Massenet: Herodiade [Import]

Track Listings

1. Introduction

2. Allerte Levez Vous

3. Encore Un Dispute

4. Ah Salome

5. Elle A Fur Le Palais

6. Vengemoi D'un Supreme Offense

7. Calmez Donc Vos Fureurs

8. Roi Que Ta Superbe

9. Vous Qui Tenez Conseil

10. Mon Aproche Quel Trouble

11. Hosannah

12. Dors O Cite Perverse

13. Ah Phanuel

14. Prelude

15. Herode A Toi Ces Lapmes

16. Charmes De Jour Passes

17. C'en Est Fait La Judee Apartient A Tibere

18. Vision Fuigitive

19. Que M'osestu Dire

20. Marche Sainte Scene Religieuse

See all 31 tracks on this disc

Tracks:

Ils S'Eloignent Enfin...Sombre Foret
D'Amour L'Ardente Flamme
Les Grecs Ont Disparu...Malheureux Roi!
Nous Avons Vu Finir...Chers Tyriens
Je Vais Mourir...Adieu, Fiere Cite
Ah! Salome! Dans Ce Palais...Il Est Doux, Il Est Bon
Je Souffre
Mes Cheres Filles, J'Ai Encore A Vous Dire
Soir
Le Secret
Apres Un Reve
Clair De Lune
Lo Fiolaire
Lou Coucut
Coeur En Peril
Berceuse Creole

Tracks:

Einsam In Truben Tagen
Euch Luften, Die Mein Klagen
Eine Waffe Lass Mich Dir Weisen...Der Manner Sippe
Ich Sah Das Kind
I. Der Engel
II. Stehe Still!
III. Im Treibhaus
IV. Schmerzen
V. Traume
I. In Der Fremde
II. Intermezzo
III. Waldesgesprach
Timor Di Me?...D'Amor Sull'Ali Rosee
Ecco L'Orrido Campo...Ma Dall'Arido Stelo Divulsa
Tu Che Le Vanita
D'Art Et D'Amour

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Sensuality Personified!.......2005-04-27

This is one of the best collections of Regine Crespin. Of course, her Berlioz/Ravel set with Ansermet is definitive, but the beauty and soft womanliness of her voice can be heard in all the selections on this disc. The engineers went for her vocal best and they created a fine collection aptly titled "The Best of..." One would be unduly captious to find Crespin "brittle" of tone here.

It is by now, very difficult to imagine anyone singing "Il est doux" with more apt expression of the line than La Crespin. Wagner's Wesendonk lieder is simply sublime from start to finish and the Faure takes on new meaning. That she is comical, melancholy, fun and happy by turns singles her out. This collection captures all her awesome talent. Underneath it all seems to be a very, if I may, sexual energy.

Crespin must be heard to be believed and the miracle lies in that even her softest tones are really enveloping, never thin. All tones are open and this is why there are enough colors in Regine Crespin's delicious voice to paint the world a thousand times, but it may also be why she infamous for being short and edgy on top but I remind, never here is she such. She is a relaxed singer in superb voice, comfortable in her own olive skin and makes the most out of every word those poets wrote.

The whole collection is unique in pace, style, and voice. It is Regine Crespin...in a nutshell fabulous!

Average customer rating:

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

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

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Gheorghiu, Angela | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
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The Essential Angela Gheorghiu
Diva
Puccini
Roberto Alagna & Angela Gheorghiu - Duets & Arias
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ASIN: B00000429G
Release Date: 1996-04-16

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

Average customer rating:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1
LA SUPERBA!
Madame Caballé is great!!!
Amazing collection!
Cannot be called an "ultimate" collection

Montserrat Caballé: Ultimate Collection

Manufacturer: RCA
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

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

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Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Very Best of
Diva:Montserrat Caballe
Very Best of
Montserrat Caballe - Beyond Music
Grandi Voci: Renata Tebaldi

ASIN: B00000J914
Release Date: 1999-05-25

Tracks:

La Boheme: Si. Mi chiamano Mimi
Norma: Casta diva
L'Assedio di Corinto: Giusto ciel! In tal periglio
Sapho: O ma lyre immortelle
Semiramide: Serbami ognor... Alle piu calde immagini
Otello: Piangea cantando (Willow Song) -
Otello: Ave Maria
Herodiade: Il est doux, il est bon
Lucrezia Borgia: Tranquillo ei posa... Com'e bello!
Suor Angelica: Senza mamma
Rigoletto: Caro nome
La Sonnambula: Ah! non credea mirarti

Tracks:

La Traviata: E strano, e strano! -
La Traviata: Follie! Follie! -
La Traviata: Sempre libera degg'io
TOSCA: Vissi d'arte
Il corsaro: Egli non riede ancora!
Il corsaro: Non so le tetre immagini
Armida: D'amore al dolce impero
I Pagliacci: Qual fiamma avea nel guardo!
Roberto Devereux: E Sara in questi orribili momenti... Vivi, ingrato
Il Trovatore: D'amor sull'ali rosee
Stabat Mater: Inflammatus et accensus
Adriana Lecouvreur: Io son l'umile ancella
Anna Bolena: Al dolce guidami
Adelson e Salvini: Dopo l'oscuro nembo
I Vespri Sicillani: Arrigo! Ah, parli a un core

Customer Reviews:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1.......2005-12-23

First off this two cd set is for the price of one,that is always great.Montserrat caballe is the star of this cdset,and she demonstrates all that is beautiful in singing,on ever track.Her ave maria from othello is included here.It is one of the best performed arias by caballe ever,she ends it with a heavenly piano top note.Also included is her magical casta diva from norma.Caballe sings all these arias with her legendary sound and breath control.On this set there are plenty of examples of long sustained notes,seemless legato,glorious high notes,and magically floated soft notes.Check out the cover to,there are some great photos of Caballe in opera costumes.These cds have great sound,and play for over two hours,too.

