samson et Dalila: L'aube, qui blanchit deja les coteaux... (Choeur des Philistins)
Samson et Dalila: Ballet (Bacchanale)
Samson et Dalila: Salut! Salut au juge d'Israel... (Le Grand-Pretre)
Samson et Dalila: Gloire a Dagon vainqueur! (Le Grand-Pretre, Dalila)

Customer Reviews:

OPERA'S BEST .......2005-08-18

THIS IS MY FAVORITE OPERA, BECAUSE THE MUSIC IS SO BEAUTIFUL AND THE PERFORMANCES ARE SO PERFECT.
I LISTEN TO THIS EVERY DAY.

An excellent effort .......2005-08-08

Daniel Barenboim leads the Orchestre de Paris with almost Wagnerian ferocity, a feat one could easily expect of him. His reading of Saint-Saëns' score is bombastic and lush; it survives on the Oriental, exotic location of the opera's story, which is certainly more than one can say for Georges Prêtre's conducting in the famous 1962 EMI recording. Of all Barenboim's work here, however, one can give most praise to his interpretation of the Bacchanale, concerning which there is no doubt that it is one of the most erotic pieces of music ever conceived, besting even Bartòk's The Miraculous Mandarin and Richard Strauss' "Dance of the Seven Veils" from Salomé. Arthur Oldham leads the ChÂœur de l'Orchestre de Paris elegantly and never fails to please during one of the opera's frequent choral passages. Examples are the beginning of Act I (earthy, descending strings of the opening plummet into the mournful strains of the Hebrew chorus ["Dieu! Dieu d'Israël!"], a vocal tapestry of despair and desolation, which soon plunges further into a violent, seething fury "[Quoi! Veux-tu donc qu'à jamais on efface"]), the honeyed chorus of the Philistine priestesses ("Voici le printemps, nous portant des fleurs"), and the ecstatic chorus of the Philistine populace in the Temple of Dagon in Act III ("Dagon se révèle!").

Plácido Domingo is an archetypal, modern Samson. His voice lacks the snarl and brute force of Jon Vickers', but in the category of beauty, he triumphs absolutely. His Samson is enlightened but youthful in a charming, sensual manner. He is extremely potent when he rallies the Hebrews in Act I ("C'est toi que sa bouche invective" ... "Israël! Romps ta chaîne!"). Elena Obraztsova is a mezzo-soprano whose vinegary voice suits such musical creatures as Amneris, Ulrica, or even Maddalena; her attempts at such roles as la Principessa d'Eboli and Carmen have been less successful, and this performance as the Biblical temptress is strung somewhere twixt the others. Some have criticized her for making a Boris Godunov of the role and sounding like Samson's lustful mother; all faults considered, her voice is, however, not without charm. She is elegant during her Act I monologue ("Printemps qui commence"), but she is no comparison to the unassailable Rita Gorr, whose voluptuous Dalila could melt any man, much less the beguiled Samson. She is even less successful with her diabolical opening Act II monologue ("Samson, recherchant ma présence"), during which her vocal depth is unbecoming. However, she and Domingo are both triumphant during the Act II duet ("Un dieu plus puissant le tien" ... "Mon cÂœur s'ouvre à ta voix") which follows; Saint-Saëns conceived of comparable beauty only in "Le Cygne" from his beloved Le Carnaval des Animaux.

The supporting cast contains several pleasant surprises. Renato Bruson is one of those pitiable operatic singers with a gorgeous voice and a wide vocal pallet but not an ounce of pronounced dramatic capability. However, in this recording, he manages to present at least a one-dimensional, spastically furious and vindictive villain as the Grand-prêtre de Dagon. He works very well with Obraztsova in Act II, during their cruel plotting ("Oui...déjà par trois fois" ... "Mort! Mort! Mort! Mort au chef des Hébreux!") and in their grandiose Act III hymn to Dagon ("Gloire à Dagon vainqueur!"). Pierre Thau makes a nasty, vulture of Abimélech, making the most of his brief but potently profane monologue ("Qui donc élève ici la voix?"). Robert Lloyd, a venerable, anchoring bass, is saintly as the old Hebrew during his brief comments ("Il nous frappait dans sa colère") during the sanctified "Hymne de Joie" and at the close of Dalila's first monologue ("L'esprit du mal a conduit cette femme"). Gerard Friedmann, Constantine Zaharia, and Michel Hubert provide brief comic relief as the three frightened little Philistines who literally hide behind the hem of the cloak of the High Priest in Act I.

