Donizetti: Maria Stuarda [Import]

Track Listings

1. 1-7 Atto Primo. Act One. Acte Un. Erster Akt

2. 8-15 Atto Secondo. Act Two. Acte Deux. Zweiter Akt

3. 1-15 Atto Terzo. Act Three. Acte Trois. Dritter Akt

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

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

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

Customer Reviews:

How LUCKY We ARE to have THESE recordings!.......2007-07-07

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

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

The review:

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

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

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

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

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

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

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

A tremendous, and fitting, tribute to Beverly Sills.

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

The great Beverly Sills on Cd in these masterpieces!.......2007-07-03

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

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

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

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

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

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

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

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

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

"3 Queens, 1 Soprano".......2003-08-23

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

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

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

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

Please give it a rest!.......2003-08-13

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

Average customer rating:

Nice Voice
a voice teacher and early music fan
Sumi Jo- coloratura supreme
Prayerful and beautiful
A spectalce of voice and vocalization

Sumi Jo - Prayers / James Conlon
Gioachino Rossini , Wolfgang Amadeus Mozart , Richard Strauss , Giulio Caccini , Maurice Ravel , Gabriel Fauré , Anonymous , Franz Schubert , Charles Gounod , Gaetano Donizetti , Zbigniew Preisner , Leonard Bernstein , Johann Strauss II , Frederick Loewe , James Conlon , Sumi Jo , and Susan Graham
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
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ASIN: B0000560N6
Release Date: 2001-03-20

Tracks:

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

Amazon.com

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

Customer Reviews:

Nice Voice.......2007-05-06

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

a voice teacher and early music fan.......2007-02-17

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

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

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

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

Sumi Jo- coloratura supreme.......2006-04-09

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

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

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

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

Prayerful and beautiful.......2005-11-14

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

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

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

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

A spectalce of voice and vocalization.......2004-12-29

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

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

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

This is a wonderful concert of familiar and not so familiar songs from a singer whose voice is eloquent, beautiful and rich, with significant range and span from PPP to FFF. Sumi Jo controls her voice well throughout the concert, giving everyone something to think about regardelss of musical preference. This might have been improved if she'd included a Beatles tune -- maybe "Elenor Rigby" or "Yesterday" -- accompanied by the orchestra and James Conlon's direction. But it stands with any similar collection by any singer as it is.

Opera Obsession! - Opera d'Oro's Greatest Hits

Average customer rating:

A Great Introduction to Opera
Excellent Potpourri

Opera Obsession! - Opera d'Oro's Greatest Hits

Manufacturer: Opera D'oro
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Binding: Audio CD

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Opera Obsession Act II
Opera Obsession! Act III
The Most Famous Opera Arias
The Best of Italian Opera
The Most Famous Opera Duets

ASIN: B000062Y9J
Release Date: 2002-03-05

Tracks:

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

Customer Reviews:

A Great Introduction to Opera.......2004-11-28

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

Excellent Potpourri.......2004-09-12

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

So, indulge and enjoy!

Average customer rating:

This Truly Is "Bel Canto"!
An essential Maria Stuarda...the only one, in fact
Glorious Maria Stuarda - The best on records
Remembrance of Things Past
Awful

Donizetti: Maria Stuarda
Gaetano Donizetti , Beverly Sills , Aldo Ceccato , Stuart Burrows , Eileen Farrell , and Louis Quilico
Manufacturer: Decca U.S.
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Binding: Audio CD

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Donizetti: Anna Bolena
Donizetti: Roberto Devereux (Elizabeth and Essex)
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The Ballad of Baby Doe

ASIN: B00005AWIM
Release Date: 2001-04-10

Tracks:

Maria Stuarda: Overture
Maria Stuarda: Act One - Preludio
Maria Stuarda: Act One - Qui si attende
Maria Stuarda: Act One - Si, vuol di Francia il Rege
Maria Stuarda: Act One - Ah! quando all'ara scorgemi
Maria Stuarda: Act One - Fra voi perche
Maria Stuarda: Act One - Hai nelle giostre
Maria Stuarda: Act One - Questa immago
Maria Stuarda: Act One - Sei tu confuso?
Maria Stuarda: Act One - Quali sensi
Maria Stuarda: Act Two - Allenta il pie, Regina
Maria Stuarda: Act Two - Oh nube!
Maria Stuarda: Act Two - Ah! non m'inganna la gioia!
Maria Stuarda: Act Two - Da tutti abbandonata
Maria Stuarda: Act Two - Qual loco e questo
Maria Stuarda: Act Two - E'sempre la stessa

Tracks:

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

Customer Reviews:

This Truly Is "Bel Canto"!.......2005-07-06

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

An essential Maria Stuarda...the only one, in fact.......2005-05-01

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

Glorious Maria Stuarda - The best on records.......2005-02-03

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

Remembrance of Things Past.......2004-05-30

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

Awful.......2004-05-20

Right back at you, damn basher! If you won't leave Callas alone (You've done her enough harm!) we'll retaliate! We warned you! Sills has a thin, screechy voice and is miscast in this dramatic role! Go for Sutherland instead!