LA SUPERBA!.......2005-11-22

Montserrat Caballe is an amazing person and an amazing singer. In my opinion she has a more beautiful voice than Maria Callas. The high notes she reaches are just fantastic! Her Sempre Libera is the best ever! Her Ave Maria is stunning and her Vissi D arte is really moving. Her voice is so beautiful, it's as if it's an angels voice coming from her.

Madame Caballé is great!!!.......2003-04-06

This collection of Caballé's recordings is fantastic! Her soprano is the most beautiful that has been recorded. L. Price, Tebaldi, Ponselle, and a few others have gorgeous voices, but can any of those voices compare with Caballé's? Caballé's singing throughout is of the highest standard. Her "Ave Maria" is spectacular. "Vissi d'arte, vissi d'amore" has never sounded more beautiful. I love her "Non so le tetre immagini". Such beautiful singing does not come any better than this. Her "Caro nome" is disappointing. She is clearly not suited to this aria. "Inflammatus et accensus" is glorious. The later recordings are nice, but they are not the best Caballé has committed to disc. "Il est doux, il est bon" betrays a slight wobble in her otherwise still beautiful voice. "Dopo l'oscuro nembo" features very respectable soft singing from Caballé. This version does not do justice to Bellini's exquisite orchestration. For a version that does, check out Opera Rara's "The Collection: Volume 2". That version features competent singing from an inferior-voiced soprano, but the orchestra is ravishing. The one reviewer who mentioned the aria from "I Vespri Siciliani" as having "fioriture effects Berio could sign on to" is incorrect. The aria included here is not "Mercè, dilette amiche". That aria is more famous and much more florid than the aria included in this collection, "Arrigo, parli a un core". By the way, Caballé performs this aria ravishingly well. This is a superb testament to one of the all-time greats in opera.

Amazing collection!.......2003-04-05

I will write this review objectively, but I will not avoid praising Caballé when praise is due.

First off, this compilation is amazing! I have always thrilled to hearing Caballé's voice and this compilation is no different. I am amazed at Caballé's instrument; such extraordinary purity combined with great power! Even when she sings pianissimo, she can be clearly heard! Her voice literally fills up the room. These arias really show off her remarkable voice. Of special note is her rendition of the hauntingly beautiful "Non so le tetre immagini". Amazing! Her "D'amor sull'ali rosee" is exquisite, but she sings it too softly. Her trill is quite weak. Voices like hers don't respond well to being forced to trill. The tracks from the 1990's show off the remarkable preservation of her voice. The voice retains its purity and beautiful timbre, but is now heavier and darker. "Sempre libera" is not that good. Her coloratura is not up to par with Verdi's demands and she cannot hit the high E-flat at the end. However, she sings the main part of Violetta's aria very well, with supple, gorgeous tone and ravishing pianissimos. "Ah! non credea mirarti" is ravishing, but it is missing its energetic cabaletta. Presumably, it was cut because Caballé could not deal with the coloratura. Caballé's legato lines in this aria are superb. Her version of the "Lucrezia Borgia" Prologue is masterful. Elizabeth's last aria from "Roberto Devereux" is noble and touching. She is not quite Sills, but that aria benefits from a spinto voice instead of a soubrette one. Her aristocratic phrasing is very well used throughout the selections, with a few exceptions. Her "Willow Song" is beautiful, first time on CD. However, she fails to completely show Desdemona's despair. Some parts were good, but the whole thing failed to touch the heart. Her phrasing here is too indulgent. I have to say that I prefer Sutherland's touching version on her "The Art of the Prima Donna" recording. However, I loved "Ave Maria". Caballé sounds most beautiful when singing softly and this selection really shows her in the best light. Her cadenzas are intoxicatingly beautiful. "Caro nome" is not really her aria. The coloratura is suspect and some of the staccati are replaced with upward flourishes. She avoids the last short passage of staccati. Her phrasing in this aria is way too indulgent and she really fails to suggest Gilda's innocence. Even Sutherland is better at portraying Gilda's girlish qualities. Her "Armida" aria has some nice coloratura. She does the runs really well and is fearless in the triplet passages. For some reason, she does not sing the second "fronde" in the first line of the third stanza nor does she sing the last line of this stanza, "i muti abitator". She also does not sing the last line of the fifth stanza, "il tempo vorator". Caballé's first recorded version of "Vissi d'arte, vissi d'amore" is included here. This just may be the most beautiful version of this aria ever recorded. It certainly is Caballé's best version of the aria. The climax is handled in one breath by Caballé. She diminuendos the big high note twice in the same breath. Amazing! The rolling of the "r" in "Signor" after the last diminuendo is quite nasal and reminds us that the sound we are hearing is coming from a human throat. It also shows that these diminuendos are natural and not studio produced. She infuses Tosca's aria with real feeling and piety. The compilation ends with a knockout reading of "Arrigo, parli a un core". Caballé is at her best in this aria. She sings softly to stunning effect. This version may be the most beautiful of this particular aria ever recorded. RCA has done Caballé justice with this wonderful collection. Caballé is truly a remarkable artist with a million-dollar voice. Brava!

