Pure Classics

Editorial Reviews
Amazon.com
Pachelbel's Canon once again. And all the rest: the Romanza from Mozart's Eine kleine Nachtmusik, Bach's Air on the G String, Tchaikovsky's Andante Cantabile, Fauré's Pavane, the Air from Handel's Water Music and Bach's Jesu, Joy of Man's Desiring. For some, these miraculous works have been cheapened by overuse. We grow numb to music that we hear while getting our teeth cleaned. On this disc, there's no sign of who's doing these passable but uninspired performances. Considering what's out there, this is not the classical sampler to buy. Instead, check out the surprisingly solid Build Your Baby's Brain--Through the Power of Music. --Gwendolyn Freed

Pure Classics, Music, Tomaso Albinoni, Johann Sebastian Bach, Luigi Boccherini, Gabriel Faure, Christoph Willibald Gluck, George Frideric Handel, Wolfgang Amadeus Mozart, Johann Pachelbel, Pyotr Il'yich Tchaikovsky, Neville Marriner, Paul Davies, William Bennett, Celia Nicklin, Academy of St. Martin-in-the-Fields, Iona Brown, Adagio for Orchestra, Baroque Suite/Partita for Orchestra, Cantata, Chamber, Chamber Music, Choral, Classical, Classical Music, Classical Period Serenade/Cassation/Divertimento, Classical Period Symphony, Orchestral, Quartet for Four String Instruments, Quartet for Keyboard and Three String Instruments, Quintet for Five String Instruments, Secular Choral Music with Orchestra, Symphonic

Very Best of
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A great introduction to the art of Placido Domingo

This is really the best.

If you like Placido at all, you must have this CD.

Rare And Great Domingo Classics

A real Bobby Dazzler

Very Best of
Placido Domingo
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Perhaps Love

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ASIN: B000083GOJ
Release Date: 2003-04-22

Tracks:

Ill Mio Tesoro
Un'aura Amorosa
Dies Bildnis Ist Bezaubernd Schon
La Ci Darem La Mano
Vani Sono I Lamenti...Svegliatevi Nel Core
Pays Merveilleux...O Paradis
Quel Trouble Inconnu Me Penetre...Salut ! Demeure Chaste Et Pure (Faust, Act III)
Ah! Tout Est Bien Fini... O Souverain, O Juge, O Pere (Le Cid, Act III)
None But The Lonley Heart
Lensky's Aria
Donna, Non Vidi Mai (Manon Lescauy Act, II)
Ah, Manon, Mi Tradisce
Dammi I Colori...Recondita Armonia
E Lucevan Le Stelle (Tosca, Act III)
Ch'ella Mi Creda (La Fanciulla Del West, Act III)
Dai Campi, Dai Prati (Mefistofele, Act I)
Virgini Muse...Quando Al Soave Anelito
O Sink Hernieder, Nacht Der Liebe
Was Am Besten Er Kann...Hoho! Hohei!

Tracks:

Se Quel Guerrier Io Fossi!...Celeste Aida
Su, Profetessa...Di Tu Se Fedele
Forse La Soglia Attinse...Ma Se M'e Forza Perderti
O Tu Che In Seno Agli Angeli
Su, Cacciator...Fontainebleau!...
Niun Mi Tema
Ach, Wie So Herrlich Zu Schau'n
Sckenkt Man Sich Rosen In Tirol
Gern Hab'ich Die Frau'n Gekusst
O Vaterland...Da Geh'ich Zu Maxim
Dein Ist Mein Ganzes Herz
Mi Aldea
Cancion Del Sembrador
No Puede Ser
Serenata
Copillas De Belen
Coplas Del Pastor Enamorado
En Aranjues Con Tu Amor
Jealousy Tango
La Golondina