Average customer rating:

What a trio , Sutherland, Tourangeau, Burrows (Welsh)
Fine performane spoiled by recording
A SUPERB RECORDING OF AN UNDERAPPRECIATED MASTERPIECE.
PRIME SUTHERLAND IN 'MARIA STUARDA"
Beautful Opera

Donizetti: Maria Stuarda

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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Tracks:

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

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

What a trio , Sutherland, Tourangeau, Burrows (Welsh).......2001-05-31

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

Fine performane spoiled by recording.......2000-05-28

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

A SUPERB RECORDING OF AN UNDERAPPRECIATED MASTERPIECE........1999-10-06

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

PRIME SUTHERLAND IN 'MARIA STUARDA".......1999-06-24

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

Beautful Opera.......1999-05-11

Sutherland is past her prime here, but still has the great technique to pull off a tour de force. This is probably the easiest of Donizetti's Operas, in terms of coloratura. But Sutherland's voice sounds very tragic here, and her acting is excellent. Look for Sutherland's voice before 1975 if you want to hear the greatest coloratura of this century.

Luciano Pavarotti - Donizetti Arias ~ Una furtiva lagrima

Average customer rating:

"The" Voice!
Pavarotti Arias
Achingly, Heartwrenchingly, Beautiful
Luciano at his best
this is a wondeful recording

Luciano Pavarotti - Donizetti Arias ~ Una furtiva lagrima
Gaetano Donizetti , Richard Bonynge , Sir Edward Downes , Leone Magiera , Luciano Pavarotti , Nicolai Ghiaurov , Eric Garrett , Ambrosian Singers , and Roger Soyer
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Very Best of Nicolai Gedda
Here's to the Ladies
Arias
Arias by Verdi and Donizetti
Amore: Romantic Italian Love Songs

ASIN: B000009OUA
Release Date: 1998-08-11

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

"The" Voice!.......2007-02-15

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

Pavarotti Arias .......2006-06-26

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

Achingly, Heartwrenchingly, Beautiful.......2004-03-13

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

Luciano at his best.......2003-01-22

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

this is a wondeful recording.......2002-05-09

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

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

Average customer rating:

Beyond all description...
An Absolute Must-Have for Any Pavarotti Fan
Wonderful!!!!

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Borat - Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Widescreen Edition)

ASIN: B00005O841
Release Date: 2001-11-13

Album Description

Disc 1: Donizetti Arias from L'elisir d'amore, Maria Stuarda, Lucia di Lammermoor, La Fille du Regiment, Linda di Chamounix, La Favorita, and Don Paquale

Disc 2: Bellini/Donizetti/Verdi Includes arias from I Capuleti e i Montecchi, Norma, La Sonnambula (1976 Duet Recording), I Beatrice di Tenda, I Puritani, Don Sebastien, Il Duca d'Alba, I Lombardi, I due Foscari, Ernani, and Attila

Disc 3: Verdi 1 Includes arias from Macbeth, Luisa Miller, Rigoletto, Il Trovatore, La Traviata, and Les Vepres Siciliennes

Disc 4: Verdi 2 Includes arias from Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello, and Requiem

Disc 5: Puccini Includes arias from La Boheme, Madama Butterfly, and Turandot

Disc 6: Puccini and Verismo Includes arias from Cavalleria Rusticana, Manon Lescaut, Pagliacci, Andrea Chenier, and Tosca

Disc 7: Arias 1 Includes arias from La Griselda, Atalanta, Orfeo ed Euridice, Don Giovanni, Cosi fan Tutte, Guillaume Tell, and more. Includes Unreleased Material.