The greatness of this recording can be heard in its finale, which is carried out like the cataclysm of a Biblical epic (i.e., the destruction of the Egyptian host in the Red Sea, the sacking of Sodom and Gomorrah, etc.). The hymn of the Philistines is abruptly interrupted by Samson's vicious prayer for a final stroke of his former strength ("Souviens-toi de ton serviteur"), which is granted to the immediate shrieks of terror from the chorus as the temple is buckled to its foundations, leaving a pile of profane, idolatrous rubble.

Still a favourite performance of Samson and Dalila.......2003-10-17

If you know this composer for the charms of The Carnival of the Animals or perhaps the lyrical 3rd Violin Concerto, I'd recommend his take on this Old Testament tale of poor trusting Israelite warrior Samson and his treacherous Philistine lover as a glimpse of Saint-Saens darker side. You can appreciate Domingo's voice at its most powerful, and either loathe or, as I do, adore Obraztsova's melodramatic mezzo. Other reviewers may overlook what is required of her role as a bewitching, scheming seductress yet, jealous of Samson's loyalty to his God, a wicked avenger of the Philistines' defeats. She succeeds as the dramatic engine of the piece, her sincerely insincere "Mon Coeur S'Ouvre à Ta Voix" being soon replaced by her taunts of betrayal as the witch enjoying power over the blind and bitterly regretful Samson: "I tore your secrets from you - I'd already sold them!" The antiphonal polylogue and novel orchestral invention of the final scenes are particularly satisfying under the enthusiastic baton of a then still fairly young Barenboim.

The Biblical tale of the Russian Mezzo & Spanish Tenor!.......2003-06-11

Camille Saint-Saëns definitely had a very firm grip on reality when he composed this stunning piece of work; it manages a stark resemblance to 21st century life, and thoroughly manages to entertain, more than 120 years later!

A spellbinding tale of Love (A man who loves his people), Romance (Man falls for a 'wrong' woman), Seduction (Woman seduces man by singing), Revenge (Woman sings to man, gentle words and betrays him for not loving her) and the Male Martyr (Man kills himself and half the ensemble to save his people and religion!). All said and done, this recording is an absolute over-the-top performance, and nevertheless quite stunning!

One of the earlier Barenboim recordings, (1978) this brings together the formidable talents of ... a Spanish Samson, a Russian Dalila, an Italian High Priest and a British Assur... the only contribution to the origins of the country of this biblical operatic tale is Pierre Thau (Abimélech).

Barenboimýs fervent conducting (slightly over-imaginative vis-à-vis the text [?]), especially the bacchanal makes it very exciting and thoroughly engrossing to hear. Domingo is in his element ... pure & quite outstandingly energetic. The star however is Elena Obraztsova [Dalila]. Her tone at some point does tend to slightly ýwobbleý, but she delivers the punch with great aplomb. Her brilliant rendition of the aria ýMon coeur s'ouvre à ta voixýý is simply stunning; rich and alluring with sexual nuances and quite aptly describable as 'Sultry yet Slutty', it captivates Samson, and undoubtedly the audience as well! Elena Obraztsova may not be the most ýwell-knowný mezzo for looks or voice (fans can must check her out on the DVD of ýCav&Pagý], but she is definitely the most robust and powerful Dalila on CD.

Tracks:

Norma: Casta Diva (Short Version)
Samson & Dalila: S'apre Per Te Il Mio Cuor
Tosca: Vissi D'arte
Carmen: Habanera
Gianni Schicchi: O Mio Babbino Caro
Ave Maria
La Traviata: Addio Del Passato
Lost Boys Calling
You Are The One (Sotto Le Stelle)
Dissonanze (Mondo Trash)
Maria (By The Sea)
Casta Diva (Extended Version)

Amazon.com

This eponymous album from the Italian singer Filippa Giordano confounds expectations. Released on the classical label Erato, Giordano mixes arias with contemporary songs such as the Ennio Morricone-Roger Waters "Lost Boys Calling" from the 1999 Golden Globe-winning movie The Legend of 1900. Using a conventional orchestra sometimes supplemented by electronic keyboards and occasional drums, the production achieves a slick and glossy chart-friendly sound that will find favor with fans of Whitney Houston and Céline Dion. Key to the album are two versions of "Casta Diva" from Bellini's Norma, between which arias from Samson and Dalila, Tosca, Carmen, and La Traviata sit rather uncomfortably alongside several pop anthems. With the vocal flavor of Broadway and a hint of Andrew Lloyd Webber, the intention seems to be to add contemporary crossover appeal to opera in much the same way that Andrea Bocelli has done with such conspicuous success. It's doubtful that serious opera aficionados will care much for Filippa Giordano, though music lovers in general may well find the album an attractive entry into the sometimes-forbidding world of the classical diva. --Gary S. Dalkin

Customer Reviews:

Understand this album for what it is, and what it is not........2007-02-02

Opera aficianados take note - she is not an opera singer. It is pointless to consider her as one. You might as well snipe at a nasturtium for not being a rose. She is a pop singer. If you are looking for nuanced interpretations of classic bel canto opera, why the heck did you pick this album up in the first place? You know where to look already.