Amazon.com

Placido Domingo is a phenomenon, and every aspect of his artistry is on display in this 2-CD compilation, which includes arias from his signature roles in Italian, French, German, and Russian operas, and songs from Viennese and Spanish operettas. The original recordings range from the early 1970s to the present and show that though over the years his bright golden voice has taken on a darker, more burnished glow, it has retained the melting lyricism, the heroic ring, the thrilling top notes, and the focused intensity that make it instantly recognizable. (Comparing the Verdi arias included here with their counterparts of later vintage in the all-Verdi set The Tenor Arias bears this out.) The program demonstrates his stylistic and expressive versatility and his ability to instantly establish character and mood, from Lenski's sorrow (in Eugene Onegin), Cavaradossi's heart-rending despair (in Tosca), Otello's shattering agony, to Tristan's passion, Siegfried's exuberance, Faust's ardor (first in French by Gounod, then in Italian by Boito). In three Mozart arias, Domingo spins endless, perfectly shaped phrases with incredible breath control, then adds an oddity: the famous duet between Zerlina and Don Giovanni, a role he has not performed. Five Viennese operetta songs, one of which he also conducts, are delightful; there is a smile of pleasure in his voice, but not a hint of kitsch. By contrast, Tchaikovsky's "None but the Lonely Heart" is spoiled by an orchestration that is pure Hollywood. In the final Spanish group, he is on home ground and incomparable. This is a glorious record, a must for all lovers of great singing. --Edith Eisler

Customer Reviews:

A great introduction to the art of Placido Domingo.......2007-07-04

Placido Domingo, of course, is one of the finest tenors of the latter part of the 20th century. This 2 CD set well captures his talent, showing the range of his singing. We hear cuts from Puccini and Verdi to Tchaikovsky and Wagner to Strauss and Handel. And even a traditional Spanish sung and some operetta thrown in for good measure!

This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:

"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.

From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.

From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.

And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.

Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.

Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.

Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.

Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.

So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.

This is really the best........2007-05-16

I have many of Mr. Domingo's recordings but I really love this one. He seems to get better with age. Some of the songs are on some of my other recordings but they seem new and fresh on this CD. I really think this is the best of Placido Domingo.

If you like Placido at all, you must have this CD........2005-04-06

Placido Domingo has been around for so long, it is easy to take this great artist for granted. I totally agree with the previous reviews of this album; I can also say that I had the opportunity to hear him live in concert on April 2, 2005 in Biloxi, Mississippi, and his voice is still stunning. His opening aria that night was the prayer from El Cid, "O Souverain," which he dedicated to the memory of Pope John Paul II. This piece is the 8th selection on CD 1, and is from a 1997 live recording. His thrilling finish blew me away when I listened to it the first time, and and the crowd on the recording reacts the same way the Mississippi audience did when we heard him. That aria alone is worth the price of this CD set.

Rare And Great Domingo Classics.......2005-03-08

EMI's "The Very Best Of" series is a wonderful way for the opera lover/novice or even connoisseur in training to get acquainted with the great singers of opera in the 20th century. It is possible that in a few years, the great singers of today (from the 90's up to now and further into the future) will grace the album covers of The Very Best Of...The Very Best Of Renee Fleming, The Very Best Of Salvatore Licitra, etc. This is not exactly the best of Domingo. It is more of a collection of rare and wonderfully expressive arias from operas that range all over the map- Mozart, Verdi, Puccini, Wagner, Meyerbeer, Gounod, Massenet. Now, here's the reason why so many people adore Domingo, myself included - Domingo is a Renaissance Opera Tenor. He has sung almost every tenor role in the opera universe. Even if he is, to some, the "tenor who sang with Pavoratti in the three tenors" he proves he's the strongest of the bunch, the most dedicated, the most prolific and most artistic. Domingo has a beautiful voice, with secure high register and dark, masculine middle chest voice and exciting dramatic electricity! He's sung more than 50 operas, in addition operetta and Spanish Zarzuela (the Spanish equivalent to musicals or operetta which is where he got started and his parents sung in Zarzuela) and he has also recorded Spanish mainstream love songs for Latin audiences. A winner of Grammies, an actor in movies about operas that he starred in (Tosca, La Traviata, Otello) and the most active tenor on tv broadcasts, he is just incredible and powerful.
He is a great force in opera.

Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......

A real Bobby Dazzler.......2004-02-19

Fans of Mr. Domingo would be lucky to find a selection of music that more profoundly explores and exhibits the diversity of his vocal ability and interpretation than is offered on these two discs. Delicious displays of Mozart, ringing renditions of the most challenging high Italian roles, powerfully rounded accounts of some of the heavy German/Russian repetoir, and some noticably nostalgic songs from the light Spannish tradition provide an impressive catalogue of the great man's rich, focussed, technically impecable and singularly beguiling vocal talent. Those who are yet to form an opinion on any particular genre of the operatic spectrum would do well to start here, so eclectic is this album. Also, you might be reassured to know that, should you become an admirer of P.D.'s talent as a result of listening to this compilation, (it is difficult to resist), you will have no trouble finding other recordings by him. A record-breaker with more than 110 roles to his repetoir (40 is a respected total for an opera singer), he is the most recorded tenor in history, leaving more than 80 complete accounts to date of operas in the Italian, French, German and Russian traditions.

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Pure Country Classics: The #1 Hits
Cal Smith , Leroy Van Dyke , and Tennessee Ernie Ford
Manufacturer: Utv Records
ProductGroup: Music
Binding: Audio CD

General | Country | Styles | Music

Honky-Tonk | Country | Styles | Music

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Classic Country: Hard to Find Hits
Classic Country: Great Duets
Billboard #1s: Classic Country

ASIN: B00008BRE5
Release Date: 2003-02-25

Tracks:

Sixteen Tons - Tennessee Ernie Ford
King of the Road - Roger Miller
Young Love- Sonny James
Walk On By - Leroy Van Dyke
Coal Miner's Daughter- Loretta Lynn
Big Bad John - Jimmy Dean
White Lightening - George Jones
In The Jailhouse Now- Webb Pierce
Saginaw, Michigan - Lefty Frizzell
It Wasn't God Who Made Honky Tonk Angels - Kitty Wells
Good Hearted Woman- Waylon Jennings & Willie Nelson
Kiss An Angel Good Morning- Charley Pride
Make The World Go Away - Eddy Arnold
Still - Bill Anderson
I Will Always Love You - Dolly Parton
For The Good Times - Roy Price
Country Bumpkin - Cal Smith
Hello Walls - Faron Young
I Fall To Pieces - Patsy Cline
He'll Have To Go - Jim Reeves
Gone - Ferlin Husky
Hello Darlin' - Conway Twitty
Lovesick Blues - Hank Williams

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Voice of the 20th Century..
The OTHER essential Bjoerling CD; 10 stars! 20!

Jussi Bjorling: Opera Arias
Giacomo Puccini , Umberto Giordano , Francesco Cilea , Giacomo Meyerbeer , Charles Gounod , Jules Massenet , Friedrich von Flotow , Gioachino Rossini , Nils Grevillius , and Jussi Bjorling
Manufacturer: EMI Classics
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Binding: Audio CD

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ASIN: B000002S05
Release Date: 2002-11-05

Tracks:

Act II: 'Una furtiva lagrima': L'Elisir d'Amore
Act III: 'Ah! si ben mio coll'essere': Verdi: Il Trovatore
Act I: Di tu se fedele': Un Ballo in Maschera
Act I: 'Se quel guerrier': Aida
Act I: 'Recitar!...Vesti la giubba': I Pagliacci
Act I: 'Che gelida manina': La Boh
Act I: 'O soave fanciulla': La Boh
Act I: 'Recondita armonia': Tosca
Act Three: 'E lucevan le stelle': Tosca
Act Three: 'Ch'ella mi creda libero': La Fanciulla del West
Act Three: 'Nessun dorma!': Turandot
Act Three: 'Amor ti vieta': Fedora
Act II: 'E la solita storia': L'Arlesiana
'Mi batte, il cor... O paradiso': L'Africaine
Act III: 'Salut! demeure chaste et pure': Faust
Act III: 'Je suis seul!...Ah, fuyez, douce image': Manon
Act III: 'M appari tutt'amor': Martha
Cujus animan: Stabat Mater