Disc 8: Arias 2 Includes arias from Martha, Mefistofele, La Giocanda, Adriana Lecouvreur, Rosenkavalier, Fedora, Werther, Faust, Carmen, and more

Disc 9: Italian Songs Includes: In questa tomba oscura, Me voglio fa'na casa, Non t'amo piu, Pace non trovo, and more

Disc 10: Neapolitan and Italian Popular Songs Includes: O sloe mio, Torna a Surriento, Core 'ngrato, Funiculi Funicula, Non ti scordar di me, Mamma and more

Bonus CD: The 1964 EP (previously unreleased) "Che Gelida Manina," "E lucevan le stelle," "Questo o quella," "La Donna e mobile," and "Parmi veder" with Orchestra of the Royal Opera House, Covent Garden, Edward Downes conducting

Customer Reviews:

Beyond all description..........2006-09-19

As a boy, I heard so many hyperbolic references to the legendary Enrico Caruso that I chose to purchase a remastered copy of his "Greatest Hits" when I first began to acquire recordings as a young man. Soon after, I discovered Pavarotti and my life was changed by his music. Caruso ended up in the Goodwill Store. I am convinced that in 500 years, should the earth cool again and the Muslim hoards abate, the civilized world will still tell tales of the greatest tenor. I have often found myself grumpy when searching for recordings of Pavarotti because of the inconsistent fidelity of the recordings. That search for the definitive Pavarotti recordings, regarding both content and fidelity, has ended with the release of this extraordinary collection. Worth it's weight in gold, the Puccinni Volume (#5) alone is enough to send someone like me into hyperspace. I am astounded by the beauty and power of these performances. I will always remember the day, not long ago, when a NPR commentator glibly mentioned between the weather and the night's playlist the terrible words, "Luciano Pavarotti has announced that he is retiring from Opera." I felt as if something indescribably beautiful was fading from the world. Of course, beauty in all of its earthly forms is fleeting at best, but these discs contain a reflection of it that will surely bolster any soul.

An Absolute Must-Have for Any Pavarotti Fan.......2004-01-09

...and that certainly goes without saying. My one tiny little problem with it is that his recordings of "Santa Lucia" and "Caruso" are not on this incredible box-set. Even though I have those recordings on other CDs, I still think those are very important pieces to include on this set (assuming that this set of Pavi hits would be the only compilation that that any fan of this phenomenal tenor would have). He is probably my biggest idol, and he deserves to have been one of the biggest opera stars in history.

Wonderful!!!!.......2002-11-07

This Pavarotti set; The Pavarotti Edition; is a wonderful collection of Arias and songs that cover Luciano's great career. Pavarotti is THE Voice of the 20th Century and this set does him justice. It includes 10 CDs with over 750 minutes of music; Includes Music from All of His roles; has a beautiful 76 page full color booklet; Has a wonderful write up; and includes a bonus CD of Pavarotti's fist album, a 45, from 1964, which has never been released on CD before this set. Every Song is hear, This SET is a must have for every Pavarotti Fan.

Average customer rating:

."La Equally"
Great Bel Canto Record!
SUTHERLAND IN TOP FORM VOCALLY AND DRAMATICALLY!
joanie gets upstaged!
Sutherland At Her Very Best

Maria Stuarda

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Donizetti: Lucrezia Borgia
Donizetti - La Fille du Régiment / Sutherland, Pavarotti, Malas, Sinclair, ROH Covent Garden, Bonynge
Gaetano Donizetti: La Favorita
Bellini: I Puritani
Bellini - I Capuleti e i Montecchi / Kasarova · Mei · Vargas · Chiummo · Alberghini · R. Abbado

ASIN: B0000041VJ
Release Date: 1990-05-16

Tracks:

Act I: Introduzione...Qui s'attenda, ell e vicina - Chor del Teatro Communale di Bologna/Richard Bonynge
Act I: Si, vuol di Francia il Rege - Huguette Tourangeau
Act I: (Ah! quando all'ara scorgemi...) - Huguette Tourangeau
Act I: In tal giorno di contento - Roger Soyer
Act I: Ah! dal cielo discenda un raggio - Huguette Tourangeau
Act I: Fra voi perche non veggio il Conte? - Huguette Tourangeau
Act I: Hai nelle giostre, o Talbot, chiesto di me? - Luciano Pavarotti
Act I: Questa imago, questo foglio - Roger Soyer
Act I: Sei tu confuso? - Huguette Tourangeau
Act I: Si! Era d'amor l'immagine - Roger Soyer
Act I: (Sul crin la rivale la man mi stendea...) - Huguette Tourangeau
Act II: Allenta il pie, Regina - Margreta Elkins
Act II: O nube! che lieve per l'aria ti aggiri - Joan Sutherland
Act II: Nella pace del mesto riposo - Joan Sutherland
Act II: Ah! non m'inganna la gioia! - Joan Sutherland
Act II: Da tutti abbandonata - Joan Sutherland
Act II: Ah! Se il mio cor tremo giammai - Joan Sutherland
Act II: Qual loco e questo? - Huguette Tourangeau
Act II: (E sempre la stessa...) - Huguette Tourangeau
Act II: Deh! l'accogli...Morta al mondo, e morta al trono - Luciano Pavarotti/Joan Sutherland
Act II: Va, preparati, furente - Huguette Tourangeau