Cannot be called an "ultimate" collection.......2003-02-05

This is a prime example of the a major recording label being fickle with the goods, in order to force you to continue buying other recitals and full-length studio recordings. Of course, any Caballe fan would already want to own those other recordings anyway, so the point is moot.

Other reviewers here have cried out against the exclusion of one of her most essential and artistic roles, Imogene from Il Pirata. I would like to emphatically express the same. In fact, I would even have settled for the exclusion of Casta Diva, in favor of Col Sorriso di Innocenza.

Some other stellar recordings not represented her are the Sleepwalking Scene from MacBeth, and Pace, Pace Mio Dio from La Forza del Destino. Also worth mentioning is her O Patria Mia from Aida. She might not be Leontyne Price or Martina Arroyo, but she gives a superb reading of this wonderful aria.

Of course, brevity does require some editing- a true "Ultimate" Caballe collection would span four or five CDs, at least- but to include late-career and less-than-best selections at the expense of others is a crime.

Tracks:

Ave Maria
Herodiade: Adieu donc, vains objets
Ave Maria
A Plea To God
Stabat Mater: Cujus animam
Die Allmacht
Panis angelicus
Ave Maria
Ave Maria
Eili, Eili
Requiem: Ingemisco
Sigismondo: Misero me! Mi sento tutto gelar: Giusto ciel!
Le Cid: Ah! Tout est bien fini!: O Souverain,o Juge, o Pere
Rienzi: Allmacht'ger Vater
The Lord's Prayer

Customer Reviews:

Very Disappointing.......2007-02-16

The sound quality is worse than an old, scratched vinyl record. Music is boring and old. Extremely disappointing.

A wonderful CD.......2001-11-21

I picked this CD up because it was a compilation of some of the most beautiful pieces of music sung by the world's greatest tenors. The CD has 4 different versions of "Ave Maria" alone, and is finished by Mario Lanza singing "The Lord's Prayer." This CD is a must-have for anyone who loves "soulful" singing by great voices.

Tracks:

Le Veau D'Or Est Toujours Debout
Vous Qui Faites L'Endormie
Si Les Filles D'Arles Sont Reines
Voyons: 'Pour Hoffmann'...Dans Les Roles D'Amoureux Langoureux
Scintille, Diamant
Bien Des Jeunes Gens
Lakme, C'est Toi Qui Nous Proteges!
Tra La La...Quand La Flamme De L'Amour
Elle Ne M'Aime Pas
Ah! Malgre Toi, Poete
Parjure!
Louange A Vous
Voyez, Thebains, Voyez - Barbara Hendricks
Dors, O Cite Perverse!
Quand Apparaissent Les Etoiles - Teresa Berganza
Je Suis Le Chevalier Errant - Teresa Berganza
Ecoute, Mon Ami - Teresa Berganza

Tracks:

I. Villanelle
IV. Absence
VI. L'Ile Inconnue
Tendrement Enlaces, Ma Chere Bien-Aimee
Danse Macabre
Clair De Lune
Chanson Romanesque
Chanson Epique
Chanson A Boire
Chanson A Dulcinee
Elegie
I. La Maitresse Volage
II. Chanson A Boire
III. Madrigal
IV. Invocation Aux Parques
V. Couplets Bachiques
VI. L'Offrande
VII. La Belle Jeunesse
VIII. Serenade
Malvina
Wo Ist Er?
Wird Dir Nicht Bange?
Die Frist Ist Um
Herr, Lehre Doch Mich
Libera Me, Domine

Customer Reviews:

Fantastic!.......2005-11-02

This collection represents Jose Van Dam at his best. The two arias from Faust are a little low for him but he sings them with great musicality. The aria from Mireille which is a rarity is sung brilliantly. Mr. Van Dam gets up to those high notes so easily. This collection mostly contains French Repertoire which was ideal for his voice. Several of the arias are rarely performed and I think should be performed more often. The few German selections are very effective as well. I think he was one of the finest Brahms Requiem soloists of all time.

Mr. Van Dam is still singing well at age 65. I think he is one of the finest singers and musicians because everything he sings means something to him internally. That is something that defines a great artist for me. I highly recommend this collection because it is a tool for singers to learn how to pronounce French properly. The diction is so clear that you can practically write it down.

Average customer rating:

The Voice of France

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
ASIN: B000075A80
Release Date: 2002-11-12

Tracks:

La Marseillaise (French National Anthem) - Placido Domingo
Dome Epais Le Jasmin (Flower Duet) - Joan Sutherland
L'amour Est Un Oiseau Rebelle - Regina Resnik
C'est Toi...Au Fond Du Temple Saint - Gregory Cross
Belle Noit, O Nuit D'amour - Joan Sutherland
Apres Un Reve - Renee Fleming
L'invitation Au Voyage - Gerard Souzay
Cantique De Jean Racine, Op.11 - Choir Of St. John's College, Cambridge
Rachel, Quand De Seigneur - Leopold Simoneau
O Vin, Dissipe La Tristesse - Sherrill Milnes
Je Suis Titania - Beverly Sills
Ah, Ou Va La Jeune Indoue - Joan Sutherland
Les Filles De Cadix - Angela Gheorghiu
Mon Coeur S'ouvre A Ta Voix - Marilyn Home
Alerte! Alerte!...Anges Pur - Nuccia Focile

Tracks:

Frere Jacques - Rita Streich
Air De Letter: Mon Chet Amant - Regine Crespin
Marthe Dieu Soit Loue...Deposons Les Armes (Soldiers' Chorus) - Robert Massard
In Paradisum - L Union Chorale de La Tour De Peliz
Villanelle - Regine Crespin
Je Veux Vivre - Joan Sutherland
Chanson A Boire - Gerard Souzay
L'Enigme Eternelle - Suzanne Danco
Sur Le Pont D'Avignon - Hilde Guden
Phidyle - Gerard Souzay
Les Gars Qui Vont A La Fete - Gerard Souzay
Notre Amour - Sylvia McNair
Beau Soir - Elly Ameling
C'est L'extase Langoureuse - Sylvia McNair
Puisqu'on Ne Peut Flechir Ces jalouses Gardiennes-Vainement Ma Bien-Aimee - Alfredo Kraus
Il Est Doux, Il Est Bon - Angela Gheorghiu
Hotel - Gilles Cachemaille
Petite Dinde, Ah! Quel Outrage - Maggie Teyte
Bailero - Kiri Te Kanawa
Brezairola - Kiri Te Kanawa
Malurous Qu'o Uno Fenno - Kiri Te Kanawa

Massenet - Hérodiade / Domingo, Fleming, Zajick, Pons, Gergiev

Average customer rating:

Quite Excellent as a performance
An Outstanding But Cut Performance
(Almost) divine voluptuousness
Herodiade is a must have!
Very desirable French stravaganza

Massenet - Hérodiade / Domingo, Fleming, Zajick, Pons, Gergiev
Jules Massenet , Valery Gergiev , Plácido Domingo , Renée Fleming , Dolora Zajick , Juan Pons , Eduardo del Campo , Kristin Clayton , Kenneth Cox , San Francisco Opera Orchestra , and San Francisco Opera Chorus
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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ASIN: B000002AY9
Release Date: 1995-11-21

Tracks:

Herodiade: Introduction
Herodiade: Act One: Scene I: 'Alerte! Levez-vous! Le Palais est ouvert!' (Choeurs)
Herodiade: Act One: Scene I: 'Encore une dispute! (Phanuel, choeurs)
Herodiade: Act One: Scene I: 'Ah! Salome! Dans ce palais' (Phanuel, Salome)
Herodiade: Act One: Scene I: 'Jerusalem! Salut! Ville fortunee!' (Choeurs, Phanuel, Salome)
Herodiade: Act One: Scene II: Introduction - 'Elle a fui le palais' (Herode)
Herodiade: Act One: Scene II: 'Salome, Salome! Reviens, je te veux!' (Herode)
Herodiade: Act One: Scene III: 'Venge-moi d'une supreme offense!'(Herodiade, Herode)
Herodiade: Act One: Scene III: 'Frappe donc!' (Jean, Herode, Herodiade)
Herodiade: Act One: Scene IV: 'Calmez donc vos fureurs.' (Jean, Salome)
Herodiade: Act Two: Scene V: 'Roi, tu peux t'assoupir' (Choeurs, Herode)
Herodiade: Act Two: Scene V: Danse babylonienne - 'Que ce philtre amoureux' (Une jeune babylonienne)
Herodiade: Act Two: Scene V: 'Maitre, bois dans cette amphore' (Une jeune babylonienne, choeurs, Herode)
Herodiade: Act Two: Scene V: 'Vision fugitive et toujours poursuivie' (Herode, une jeune babylonienne)
Herodiade: Act Two: Scene VI: 'Voila l'homme qui fait trembler tout un empire!' (Phanuel, Herode)
Herodiade: Act Two: Scene VI: 'Explique-moi d'abord le mal que je ressens!' (Herode, Phanuel)
Herodiade: Act Two: Scene VII: 'roi, que ta superbe vaillance' (Choeurs, Herode)
Herodiade: Act Two: Scene VII: 'Aux Romains orgueilleux' (Herode, Phanuel, choeurs)
Herodiade: Act Two: Scene VII: 'Vous qui tenez conseil' (Herodiade, Herode, phanuel, choeurs)
Herodiade: Act Two: Scene VII: 'Ah! Le Romain!' (Choeurs, Herodiade)
Herodiade: Act Two: Scene VII: 'A mon approche quel trouble' (Vitellius, Herode, Phanuel, Herodiade, choeurs)
Herodiade: Act Two: Scene VII: 'Hosannah!' (Choeurs, Salome, Herode, Phanuel, Herodiade, Vitellius)
Herodiade: Act Two: Scene VII: 'Je tiens ma vengeance!' - 'Toute justice vient du ciel!' (Herodiade, choeurs, Jean)

Tracks:

Herodiade: Scene VII: 'Dors, O cite perverse!'
Herodiade: Scene VIII: 'Ah! Phanuel!'
Herodiade: Scene VIII: 'Si Dieu l'avait voulu!
Herodiade: Scene VIII: Prelude
Herodiade: Scene IX: Herode, a toi ces palmes, a toi ces fleurs!
Herodiade: Scene IX: Charme des jours passes
Herodiade: Scene X: 'C'en est fait! La Judee appartient a Tibere!'
Herodiade: Scene X: 'Que m'oses-tu dire?'
Herodiade: Scene XI: Marche sainte
Herodiade: Scene XI: Scene religieuse: 'Schemah Israel! Adonai eloheinou!'
Herodiade: Scene XII: 'Peuple juif! Rends justice'
Herodiade: Scene XII: 'Acheve donc ton oeuvre'
Herodiade: Scene XII: 'Comme il est beau dans sa misere!'
Herodiade: Scene XII: 'Homme, quel est ton nom?'
Herodiade: Scene XII: 'C'est Dieu que l'on te nomme'
Herodiade: Scene XII: 'Frappez donc, frappez les aotres'
Herodiade: Scene XII: 'Qu'ils meurent!'
Herodiade: Scene XIII: 'Ne pouvant reprimer'
Herodiade: Scene XIII: 'Salome!'
Herodiade: Scene XIII: 'Ami, la mort n'est pas cruelle'
Herodiade: Scene XIII: 'Quand nos jours s'eteindront'
Herodiade: Scene XIV: 'Romains! Nous sommes Romains!'
Herodiade: Scene XIV: Ballet. Les Gauloises
Herodiade: Scene XIV: Ballet. Finale
Herodiade: Scene XV: 'Pourquoi me retirer cette faveur supreme'
Herodiade: Scene XV: 'Ses pleurs ont calme ma fureur!'
Herodiade: Scene XV: 'Laissez-vous emouvoir!'