Customer Reviews:

Voice of the 20th Century.........2000-07-13

Björling tops most polls as "singer of the 20th century", and justly so. Whether one prefers his velvety,lyrically smooth voice of the 30s and 40s, or his more full-bodied, darker power-tenor of the late 50s (he was ready to take on Lohengrin and Otello just before his death), no other human voice has left a legacy of Björling's caliber in recording history.

This collection is a wonderful presentation of the young Björling. His voice was said to have a direct appeal to emotions. Listen to "Ch'ella mi creda libero" with its almost extraterrestial "lift" and try to keep the lump in your throat from growing!

The-37 "O Paradiso" is a fantastic display of power blended with beauty - which is also the case with the Tosca arias presented here.

"Che Gelida Manina" is by many regarded as Björling's signature aria, just as "La Boheme" was said to be his signature opera. The -36 version here shows Björling aged 25 with wonderful silvery tone and grasp of message, problems with Italian pronounciation or not.

Björling never lapsed into self parodic sobbing or exaggerated shouts or gliding "loops" to get a message across. He insisted on sticking to what the composer actually had written down...and within these vocal restraints, Björling still managed to portray an unexplored universe of human feelings. "Vesti La Giubba" is a good example of this: no sobbing or bitter laughter but downright hartbreaking nonetheless. True art!

His -44 studio version of "Nessun Dorma" makes an interesting comparison with his -59 recording from the complete Turandot. Touch and go which one to go for as the second or third best version of "...Dorma" ever in recording history. The shining beacon is in my opinion from a radio concert in Sweden in 1944, where Björling for once actually DOES go beyond the strict readings of the work. His final B just stretches on and on and on into eternity - read heaven.

As for his famous ringing high notes, his final D flat on Cujus Animan may be THE one most beautiful sound I've ever heard from a human being!

If you do not have any Björling CDs, this may be a perfect introduction to his art.

And where to go from there? Well,"O Paradiso" is one of many excellent collections from the 50s. There's also a Norwegian compilation called "jussi's Beste" (which sold to platinum in Norway 35 years after his death...). This CD contains among other highlights the wonderful Christmas song "O Helga Natt", in which the final high note is sung with such force that it threatens to blow your speakers to oblivion, never mind your ears...(if it is the last sound I will ever hear, it is OK by me...).

If you want a complete opera recording, you just have to invest your hard earned cash (or bank credit as is the case with me) on Beechams "La Boheme".

Someone said elsewhere that once you have listened to Björling, you may never want to listen to any other tenor...ever: HOW VERY TRUE!

The OTHER essential Bjoerling CD; 10 stars! 20!.......1999-03-15

Along with the "Pearl Fishers Duet" CD, to me this is the other essential Bjoerling. (The more than 2 dozen friends who've received those 2 CDs as a gift can testify to that!)

The "Vesti" is completely heartbreaking, maybe because there's none of the histrionic sobbing that usually accompanies it. And of course there is that 1945 recording of "Nessun dorma!", which I have seen referred to as one of the 5 greatest recordings of all time. The arias from Tosca are also outstanding. The only addition that would make this perfect CD "even more perfect" would be the inclusion of the Gonoud "Ah! Leve-toi, soleil!"

Although I have loved classical music since I was a kid, until Jussi every tenor I ever heard sounded like an opera parody. Jussi is different; he doesn't make you think "Now there's a guy taking a deep breath and singing loud." To steal a line from Amadeus, when he opens his mouth you "hear the voice of God"; absolute, divine beauty, untainted by ego or eccentricity. that seems to flow without strain or effort.