Tracks:

Act III: Scene 1: E pensi? e tardi? - James Morris
Act III: Scene 1: Quella vita a me funesta - Huguette Tourangeau
Act III: Scene 1: Ah, deh! per pieta sospendi - Luciano Pavarotti
Act III: Scene 1: D'una sorella, o barbara - Luciano Pavarotti
Act III: Scene 1: Vanne, indegno; t'appare nel volto - Huguette Tourangeau
Act III: Scene 2: La perfida insultarmi volea nel mio sepolcro - Joan Sutherland
Act III: Scene 2: O mio buon Talbot! - Joan Sutherland
Act III: Scene 2: Quando di luce rosea - Joan Sutherland
Act III: Scene 2: Lascia contenta al carcere - Roger Soyer
Act III: Scene 3: Vedeste?...Vedemmo - Famigliari/Joan Sutherland
Act III: Scene 3: Anna!...Qui piu sommessi favellate - Margreta Elkins
Act III: Scene 3: Deh! Tu di un umile preghiera il suono - Joan Sutherland
Act III: Scene 3: O colpo! E gia vicino del tuo morir l'istante - Famigliari/ James Morris
Act III: Scene 3: D'un cor che muore reca il perdono - Joan Sutherland
Act III: Scene 3: Giunge il Conte - Roger Soyer
Act III: Scene 3: Ah! se un giorno da queste ritorte - Joan Sutherland

Amazon.com essential recording

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

Customer Reviews:

."La Equally".......2005-02-25

only one question - where is opera and drama ? i'm tired of Dame Joan boring singing! this is exhibition of high notes! and for her it doesn't matter what is this opera about or what senses are expressed by music."La Equally"

Great Bel Canto Record!.......2005-02-03

Unlike Joan's famed Bonynge Lucia and her very dry Normas, this is a great record of Maria Stuarda! Joan Sutherland's portrayal of one of Donizetti's Queens amazes and stuns as she courses through the florid Donizettian bel canto lines with sheer ease and power rivaled only by Caballe and Beverly Sills. I do believe though, that this recording wins over Beverly's because of the size of her voice and her coloratura. Surprisingly, the drama she exudes here impresses me as well. Truly a great recording. Richard Bonynge conducts this finely, and Tourangeau and Pavarotti are great partners to La Stupenda. Don't miss this recording. If you want Joan Sutherland at her greatest, look for her earlier Donizettian recordings. For Bellini, I Puritani and La Sonnambula are good too, but don't go for Norma or her Verdi recordings. She is not very involved there.

SUTHERLAND IN TOP FORM VOCALLY AND DRAMATICALLY!.......2005-01-25

Maria Stuarda is one of Donizetti's most dramatic operas, alongside with Lucrezia Borgia and Roberto Devereux. Once sung by gorgeous voices and effective singer actresses, it is the proof that Bel Canto is much more than beautiful melodies and difficult coloraturas. The roles of Maria and Elisabetta require not only remarkable voices, but above all great dramatic skills. Indeed, there's a natural dramatic power in all the masterpieces of Bel Canto, and it can be exciting when a singer like Callas, Sills or Sutherland brings the drama and pathos out of that amazing music!

Joan Sutherland, being a real drammatico d'agilità soprano, has established herself as one of the best interpreters of Maria Stuarda. Her only rivals are Beverly Sills and Montserrat Caballé. However, both Sills and Caballé didn't have the powerful voice of La Stupenda. Instead of what some people declare about Sutherland's acting, she succeeds dramatically in all her most important roles. Being a sensitive and stylistically accurate actress, her acting conveys sentimentality and pathos rather than rage and tragic drama, but she can also be a fiery actress at the most intense moments. Here her diction is also very expressive, as she emphasizes every word to great dramatic effect. Just listen to her furious and sarcastic ''Vil bastarda!", which is enough to make her ''Figlia impura di Bolena" the most terrific on disc!
Sutherland's voice had become darker and more expressive in 1975. Although it has gained a little more vibrato, there's little sign of the wobble it would acquire in few years. She shows off many qualities of her miraculous singing: the huge and exuberant sound, the ravishing high notes, the impeccable legato and even the much improved low register. Some highlights of her performance are the rock-solid high note she sings with Pavarotti in ''Se il mio cor tremò giammai", the incredibly long vocal line she keeps for 22 seconds in "Deh! tu di un umile preghiera" and the heartbreaking final scene.