Amazon.com essential recording

Recorded live at the San Francisco Opera, this Hérodiade assumes that this less-than-great opera--in which the legendary Salome has little of the fascinating, sexual neurosis in the better-known Richard Strauss dramatization--needs all the muscle the performers can give it, and the results aren't subtle. The score is cut (which may not be a bad thing), and though cast members are reasonably well-schooled in the French text, this is hardly a tidy performance, the larger point being the dramatic heat they bring to the piece. And if Renée Fleming, Placido Domingo, and Dolora Zajick firing on all cylinders wasn't enough, they're led by powerhouse conductor Valery Gergiev in one of his few, non-Russian opera recordings. Sound quality is good for live. It's two discs rather than three (such as Michel Plasson's version on EMI with Studer, Heppner, and Hampson). With a gun pointed to my head, this would be my first choice. David Patrick Stearns

Customer Reviews:

Quite Excellent as a performance.......2004-01-29

This is a live performance, and like many live performances it is filled with cuts so that it fits comfortably into the evening. Of course, what is often cut in French Opera is the obigatory ballet music. This is no exception. There are cuts to it, and a few other places in the score. I came to this recording completely unfamiliar with the work itself, other than one aria for Salome. I was pleasantly surprised with the work. It really is quite lovely, but I am sure watching it adds a great deal to the work as a whole. I was quite pleased with the singers, and I found they did their parts exceptionally well. My complaint is with the technical aspects of the recording. Now, I am not thinking of the affects one deals with in live recordings, I expect them, and in many cases, I think they add to the listening experience by "taking you there." It is this annoying problem I find with many digital recordings, and many released by SONY; it is the problem of volume. I really hate it when I have to turn up the volume so it shakes the walls to get the "feel" of the music. I find that is one thing that really takes from the "life" in the music; one has to play the recording loudly in order to feel the pulse of the music. This performance is filled with life, and it is very well sung. It is a pity that we have to play the recording fairly loud to appreciate what the artists, conductor, and director are sharing with us. I also find the fullness of the sound is lacking, it is too white, too shallow, too lacking in body. Now I know that it is hard to capture all that perfectly in a live recording, but there are many out there that do. We get everyone's "bright" sound, but we get none of their depth. I think that is one reason Pons sounds so "dry" to many ears. He is actually a wonderful baritone with a very vivid sound, but here it sound sort of "dead." Domingo lacks the "baritone richness" his voice has in spades, and has had all his career (a reason he often transposes tenor arias that require a high C; his voice is very heroic and dark, and those upper notes are really his limit). As for Renee Fleming, well, her voice is reduced in places to a light "piercing" voice, when in reality it is full and luxurious. This is not the performers; it is the recording technique. The worst served in this recording (and she has never been served well in most of her recordings) is Dolora Zajick. Hers is a quite interesting voice. She is a great Verdi Mezzo (and according to Grace Bumbry, a dramatic soprano masquerading as a Mezzo). In performance, her diction is wonderfully clear, but doesn't sound clear in the recording. Her voice is HUGE, and I mean it. She is one of those rare extremely large voices which are so needed but seldom heard these days. Her voice is full throughout, and it is very powerful at the bottom (even if she calls herself more a lyric Mezzo than a dramatic one), her middle is also powerful and warm, and her upper notes are stunning in their strength and LACK of pushed quality. They flow out of her as easily as Sutherland's floated out of her. She also has a high F (for the Queen of the Night) as powerful as Nilsson's high C. Quite often when you hear her singing with other singers, she overpowers them, not only in sound, but in presents. She is not the best actor, but she is very acceptable. I am sure she was doing her usual best in this performance, but the recording simply doesn't capture it at all. Again, if I turned up the volume I was able to capture some of what she brings to a performance, but it seemed more like she was stationed somewhere away from the mikes as if her voice even then was too powerful for them. The performance is excellent, and the opera is a wonderful work and one we should take more seriously. This recording is wonderful in most respects and that is why I rated it so highly. I was not disappointed in it at all, nor in the artists, nor in the interpretation. I just was not impressed with the way the technicians brought it all together.

An Outstanding But Cut Performance.......2002-04-26

I think it is only fair to point out that the Sony recording of Herodiade is a cut performance and was also a live performance, so stage noise such as the thumping of the dancer's feet is evident. The cuts may be minor but are more noticeable in the final act where the Prelude, three of the five dances and part of the aria "Adieu donc, vains objets" are missing. One of the charms of Herodiade is the ballet music so to have some chunks of it missing made me select the uncut performance on EMI. The EMI set is a studio recording, but as the reviewer in Gramophone pointed out, this does not make it any less dramatic in presentation than the live version.