Tracks:

Prelude
Libiamo, Ne' Lieti Calci
Che E Cio?
Un Di, Felice
E Strano! E Strano!...
Ah, Fors'E Lui...
Follie! Follie!
Sempre Libera
De' Miei Bollenti Spiriti
Pure Siccome Un Angelo... Non Sapete Quale Affeto... Dite Alla Giovine
Di Provenza Il Mar
Teneste La Promessa...
Addio Del Passato
Parigi, O Cara

Customer Reviews:

In reference to the complete recording..........2007-07-12

For those with the brassiest, most ostentatious appetites, Maria Callas has provided the most overwhelmingly vocalized and passionate Violetta Valéry, the "lady of the camellias," comparable even to her fire-blooded Tosca. Callas' vocal merits, of course, are forever plagued with scrutiny. Dame Joan Sutherland, whose coloratura register scaled the alpine heights of Verdi's tragic heroine, has been, for many more, the loveliest and most lusciously endearing Violetta on record. (Her recording with Luciano Pavarotti under the baton of her husband, Richard Bonynge, is, indeed, highly lauded.) However, Beverly Sills, the illustrious American coloratura soprano, is equally esteemed in the role. Sills, for many listeners, possessed a vocal register which encircles the best sectors of Callas' and Sutherland's interpretations. Sills' voice could twitter and flutter into the most elevated levels of the female tessitura; equally, she possessed a marvelously rich lower register and a keen, eloquent sense of bravado and dramatic proportion.

During her renowned Act I aria ("È strano! È strano!...Ah, fors'è lui che l'anima"), Sills sings with all the pathos and frustration of a woman, alluring and intoxicating in her charm, pampered and convivial, but frozen in la dolce vita, suddenly confronted with a genuine expression of guileless adoration. "Follie! Follie! Delirio vano è questo!...Sempre libera" is often considered Verdi's greatest accomplishment for the soprano voice; it is a sprightly, buoyantly hedonistic repudiation of true love and the embracement of gratification and indulgence. Sills truly proves herself to be "America's Queen of Opera." Brava, bravissima!

The letter scene ("`Teneste la promessa'"..."Addio, del passato bei sogno ridenti"), a vocal portrait of utter desolation, with Violetta reading Giorgio Germont's correspondence against a backdrop of deep, misty strings and a single, weeping violin, is crestfallen and morose. Sills captures the true essence of the traviata - the "woman who strayed" from virtue and purity but who, in her final hour, though she is abandoned by all who formerly loved her, repents in remorse and dissolution and is redeemed through clemency.

Nicolai Gedda's amber, pellucid voice has forever been one of the most mellifluous in the operatic sphere. He matches Sills when both of them were comparatively past their vocal prime, though their conglomerated deftness is arguably unsurpassed. Gedda is ravishing as the devoted and infatuated Alfredo Germont in his succulent Act II aria "De' miei bollenti spiriti"; conversely, with "Oh mio rimorso! O, infamia!", an aria of unutterable, hysterical choler, Gedda sings with all the fury and wrath of a scorned and betrayed lover now aware of what was so obviously hidden from his juvenile and naïve eyes. Only Pavarotti has been comparably livid and blood-curdling in the final high note. In the second scene of Act II, Gedda growls and hisses his way through "Ogni suo aver tal femmina," a bitter, ignoble aria of malice.

Sills' and Gedda's individual performances are enriched by their intense chemistry. They are opulently matched during the instantly recognizable Brindisi ("Libiamo ne' lieti calici"), and they scale the euphoric walls of abandon. Their delicate, lyrically redolent Act I duet ("Un dì, felice, eterea") is also fantastic, with Gedda passionately accosting Sills who returns flippant rejection. They also combine in a sensuous tapestry of Verdian melody, echoing their former passions and the limitless decadence of their golden months together, during their measurelessly tender and impassioned Act III duet ("Parigi, o cara, noi lasceremo"), a final attempted repudiation of the irreversible end of their romance.