Luciano Pavarotti is at his peak, singing fantastic high notes with his beautiful bright voice. He also delivers and adequate characterization of Cecil. Actually, with that voice, even if he'd just stand and sing, this would still be a fascinating performance! In fact, the drama is centered on the two rival women, and Huguette Tourangeau does a great job as the Queen Elisabetta. She was kind of a second choice as a mezzo partner for Sutherland, being the first Marilyn Horne. Indeed, their voice blend extremely well, as we can hear in the Confrontation Scene. Her dark toned voice and wide range are ideal to sing Elisabetta, as it handles the difficult music written for the part with ease and conveys the vengeful personality of the role.
This is one of Donizetti's most exciting operas, and it's sung by an ideal cast. Three of the most remarkable Bel Canto voices ever were joined in this recording. Besides, the moving music of Maria Stuarda is conducted with mastery and dramaticism. You can't miss this great opportunity to listen to some Golden Age singing at a mid-priced recording! You will be astonished!

joanie gets upstaged!.......2004-10-25

what's odd about this opera is that for donizetti there is relatively little coloratura fireworks and there are not one but two leading ladies. in fact, torengeau, the mezzo who sings the part of queen elizabeth, upstages sutherland who sings the titular role. her dark timbre and dramatic singing make you sit up and take notice everytime she's on stage. joan, otoh, w/o her usual vocal acrobatics, is reduced to plain plaintive singing. this suits her voice and temperament well, and she makes a very sympathetic mary stewart. she even manages to throw in an uncharacteristic vitriolic outburst. but this is the queen's show. pavarotti is thrown in to triangulate the relationship and he's in good voice here. altogether a good opera and recording.

Sutherland At Her Very Best.......2003-08-06

This was a wonderful role for Sutherland - it fits her like a glove. Tourangeau is also quite excellent as Elizabeth - a nice vocal contrast between the two. Sutherland's curse "vil bastarda" is the most venomous on disc, sort of surprisingly for her. The Sills recording is also outstanding in every way - fortunately I don't have to choose between the two. Both are must haves for any Donizetti fan.

Average customer rating:

Enthusiasm, characterization, but rough edges. . . .
Absolutely Wonderful!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Bel Canto Heroine
Queen of Pirates

Leyla Gencer, Vol. 1

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

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Leyla Gencer, Vol. 2
Donizetti: Roberto Devereux
Donizetti: Anna Bolena
Pacini: Saffo
Leyla Gencer performs Bartok, Liszt, Donizetti & Bellini

ASIN: B00004UDE5
Release Date: 2000-10-17

Tracks:

Medea: 'E Che? Io Sono Medea'
Norma: 'Sediziose Voce... Casta Diva'
Norma: 'Deh! Non Volerli Vittime'
Belisario: 'Egli E Spento'
Maria Stuarda: 'Figlia Impura Di Bolena'
Maria Stuarda: 'Di Un Cor Che More... Ah! Se Un Giorno'
Anna Bolena: 'Come Innocente Giovane'
Anna Bolena: 'Piangete Voi?... Al Dolce Guidami (Finale)'

Customer Reviews:

Enthusiasm, characterization, but rough edges. . . ........2007-04-25

The liner notes to this CD observe that Leyla Gencer has "a cadre of fans [who have] always rooted for her devotedly." The notes go on to say that "Her voice was not large, nor her production absolutely even; but she compensated for these liabilities with many other talents."

Uneven is a good term to describe her singing. . . . Let's take a look at a couple "cuts" from this CD. From Bellini's "Norma," she sings "Sediziose voce. . .Casta diva." Hers is not a lovely voice, although there is a richness to it. She has a heavier tone than other singing the repertoire. There are harsh edges to her voice. She does transmit a sense of the character.

She also sings ""Egli e spento" from Donizetti's "Belisario." Again, there are genuinely rough edges to her singing, although she does serviceable work. She just does not seem "ready for prime time." Coloratura technique is minimal across the various cuts--including this one. She does hit a nice high note at the end of this aria.

From "Maria Stuarda," by Donizetti, she sings "Figlia impure di Bolena." She shows the emotions of Maria Stuarda nicely. Still, vocal qualities are not very attractive. Her voice is also overwhelmed by the orchestra at times. Once more, little coloratura technique. Nice high note at the end, but her voice does not soar.

From Donizetti's "Anna Bolena," Gencer sings "Come innocente giovane." Her singing here is animated, but vocal qualities a bit uneven. Finally, from the same opera, she sings "Piangete voi?. . .Al dolce guidami." There is some coloratura technique here, although not outstanding.

So, what to make of Leyla Gencer? She sings enthusiastically; she provides a sense of the character. But somehow, from what I hear, her voice and technique are not up to the task of providing excellent renderings of the works selected for this CD.