The casting in both the Sony and EMI sets is superb: Sony has Domingo, Fleming and Zajick; EMI has Hampson, Studer, Heppner and Van Dam. I cannot agree with the assessment that Cheryl Studer is not as good in the role of Salome as Renee Fleming is; she shines in this role as she did in her recording of Strauss' Salome. Both sets also have problems: Juan Pons has a dry voice in the Sony set and Nadine Denize's voice is unsteady in the EMI set. The EMI set covers three discs but all of the music cannot fit on two, so the third act sits on the second disc and the fourth act is on the third.

Which set one selects depends on whether you want to her all of Herodiade or a cut performance. In any case, this is an opera that demands to be heard.

(Almost) divine voluptuousness.......2001-11-18

Massenet's Herodiade has been enjoying a comeback in recent years. The opera is a bit stagey, even for Massenet, in that its his first work which truly exploits his grand obsession with unrequited desire, and how it can be expressed either as secular passion or sublimated as voluptuous eroticism; in this work (unlike in his later "Thaïs," where he finally figured out how to work things out more successfully in terms of dramatics) most of the great love arias are sung to someone who is entirely absent offstage, which makes for a kind of strange opera. But the music is spectacular--as beautiful as anything he ever wrote. His great aria for Salomé, "Il est bon, il est doux," has made a spectacular showcase for the talents of lyric sopranos such as Kiri Te Kanawa; although Renée Fleming was born to play the role of Salomé, and generally acquits herself very well, her rendition of "Il est bon" doesn't quite have the vocal control one would have hoped from her. (Nonetheless, she brings it off.) Placido Domingo and Dolora Zajick are predictably perfect as Jean le Baptiste and Herodiade, even though their characters don't have the best music in the opera; the character who besides Salomé does, Herod, is played adequately but not thrillingly by Juan Pons (he doesn't seem to bring much heat to the role). The recording is live from the San Francisco Opera, and does seem to suffer from this: some of the instrumental performances seem to waver a bit, and the sound of feet running is a big distraction during the Babylonian Dance and other scenes.

Herodiade is a must have!.......2000-03-13

I just can't understand why Herodiade is not as popular as Werther or Manon, the music is more than memorable. As so often happens, after decades of neglect now we have 2 recordings, and both very good. This live from San Francisco recording has 2 big pluses: Renee Fleming and Placido Domingo. Dolora Zajic makes a huge sound and is exciting, but Juan Pons is nowhere near Thomas Hampson on the EMI set. The EMI advantages are some extra music, (notably ballets and the second verse of the tenor aria), and superior sound...and Thomas Hampson and Jose van Dam. I really don't care for Cheryl Studer's brand-free soprano singing. Ben Heppner is sound but he is no Domingo. Both conductors are good, but Michel Plasson is more at home than Gergiev. Since these are the only 2 recordings of Herodiade, get them both.

Very desirable French stravaganza.......1999-12-28

I can't understand why Herodiade was not recorded (complete) before. It's such a crowd pleaser! Great arias, great chorus, ballets. This live San Francisco recording is very exciting. Domingo, Fleming and Zajick are electrifying, only Juan Pons is so-so. The EMI recording has the ever suave Thomas Hampson, but Cheryl Studer is nowhere as good as Renee Fleming, and even if Ben Heppner is both noble and sonorous, Domingo has that unmistikable star-quality that makes you stand and listen.

Average customer rating:

SImply Untrue
an extra star for all the guest artists
An Homage to a Great Artist
superb vocals

The Very Best of Thomas Hampson
Marc Barrard , Thomas Hampson , Csaba Airizer , Georges Bizet , Charles Wakefield Cadman , Stephen Foster , Charles Gounod , Edvard Grieg , Charles Tomlinson Griffes , Imre (Emmerich) Kalman , Erich Wolfgang Korngold , Franz Lehar , Gustav Mahler , Jules Massenet , Giacomo Meyerbeer , Gioachino Rossini , Franz Schubert , Robert Schumann , Johann II Strauss , Ambroise Thomas , Giuseppe Verdi , Richard Wagner , Carl Maria von Weber , Antonio de Almeida , Antonio Pappano , Eugene Kohn , and Fabio Luisi
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Song of America
No Tenors Allowed: Famous Duets for Baritone and Bass
Arias - Haydn, Mozart, Beethoven, Schubert
Christmas with Thomas Hampson
Samuel Ramey - Operatic Arias

ASIN: B0006VYEI2
Release Date: 2005-04-26

Tracks:

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

Tracks:

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

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

Heppner -"Beauty and the Beef"
He is DEFINATELY NOT Del Monaco or Corelli
Ben Heppner is One of the Best Tenors of All time!
Finally, a real dramatic tenor voice.
Heppner just may be the perfect tenor.