Few baritones have ever encompassed the character of Giorgio Germont as affectionately as Rolando Panerai. The seasoned Italian baritone's rendering of the character, often by other singers chiseled into existence as a canned, self-aggrandizing, and pompous villain, is ultimately affectionate and benevolent; he is torn between his desire for his son's happiness and the well-being of his daughter and family name. Panerai's voice, resplendent and robust, add the perfect mixture of contemptible blue-bloodedness and beleaguered humanity to the deceptive role as he expresses the dire situation ("Pura siccome un angelo") in Act II; the landed man his daughter wishes to marry refuses to acquiesce unless Alfredo returns to his ancestral home and leaves the whore and vamp that is the infamous Violetta. Panerai also sings Germont's signature Act II aria ("Di provenza, il mar, il suol"), one of Verdi's most gorgeous for the baritone voice, with zealous and patriarchal passion.

He and Sills are also quite affecting during their doomed Act II encounter. During "Un dì, quando le veneri," Germont attempts to lure Violetta from Alfredo's arms with the threat the he will eventually fall out of love with her, for men are naturally fickle and careless with lovers. Sills is tragically shattered as the pitiful Sybarite who made the terminal mistake of choosing pure love over base gluttony. In one of opera's most heartbreaking moments, Violetta, utterly ravaged by despondency, agrees to the old gentleman's terms ("Ah! Dite alla giovane, sì bella è pura"); she shall, indeed, leave Alfredo, and, from her splintered heart, once gay but now stabbed, die alone in unrequited agony.

The recording boasts a luxurious cast of supporting singers, including the aristocratic Richard Van Allan as the Marquis d'Obigny, the resonant Robert Lloyd as Doctor Grenvil, the urbane Delia Wallis as Flora Bervoix, Keith Erwen as Viscount Gastone de Létorières, and Terence Sharpe as Baron Douphol.

Aldo Ceccato leads the Royal Philharmonic Orchestra with refinement; the playing is occasionally insipid, but it is solidly efficient and far from lackluster. The Prelude to Act I is serene in its simpering bereavement. The Prelude to Act III invokes extreme melancholy; it is a friable and brittle orchestral passage of uncertainty and fate. (The canned "chatter" and "conversation" during the onslaught of Violetta's and Flora's jollifications grows tiresome, however.) The John Alldis Choir is predictably in superior form during the chorus of the departing dinner guests ("Si ridesta in ciel l'aurora"); the sensual chorus of the gypsies ("Noi siamo zingarelle"); the piquant, bombastic chorus of the matadors ("Di Madride noi siam mattadori"), with Van Allan, Lloyd, Wallis, and Erwen vocally imbibing; and the chorus of the Parisian revelers ("Largo al quadrupede").

However, the recording's greatest moments can be defined in two significant ensembles. The first finalizes Act II ("Alfredo, Alfredo, di questo core"), with Violetta professing her undying and eternal love for Alfredo, Alfredo expressing his debilitating remorse for shaming her publicly, Giorgio consumed with bitterness for the tragedy he has wrought, and the chorus expressing profound pity for Violetta and vindictive hostility toward Alfredo. The second is the epochal operatic tear-jerker in Act III ("Prendi, quest'è l'immagine"), though Sills, Gedda, and Panerai are never schmaltzy or maudlin. Violetta, at the ultimate threshold, gives Alfredo a medallion containing her portrait; she then instructs him to marry again. When he has found another maiden "in the flower of life," he should give her the medallion, thus she can understand that she will forever be protected by an angel in Heaven.

What more impressive Verdian moment could one encounter?