Absolutely Wonderful!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!.......2005-04-06

I can't say enough about Leyla Gencer. A star who was exciting as Callas yet easier to listen to. Enjoy what recordings you can find. They are sparse! Though we can delight in some wonderful voices in 2005, this lady can't be beat. Don't know anyone like her today.

Bel Canto Heroine.......2004-07-09

Gencer's story is one of the most interesting of opera during the 20th century. How is it possible that, during the "bel canto revival" of the 50's and 60's, one of its very few specialists was never offered a recording contract? As Gencer states in an interview given recently, the reason may be that the American recording companies only wanted a "voce pura." Although technically speaking, Gencer ranks with the very best, she did have some peculiarities in her voice that you have to develop a taste for. In this regard, she reminds me much of Raina Kabaivanska, a celebrated Butterfly with a cult following in Italy who barely made a splash here in the U.S.

A little known fact is that, had Gencer been available when Marilyn Horne pulled out of the AOS production of Lucrezia Borgia, Montserrat Caballe would have been denied her overnight rise to international stardom (though it is safe to say it would have come sooner or later).

Here, on Disc 1, you have a sampling of some of Gencer's bel canto forays. Unfortunately, most were recorded in the late sixties, when she was moving past her prime. To have an idea of the youthful Gencer, listen to the two selections from Anna Bolena that appear at the end of the CD. However, even a little past her prime, Gencer enthralls you with her varied gifts. Like Callas, she had a fiery temperment, best captured on the finale to Medea, included here, as well as "Deh, non volerli" from Norma, which is truly heart-rending. However, unlike Callas, she knew that fire-and-brimstone should not be turned on all the time, which is why she also developed a wonderful pianissimo, like Caballe. Just listen to the long, long pianissimo she floats at the end of "Sediziosi voci."

Although never allowed to rise to the level of fame of Callas, Sutherland, Caballe, and Sills, Gencer was and is an integral part of bel canto singing, and the current interest in live recordings will ensure that her legacy is not forgotten.

Queen of Pirates.......2004-06-02

Leyla Gencer is a lesser known soprano who was often compared to maria callas and able to not only hold her own during an era of Tebaldi and Caballe but to excell. You will find with Gencer the full diva package. Here we have a voice which is distinctive and expressive. Gencer makes full use of all the shades and power of her instrument to bring her charcters to life. She is a coluratura dramatic in the truest sense. Though she didn't possess the well rounded and full beauty of tone that tebaldi did.. her sound is pleasant and can be quite beautiful. Especially in her piani and pianissimo we are treated to exceptionally beautiful notes. Her style of singing is quite similar to Caballe, though gencer did come first and single handedly caused the return of many Donizetti and other bel canto composers back to the forefront of opera. Before there was Sills great queens- we had Gencer. We are treated to a Norma, Macbeth, and Medea all in the same league as Callas with a less flawed sound. Although Gencer was never able to match callas' expressive nuances or acting genius.. fans will no doubt come to hold gencer in their hearts as well. This inexpensive disc provides a good intro to one of the greatest and least known divas of our times. Gencer remains the queen of the Pirates- no commercial recordings yet able to be one of the best represented singers on disc thanks to her pirated performances.

Average customer rating:

Royal cat fight (II)
Give and take from Caballe's earlier Stuarda
Extremely good!

Gaetano Donizetti - Maria Stuarda
Gaetano Donizetti
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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Donizetti - Lucrezia Borgia / Caballé · Vanzo · Paskalis · Perlea

ASIN: B00005OC5V
Release Date: 2001-11-06

Tracks:

Act One: Qui Si Attenda
Act One: Si, Vuol Di Francia... Ah, Quando All'ara
Act One: Ah, Dal Ciel Discenda
Act One: Ah, Rimiro Il Bel Sembiante
Act One: Sei Tu Confuso?
Act One: Era D'amor L'immagine
Act Two: Allenta Il Pie', Regina
Act Two: Oh Nube! Che Lieve
Act Two: Non M'inganna La Gioia?
Act Two: Da Tutti Abbandonata
Act Two: Qual Loco E Questo?
Act Two: E Sempre La Stessa
Act Two: Morta Al Mondo
Act Two: Figlia Impura Di Bolena

Tracks:

Act Three: E Pensi? E Tardi?
Act Three: Quella Vita A Me Funesta
Act Three: Deh! Per Pieta Sospendi
Act Three: La Perfida Insultarmi
Act Three: Quando Di Luce Rosea
Act Three: Un'altra Colpa
Act Three: Vedeste? Vedemmo
Act Three: Anna...
Act Three: Deh! Tu Di Un Umile
Act Three: Di Un Cor Che More
Act Three: Ah! Se Un Giorno

Customer Reviews:

Royal cat fight (II).......2006-01-11

Source: Live recording made in Paris on March 26, 1972.