I completely disagree with the opera buffs who say that it is a travesty that she recorded these albums and besmirched the great masters. She did not record this for *you*. She recorded this for listeners of pop music. Have you heard what passes for pop music? Evidently not, or you would realize her albums far surpass everything currently in play... and if that is damning to pop music, well, so it is.

If one person... a single soul... listens to this album and is inspired enough to go out and listen to "the real thing" then Filippa Giordano has done them a great service and made the world a richer place. Opera aficionados are not born knowing and appreciating opera. One must be exposed to the music in the first place. Many people grow up having NEVER heard opera. This sort of album has a chance at being played in venues where Callas and Fleming couldn't get feet in the door. To the uninitiated, opera can seem bewildering and unintelligible, full of unfamiliar conventions. Filippa Giordano uses pop conventions to put these arias in musical terms that pop music lovers can grasp. Melodic familiarity goes miles toward connecting people to the emotional core of an operatic performance. Before you spew venom, consider that you are potentially thwarting a pathway that may lead to genuine appreciation of "real" opera down the pike. Bite your tongue. Go listen to your own recordings of the masters. You are right. They are infinitely more sophisticated. But this album has considerable value despite its flaws, and it wasn't created for you.

Opera Geeks, get a life.......2006-05-05

This is an album by a gifted pop singer singing some beautiful classical arias. Now, opera geeks are going apoplectic that this woman has the temerity to do so. I listen to opera, and I am occasionally relieved to hear CDs like this. It's nice not to hear a singer sounding like several people are tightening her Wagnerian corset so hard that she is expelling air through every orifice in her body. It is not the music that keeps opera unaccessible to everyone except pretentious pseudo-intellectuals (you don't need a Ph.D. to appreciate it). No, what has kept opera out of the mainstream is the constipated sounds too many opera singers make. If you like beautiful music sung well, if not brilliantly, you will like this CD. And for the record, I loathe C?line Dion's and Whitney Houston's music passionately, so don't let the first reviewer's comments dissuade you from this CD.

Distasteful...........2006-03-07

Do Banshees really exist ?. Yes they do.....and this abomination of musical history is proof of this....I cannot believe that a record company actually thought that they would even remotely break even on the sales of this grievous, flavorless, repellent and not to mention nauseous anathema of a recording. Shame on you young lady for destroying what were once, beautiful arias. A sad and unpassionate insult to great musical workmanship....

Not really opera, but fun anyway.......2006-02-03

As previous reviewers have said, "purist" opera fans would probably not consider this album to be opera, but it's still very enjoyable. Filippa Giordano will not likely be cast in a Wagnerian role anytime soon; she has a beautiful voice, but it does sound rather thin at times (she's no Maria Callas or Renee Fleming, in other words). It would be very easy to compare her to those other "(p)opera" divas, Sarah Brightman and Charlotte Church, but Filippa's sound is considerably more playful than Sarah's, and more sophisticated than Charlotte's. The highlights of this album are her renditions of "Casta Diva" and "Habanera," and I would recommend it for those two songs alone, but the rest of the album is also very good. This would be a great way to introduce a young person to the genre, as many of the songs could pass for pop songs.

Ummmm...........2005-11-29

Thousand pardons and all, but what on earth is she doing? If she wants to sing like this, fine and well, but why take perfectly fine operatic pieces that are special to some people and absolutely desecrate them by singing them like they are pop?
People who want to sing pop music should not go about advertising themselves as operatic singers, Giordano has the capacity to sing contemp. if she wants, but she obviously has not an operatic voice. If you like people being wormy and stealing from other genres, you will love this cd. If you like opera, you will not.