Ceccato The Tempo Turtle Almost Spoils La Traviata.......2005-08-22

This is a good bargain if you're searching for a taste of Traviata.
The cast is very good with Beverly Sills as Violetta, Nicolai Gedda as Alfredo, and Rolando Panarei as Germont.
Beverly Sills handles the demanding technical passages of act 1 and act 2 very well though her singing is not as dazzling or spectacular as Joan Sutherland's but that has more to do with the conductor's intermittant sluggish tempos which drain the sparkle,intensity, and flow out of some of the arias.
Where Sills triumphs over Sutherland is in the dramatic department as we experience a more sensitive and revealing portrait of the tragic Violetta which truly reaches the listener's heart.
Nicolai Gedda is fabulous as Alfredo producing heroic beautiful tone,elegant phrasing, and convincing sensitive characterization and Rolando Panarei makes an imposing Germont with that rich full bodied baritone pulling thru the vocal tightropes with ease meanwhile producing a compelling and colorful portrait of the old man.
The packaging is not generous as their is no text translation but a track by track summary that is extremely skimpy in its details but you do get a little biography on Sills and Gedda as well as a few details about the composer Giuseppe Verdi.
The extracts that were selected for this release are well chosen though the final aria "Prendi quest'e L'immagine" is not present which is a notable flaw as listener's should be able to hear the final moments of La Traviata when Violetta dies.
Oh well, what can you do except complement this release with another highlights cd or just break down and get the complete opera which is actually the best choice since it is one of Giuseppe Verdi's greatest compositions and he is the king of all opera.
Enjoy!
I hope this review was helpful to you and happy opera hunting.

Further Quality Listening:Complete Traviata's=Cotrubas,Milnes,
Domingo,Kleiber on DG + Callas,Di Stefano, Giulini live on ancient mono Emi but worth it+ Sutherland,Bergonzi,Pritchard on Decca.
IL Trovatore with Bjorling,Milanov,Warren,Cellini on Rca,
Rigoletto with Pavarotti,Sutherland,Milnes on Decca,
Aida with Domingo,Caballe,Muti on Emi, La Boheme with Domingo,Caballe,Solti on STEREO Rca or with Bjorling,De los Angeles,Beecham on MONO Emi if you don't mind the inferior sonics.

Beverly Sills in her definitive Violetta.......2004-06-08

Giuseppe Verdi's LA TRAVIATA is given the lush treatment in this sparkling highlights album starring Beverly Sills and Nicolai Gedda, under the baton of Aldo Ceccato and the Royal Philharmonic.

Beverly Sills made sure that LA TRAVIATA and the role of consumptive courtesan Violetta Valery was a constant in her performing repertoire. She sang the role countless times in her glittering career. She's especially fetching with Violetta's petulant "Follie! Follie" and her death scene in "Parigi o cara" is like attending a master-class.

Nicolai Gedda makes for a thrilling Alfredo, proving his mettle with "De' miei bollenti spiriti", and his sparkling duet with Sills in "Sempre libera".

For Beverly Sills and TRAVIATA admirers, this CD is hard to beat.

Great Highlights Album.......2003-05-29

This disc features Highlights from one of the best available recording of La Traviata, and features Beverly Sills, Nicolai Gedda and Rolando Panerai.

Beverly Sills is a lovely Violetta. Here she sings with passion and grace. This is a performace heavy vocalization, and her acting sometimes stands out above the music which some may object to. She is at her best with "Addio del passato", her dying song. Nicolai Gedda sings with his usual strong voice. Rolando Panerai is the greatest addition to the opera, and the most stunning Germont on recording. His duet with Beverly Sills is splendid, and his "Di Provenza il Mar" takes the music of Verdi to the heights it deserves to attain. As he beckons his son to return home, his voice ranges from sadness to passion to near desperation. There could be no better Germont.

The highlights album is perfect for anyone who likes to listen to "La Traviata" casually without following along with the entire story. Every important song appears on the album, and the only song that is missed is the chorus of partygoers in Act 2.

A person would have no regrets if they owned this highlights disc, or even the full recording of "La Traviata" with Sills, Gedda and Panerai.