Sound: Pretty good 1970s live mono. The French audience is generally well-disciplined, except for one or two spectacularly ill-timed and unwelcome coughs. At appropriate places, their applause and cheers are pleasingly enthusiastic.

Format: Disk 1, Act I, tracks 1-6; Act II, tracks 7-14. Disk 2, Act III, tracks 1-11.

Cast: Elisabetta, Regina d'Inghliterra - Michele Vilma Menendez; Maria Stuarda, Regina di Scozia - Montserrat Caballe; Roberto, Conte di Leicester - Jose Carreras; Lord Guglielmo Cecil - Enrique Serra; Anna Kennedy - Ruth Bezinian; Giorgio Talbot - Maurizio Mazzieri. Conductor: Nello Santi with the Lyric Orchestra and Chorus of the ORTF.

Documentation: No libretto. Track list does not show timings or identify singers. Short synopses of the history of the opera and its plot. (The cover portrait shows an attractive, if stolid young woman. She is painted in a magnificently rendered gown that is both provincial and out-of-fashion. The lady is not Mary, Queen of Scots, but a member of the previous generation, Anne of Cleves. She had married Henry VIII, survived both the marriage and the man, and by a remarkable piece of Parliamentary double-think became in English law both a princess of England and Henry VIII's "sister." Contemporary references to Anne insist on her lack of beauty, while Mary's contemporaries regarded her as gorgeous. Oddly, all the portraits show Anne to be quite good-looking and Mary to be rather plain.)

This is a historical opera that in good Nineteenth Century style, rides roughshod over mere, dreary factual verisimilitude. It is based on a play by Schiller, that same bright spark who perpetrated a play in which Joan of Arc dies heroically after a final success on the battlefield (set very effectively to music by Verdi as "Giovanna d'Arco.")

The heart of the play, occupying Act II of the opera, is an extended scene in which the two queens meet and trade insults while Lord Leicester, the true and loyal lover of the Queen of Scots, looks on ineffectually. It hardly needs to be said that all this is what we here in the Frozen North call pure bumph. Dramatic potential notwithstanding, there is not a shred of evidence that such a meeting ever took place. Considering Queen Bess' habitual avoidance of irretrievable decisions, even to the point of refusing to name a successor, it is probable that such a meeting was never even given serious consideration.

And Leicester as the true lover of Mary Stuart? Not a chance! Leicester, although not highest in feudal rank, was the premiere nobleman in Elizabeth's glittering court. He was a true denizen of the Renaissance, a complex mixture of ability, self-interest, chivalry and deviousness. It is true that there had been some plans on the part of Elizabeth to advance him, willy-nilly, to serve as a consort to Mary when she still ruled in Scotland. The Queen eventually sent an Anglo-Scottish noble named Darnley instead. Young Darnley married Mary Stuart, fathered James VI of Scotland (who would eventually become James I of England), jealously slew a favorite of the Queen of Scots and, in return, got himself gorily slaughtered--just another ordinary Renaissance career. Leicester, throughout, had his eyes on a higher thing, the hand of Queen Elizabeth, herself. He never achieved it, but his maneuverings may--or may not--have included the murder of his inconvenient wife along the way.

Turning from history to opera, I believe that I can safely say that I hold a minority view when I state that I prefer the comedies of Donizetti to his dramas. As Donizetti's dramas go, however, his 1835 "Maria Stuarda" is top notch, and outshone only by the evergreen "Lucia," also from 1835. "Maria Stuarda" is a two-prima donna extravaganza centered on a knock-down, drag-out, hissing, screaming cat fight between two historic Queens. Honestly, except for a little mud wrestling, what more could anyone want?

The star of this recording is unquestionably Montserrat Caballe. Opera fans, by their very nature, are prone to nitpick and draw ultra-fine distinctions, to give wholly undue weight to stunt-singing, to trifling trills and interpolated notes flying high above the staff. It is perfectly proper that they should do so, but the detailed analysis (i.e., fault finding) should not obscure the plain fact that Caballe's Maria offers abundant riches of big-time, full-voiced, down-and-dirty, diva singing seldom matched by anyone, anywhere, at any time. Caballe is strongly seconded by Carreras, who gives the audience all that they want and more.

Caballe and Carreras are in good voice and are captured in good sound in a good opera. These two performers offer singing of such power and beauty that there really isn't any logical rating to give the recording other than five stars.