Average customer rating:

Half the tracks are march or played like one
decent for dancing
Recommended
Wonderful selection, but not really dancing music
This Will Keep You Dancing

25 Classical Dance Favorites

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

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Similar Items:

25 Classical Favorites
A Night at the Ballet (Box Set)
Symphony (25) Favorites
Favorite Waltzes
25 Concerto Favorites

ASIN: B0000058IQ
Release Date: 1997-07-01

Tracks:

Blue Danube Waltz
Midsummer's Night Dream: Scherzo
Sleeping Beauty: Introduction
Sleeping Beauty: Adagio pas d'action
Annen Polka
Tales From The Vienna Woods
Turkish March
Bella Bolka Polka
Les Patineurs: Pas de Duex From Les Patineurs
Les Patineurs: Finale From Les Patineurs
Dance Of the Nubian Slave Girls
Samson: Ballet Music From Samson
Entry Of The Gladiators
La Gioconda: Dance Of The Hours
Washington Post
Peaches & Cream
Polovtsian Dances (Extract)
Slavic Dance In G Minor, Op.46 No. 8
Der Rosenkavalier Waltz
Galop (La Vie Parisienne)
Orpheus: Can Can (Orpheus)
Sabre Dance
Gavotta Choro
Faust: Ballet (Extract)
Bolero

Customer Reviews:

Half the tracks are march or played like one.......2007-06-05

This disc reminded me of Leonard Bernstein's conducting: somehow many of his conducting session became marches. Many tracks on this disc is like that. I am a novice when it comes to classical music, so part of allure of this disc was that it contained many titles I didn't recognize, so it wasn't a total loss. I guess I should have read the track listing more carefully... what is Washington Post by Sousa doing on dance compilation?

decent for dancing.......2006-12-31

There are quite a few tracks on here that do well for recital music. THere's different ones from the unoriginal swan lake's and nutcracker..my students loved to hear what came next....it gets better towards the end of the cd!

Recommended.......2005-10-03

For those who would enjoy a fast, fun, and cheerful kind of classical music, I guess this cd is a very good choice. Also, if you want to make your kids a classic music lover, you could start with this fun, lighthearted music.

Wonderful selection, but not really dancing music.......2000-06-27

I agree that this is indeed absolutely beautiful light classical music. It is indeed a perfect beginning to a lifelong passion to have classical music playing in the background or to turn up the volume and immerse yourself in it. But it consists of mostly ballet music, several marches, polkas, an entrance of the gladiators, a gavotte and just to show that he can-can, a delightful little march by Beethoven of all people (Turkish March). Or can you dance to the continuous hypnotic rhythm of Ravel's Bolero? Quite tiring, I would think. Nevertheless, great music at an astounding price. Consider buying all or most of the "25 Favorites" series. You will not regret it

This Will Keep You Dancing.......2000-03-30

If you like to dance and you like classical, this cd is a must have. Who says you can't dance to classical? This CD proves those who think so wrong. Highlights include Tchaikovsky's Sleeping Beauty, Mendhelsson's Midsummer Night's Dream, Gounod's Dance of the Slave Girls and Faust, Dvorak's Slavonic Dance, Offenbach's can-can (yeah!) Katchaturian's Sabre Dance and Ravel's Bolero. All these are excellent. Sousa Marches are here too. You must get this CD if you are a serious lover of the classical. In fact, this was my first Classical CD. Make it a part of your life and dance to the great beats of the classics ! Yeah I'm serious.

Track Listings:

Track Listings

track listings

Track Listings

Heartbeeps

J.S. Bach: Complete Keyboard Music I [Box set]

Just a Lucky So and So

Don't Stop the Carnival

Maximum Disturbed [Import]

K-Tel Greatest Hits

Mel Torme Collection 1944-1985

Ludwig van Beethoven: Symphony no.6 "Pastoral" / Overtures

My Favourite Place

In the Dark: 1949-1958

Maxinquaye [Explicit Lyrics]

Historia de un Amor, Vol. 5

Golazos

Spanish Eyes

Little Secrets

1. Act 1 Scene 1 - Dieu D'israel!
2. Arretez, O Mes FrÈRes!
3. Implorons À Genoux
4. Act 1, Scene 2 - Qui Donc ÉLÈVe Ici La Voix-
5. Ce Dieu Que Votre Voix
6. Israel , Rompts Ta ChaÎNe!
7. Act 1, Scene 3 - Que Vois-Je- AbimÉLech!
8. Act 1, Scene 4 - Seigneur! , Maudite À Jamais Soit La Race
9. Act 1, Scene 5 - Hymne De Joie
10. Act 1, Scene 6 - Voici Le Printemps
11. Je Viens CÉLÉBrer La Victoire
12. Danse Des PrÊTresses De Dagon
13. Printemps Qui Commence
14. Act 2 - PrÉLude
15. Act 2, Scene 1 - Amour, Viens Aider Ma Faiblesse!
16. Act 2, Scene 2 - Il Faut Pour Assouvir Ma Haine
17. Act 2, Scene 3 - En Ces Lieux
18. C'et Toi
19. Mon Coeurs S'ouvre A Ta Voix
20. Vois Ma Misere