Ben Heppner - Great Tenor Arias
Ruggero Leoncavallo , Giuseppe Verdi , Giacomo Puccini , Georges Bizet , Jules Massenet , Umberto Giordano , Munich Radio Orchestra , Bavarian Radio Chorus , Roberto Abbado , Michael Glaser , and Ben Heppner
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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

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Ideale: Songs of Paolo Tosti
My Secret Heart - Songs of Parlour, Stage and Screen
Ben Heppner - German Romantic Opera
Heppner Sings Wagner
Ben Heppner - Airs Francais / LSO, Myung-Whun Chung

ASIN: B000003FO4
Release Date: 1995-08-15

Tracks:

La Boheme: Musetta! O gioia della mia dimora!....Testa adorata
La forza del destino: Oh! fede negar potessi... Quando le sere al placido
La forza del destino: La vita e inferno all'infelice... Oh, tu che in seno agl'angeli
Aida: Se quel guerrier io fossi!... Celeste Aida
Il Trovatore: Ah si, ben mio
Il Trovatore: Di quella pira
Manon Lescaut: Donna non vidi mai simili a questa!
Turandot: Nessun dorma
La Fanciulla del West: Ch'ella mi creda libero e lontano
Carmen: La fleur que tu m'avais jetee
L'Africaine: Pays merveilleux... O Paradis
Herodiade: Ne pouvant reprimer... Adieu donc, vains objets
Le Cid: Ah! tout est bien fini... O souverain, o juge, o pere
Andrea Chenier: Come un bel di di maggio
Andrea Chenier: Colpito qui m'avete ov'io geloso... Un di all'azzurro spazio

Amazon.com

Not since the days of Lauritz Melchior have we had a true heldentenor, a singer who can take on the big Wagnerian parts and the other roles that require a voice of real weight and heft. The Canadian tenor Ben Heppner is the closest we come these days, but he is both less and more than that--less because he has so far not attempted the bigger Wagnerian roles, more because (unlike most such tenors, and as demonstrated on this disc) he has successfully mastered the idiom of French and Italian operas. He has a big voice, flexible and even, capable of a good legato line when needed (e.g., in nicely sung performances of "Ah si, ben mio" from Verdi's Il Trovatore and "O Paradis" from Meyerbeer's L'Africaine). But while his brilliant sound and dramatic intensity make him often thrilling to hear, there is also a sense of effort and a lack of charm in his singing that can put a listener off, and RCA has done him no favors with their rather distant miking. Still, he is an exciting singer, and this is a recommended disc. --Alex Morin

Customer Reviews:

Heppner -"Beauty and the Beef".......2006-11-02

Comparing tenors is always risky-no matter what, someone's feelings get hurt.Ben Heppner is, as others have suggested, the leading heldontenor of the day.What seems to separate him from others, with whom he has been compared-Corelli,del Monaco,Melchior, is the obvious fact that Heppner has a stunning lyrical quality to his sound.Many of the Mellochi, dropped larynx technique singers, are simply incapable of producing a "sweet" sound.Size isn't everything.Volume and a sweet sound are qualities that when combined add so much more musical, and hence listening value.Heppner can sing everything, because his lyrical sound is listenable.When will they get it right...a triple forte presentation all the time isn't all there is to singing opera. With Heppner we have a sense of line, modulation and all the musical aspects that make performances enjoyable. As well, Heppner is a fine musician. I dislike over done portamento. Heppner sings and delivers as the composer intended-at least as far as one can tell.I loved Corelli's sound but his magnificence was diminished by a chronic failure to follow the score.And I don't think Del Monaco ever sang anything pianissimo.I am sorry fans, but that isn't good singing.With Heppner we have an artist who delivers music with great musicality. What a concept!This CD offers example after example of how it can and should be done.
This CD has all the goods to illustrate the point.Big sound plus sweet sound equals success.Great tenor arias from a great tenor!

He is DEFINATELY NOT Del Monaco or Corelli.......2005-04-27

For all of the people out there reading the reviews on here make sure you take them with a grain of salt. Most peoples ear for voice is terrible. If you had heard Del Monaco or Corelli live you would know what complete and utter bullcrap these reviews are. Although Ben Heppner's voice may be considered large by todays standards it is small compared to Corelli and ESPECIALLY Del Monaco. In this age of state of the art recording equipment everyone sounds like they have a big voice. Mr. Heppner also lacks the core and squillo that Del Monaco and Corelli (and countless others) had. The ring in their voices is where all of the harmonics happen. It is these kinds of comparisons that have allowed the opera to decline to the level that it is today. Intstead of saying, "Why are'nt people singing like DelMonaco and Tebaldi and Nilsson anymore?" we have people trying to bring lesser voices up to their level. Very sad.

Ben Heppner is One of the Best Tenors of All time!.......2000-01-28

The only reason that Ben Heppner would not be able to fill the shoes of Corelli, or del Monaco is because Ben wears a bigger size. Heppner not only has the large full ranged voice, mentioned by the previous reviewer, but he also has impecable artistry. Unlike del Monaco he knows what dynamics are. Unlike Corelli he can get to his top register without scooping, and unlike Corelli he knows how to count, and doesn't write the music as he sings it. Don't get me wrong Corelli, and Del Monaco are two of my favorite tenors, but they are by no means better than Heppner

Finally, a real dramatic tenor voice........1999-09-29

Since the days of Del Monaco and Corelli, there have not been many dramatic tenors worthy of note. The few dramatic tenors I have seen live in recent years, namely the Russians, Atlantov and Bogachev, and the Americans, Margison and O'Neill, have indeed had big voices but not particularly attractive ones. They have also lacked the musicianship and style of singers like Del Monaco and Corelli, not to mention their top registers! Now comes a tenor like Heppner who, although he cannot fill the shoes of Corelli and Del Monaco, as indeed who can, is nevertheless worthy to walk in their footsteps. Heppner has an immense, bronze colored tenor voice. It is not darkly shaded like Corelli's or perhaps as stentorian as Del Monaco's. But Heppner displays a rich, even timbre throughout his singing, from bottom to top. In many of the arias on this CD, Heppner effectively employs dynamic shading for someone with as big a voice as his. But, above all, Heppner offers us a clinic in fine, subtle legato phrasing. His musicianship is impeccable. Heppner has enough voice and breadth to be patient with these arias, shaping the phrases in long, flowing lines without tiring or compromising his tone. Although sometimes Heppner thins out at the top, I suspect that's more of a problem with the engineering than the voice. One small criticism to be made, however, is that perhaps Heppner's performance is too controlled, lacking the spontaneity and thrill characteristic of performances by greats such as Corelli and Del Monaco. Nevertheless, we should consider outselves lucky to have this wonderful heroic tenor on the stage today.