Having said that, as an opera fan, myself, I shall now nitpick. This performance is very good, but it remains some steps away from perfection. Brilliant as Montserrat Caballe was, she was always a bit too much of a lady to seize onto the ultimate in characterization. The two queens should work themselves into a frenzy of mutual loathing. Maria sneers at the daughter of Anne Boleyn, calling her "vil bastarda." I can recall restaurants in which waitresses--ahem--wait staff have asked me whether I wanted a cup of coffee with more hostility than Caballe's Maria hurls at Elisabetta.

José Carreras is a good tenor--a fabulously good tenor--but I always want to shake him and say, "Don't do that!" How I wish I could be his voice coach just long enough to tell him to relax a little. Just look at any video of Carreras. Every muscle in his upper body is tense and his throat is held in absolute rigidity. As he became older, his notes would often come to a too-abrupt close because of that rigidity. Carreras seems to have viewed singing as a job of work to faced manfully and seriously. I have no objection to a good work-ethic, but I hear little or no joy in the man's singing, only an earnestness that shades perilously toward ponderousness.

Elisabetta, the English Queen, was portrayed by Michele Vilma Menendez. Ms. Menendez was all right in her way, not bad at all, as a matter of fact--but she was clearly not in the class of her two stellar colleagues. Their quite extraordinary abilities made her, I think, sound worse to some reviewers than she really was.

All that aside, this is a fine recording at a bargain price. Every fan should have it.

Give and take from Caballe's earlier Stuarda.......2005-08-08

Caballe's '71 Maria Stuarda (the first Stuarda available by opera d'oro) is my main standard of comparison for this '72 performance. The grand lady is still in good voice despite a couple of awkward high notes (hardly noticeable though). Her portrait of the sad queen is more seductive and a bit self-indulgent this time whereas at La Scala she sounded more innocent and the characterisation came across as more spontaneous. In Paris she is more exciting however. I find both performances good so don't hesitate to listen to either. Shame she didn't do Bolena at this stage of her career.

What we miss on this recording is a good Elisabetta. Michele Vilma gulps, wobbles and messes up the fioritura throughout the performance. With all these problems there's hardly any room for drama (or more for that matter). I wish Cossotto had considered this part. She would have been an excellent competition for Verrett's very impressive performance at La Scala.

We've lost a great Elisabetta but at least gained a luxurious Roberto. This Roberto sounds less congenial than Roberto Devereux for the young Carreras but his most handsome voice compensates for any strains. And as always with this tenor, his phrasing is perfect. Mazzieri is a fine, less famous bass who sings with style and stands out from the rest of the cast.

I found maestro Santi more interesting than Cillario at La Scala but then again, the sound of the Scala performance is inferior to this Paris one (which is very good) so I might have missed some of Cillario's details. Cheap recording, cheap booklet as usual.

Extremely good!.......2005-03-17

If you want to buy a Maria Stuarda recording, buy one with Caballe. I really don't understand why it is so underrated. People seam to like only Sills' interpretation, ignoring her way-too-light voice. Opera isn't all E-flats and other high notes. Caballe's only problem is that she can't produce a trill.(But she sang some almost, if not completely authentic trills in L'altra Notte In Fondo Al Mare, which can be found in the Caballe Great Opera Divas Disc.) And I think we can forgive this, regarding all the other qualities. Such refinement, purity, phrasing, pianissimos... Her high notes sound too strident ant caustic to some, but this is very subjective. They are not like the high notes that are generally considered to be beautiful, but in the right context they blend spectacularly: something between singing and screaming, hysteric, and in the same time pure.(High E-flat on the 1979 Stuarda performance on Munich) Some say "...when she gets excited, the result is wild and ugly..." Pity on them. There are different kinds of drama. It is not forbidden to like Callas and Caballe in the same time. Just listen to her "Figlia Impura Di Bolena" and feel the tension!

Track Listings:

Track Listings

track listings

Track Listings

Thick As a Brick [Limited Edition] [Import]

American Rest

All or Nothing At All

The Summer of '55

Remixes

Believe in Love: The Very Best of Teddy Pendergrass [Import]

Blue Burton [Import]

Bach: Weltliche Kantaten

Bad Daze

Bridgeport Connecticut [Live]

Ancient Melodies of the Future

25 Aniversario en Concierto [Enhanced] [Live]

20 Exitos

God Is Working

The Very Best of: The Gold Collection

1. 1-7 Atto Primo. Act One. Acte Un. Erster Akt
2. 8-15 Atto Secondo. Act Two. Acte Deux. Zweiter Akt
3. 1-15 Atto Terzo. Act Three. Acte Trois. Dritter Akt