Heppner just may be the perfect tenor........1999-09-28

How on earth did I miss this one?! Recorded in 1995, I just stumbled across it the other day. What a voice! Here is that true rarity: a genuine Heldentenor with a sweet, flexible, well-placed voice; and he is definitely NOT a tenor-baritone. I've heard "Nessum Dorma" a thousand times, sung by a hundred tenors, but never like like this--your hair will stand on end! Who said a so-called dramatic tenor can't hit a decent high-C? Heppner not only hits it--dead center--he demolishes it. And the "Un di all'azzurro spazio" is a "textbok" in vocal agility. I know of no other tenor today (or yesterday) who can so perfectly handle the two distinct "styles" of the aria, at times lyrical, and others dramatic. This aria was meant to be difficult and, although many can sing it with fair success, only Heppner grabs it, shakes it for all it's worth, and conquers it. How nice to have a North American (albeit from British Columbia) do us so proud,

Average customer rating:

Wonderful baritone
Magnificent tribute to a truly great artist!
Magnificent tribute to a truly great artist!
Excellent performances

Robert Merrill

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

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Robert Merrill: Arias from Otello, Un Ballo in Maschera, Il Trovatore
Four American Baritones of the Past
Ettore Bastianini in Recital
The "Pearl Fishers" Duet
Lebendige Vergangenheit: Leonard Warren

ASIN: B00000JWM3
Release Date: 1999-08-17

Tracks:

Hamlet: O Vin Dissipe la Tristesse
Herodiade: Vision Fugitive
L'Africana: Adamastor, Re Dell'onde Profonde
Carmen: Votre Toast
Il Barbiere Di Siviglia: Largo al Factorum
La Traviata: Di Provenza il Mar
Zaza: Zaza, Piccola Zingara
Andrea Chenier: Nemico della Patria
Invictus
The Blind Ploughman
Drink to Me Only With Thine Eyes
In the Gloaming
The Three Musketeers: Ma Belle
Brooklyn Baseball Cantata
Juanita
Jonah and the Whale
Down to the Rivah
Shadrach

Customer Reviews:

Wonderful baritone.......2004-01-01

A very special singer. I second the other reviewers' comments, and add that I have been singing along, as best I can, all morning, to this wonderful CD. An exceptional Largo, by the way, even given the aria's warhorse status.

Magnificent tribute to a truly great artist!.......2000-05-04

This album is an absolute prize. Merrill, to me, was the finest of the American Baritone crop, possessing a rich timbre that is unmatched by todays standards. This CD finds Merrill offering some of his best and most famous renditions, some of which have been regrettably out of print for decades. That being said, this issue is an extremely welcome one indeed. One standout is the rare "Zazà, piccola zingara" from the seldom performed opera Zaza, by Pagliacci composer Ruggiero Leoncavallo. This aria, in this reviewer's opinion, uses that rich sonorous Merrill sound to its best advantage. Merrill once stated in a Met broadcast interview that this one recording (Zaza) was his all time favorite and the best recording of his voice. Other standout arias are, of course, "Largo al Factotum", "O vin dissipe la tristesse" from Hamlet, and the ethereal sounding "Vision Fugitive" from Herodiade. The non-operatice fare that stands out are "The Blind Ploughman" (what a truly heartfelt this performance is), "Drink to Me only with Thine Eyes", and the three spirituals. The recording quality is good overall and acceptable in places. Merrill was truly a great Baritone and this recording is a must for anybody's collection.

Magnificent tribute to a truly great artist!.......2000-05-04

Excellent performances.......1999-12-13

Robert Merrill has for too long been written off as a bad actor with a good voice. What he really was was a bad actor with an EXCEPTIONALLY good voice, and these arias and songs prove it. And not only do these selections show off his wonderful, rich baritone, they also include some great songs and arias which aren't usually recorded. In particular, the "Invictus" of Bruno Huhn, the Toreador Song from Carmen, and the three spirituals are all either unknown or under-recorded, and all receive their due on this album. And, of course, Merrill's signature aria, "Largo al factotum," is wonderful. The only problem I have is with the sound quality of the album, but even that isn't as bad as it could be, and becomes less noticeable after listening to a couple tracks.

Track Listings:

Masters

1. Introduction
2. Allerte Levez Vous
3. Encore Un Dispute
4. Ah Salome
5. Elle A Fur Le Palais
6. Vengemoi D'un Supreme Offense
7. Calmez Donc Vos Fureurs
8. Roi Que Ta Superbe
9. Vous Qui Tenez Conseil
10. Mon Aproche Quel Trouble
11. Hosannah
12. Dors O Cite Perverse
13. Ah Phanuel
14. Prelude
15. Herode A Toi Ces Lapmes
16. Charmes De Jour Passes
17. C'en Est Fait La Judee Apartient A Tibere
18. Vision Fuigitive
19. Que M'osestu Dire
20. Marche Sainte Scene Religieuse