Rolando Villazon - Gounod · Massenet Arias

Average customer rating:

the way teens are to Britney or Madonna....
Villazon finds his niche...go French
Bad diction, engineering gimmicks besot otherwise noble effort
Bean sings?
A fine romantic interpreter

Rolando Villazon - Gounod · Massenet Arias
Rolando Villazon , Natalie Dessay , and Evelino Pido
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
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Gitano

ASIN: B0006IQM5I
Release Date: 2005-01-25

Tracks:

Ah! Tout Est Bien Fini... O Souverain
Enfin, Manon... En Fermant Les Yeux
Oui, Ce Qu'elle M'ordonne... Lorsque L'enfant Revient
L'amour! L'amour!... Ah! Leve-toi, Soleil
Source Dcieuse
Faiblesse De La Race Humaine!... Inspirez-moi, Race Divine
Voix Qui Me Remplissez D'une Ineffable Ivresse
Je Suis L'oiseau
Traduire... Pourquoi Me Riller
Anges Du Paradis
Salut, Tombeau
Salut, Demeure Chaste Et Pure
Je Suis Seul!... Ah! Fuyez, Douce Image
Je Vais La Voir!
Ah! Parais!

Amazon.com

Rolando Villazon's follow-up CD to his sensational debut recital of Italian arias is devoted to music by Gounod and Massenet: some as familiar as Faust's, Romeo's and Des Grieux's arias, some as rare as pieces from Gounod's Polyeucte and La Reine de Saba and Massenet's Roma and Le Mage. But almost more important than the interesting repertoire, familiar or otherwise, is Villazon's handling of the music. In Werther's passionate Act II outburst to God about suicide, which is almost never excerpted, Villazon manages, in four minutes, to create a complete character, with all his neuroses, mania, and desperation--and he caps it with a ringing high B natural which is as beautiful as it is heartfelt. He sings both of Des Grieux's arias with feeling and tenderness (aided in "Le reve" by Natalie Dessay!). An aria from La Reine de Saba turns out to bequite a showpiece, with a drop-dead high C at its close. As singing and as interpreting, this CD is a must-have. Villazon's dark-hued, expressive tone is always used in the service of the music, and following his career will be a joy for all lovers of great tenorizing. --Robert Levine

Customer Reviews:

the way teens are to Britney or Madonna...........2007-01-04

Villazon brings out the teenybopper in me. I could wear the grooves out!~just as I did with my early heros at 12 and 13 years of age. Seriously, his sound, phrasing and timbre are transcendent and ethereal. May the music never end.

Villazon finds his niche...go French.......2006-02-25

Rather than beefing up his voice for the big (money-paying) Italian roles that are one size too large for him, Rolando Villazon naturally excels in these roles from Gounod and Massenet. The narrow French vowels add a needed edge and vibrancy to his voice, the placement of the music in the head tones brings out Villazon's best timbre, and he seems temperamentally suited to refined heros. In fact, it's remarkable to hear the transformaiton here when comparing him in the recent DG La Traviata, where his Alfredo was convincing but hard work. French opera is rhtorical and poetic rather than visceral and passionate. I think Villazon fits that mold, as nearly eery aria here domonstrates.

Bad diction, engineering gimmicks besot otherwise noble effort.......2006-02-02

A tenor very quickly on the rise, this is Villazon's second recital disc, one devoted to arias by Gounod and Massenet, all in sets of three, three for Massenet, and two for Gounod. While still showing great promise, some concerns that were mildly serious with the first disc are even more so, in the French repertoire, in part because diction comes up so short here.

"O souverain" from Le Cid continues to show Villazon's command of line and squeezed but adequately forceful upper register, so that the volume boosts from the control room are really unnecessary. Diction here is already an issue, as many `u' vowels get dipthonged, especially when Villazon's sound is placed back for added weight and volume. `La reve' from Massenet's Manon is comfortably floated, with support from Natalie Dessay as Manon enhancing the intimacy of feeling to this number. Would Villazon been able to sing the short aria by Alain (who appears to the heroine at first to perhaps be little more than an apparition - shades of Frau ohne schatten perhaps? - in almost a chamber opera), from Massenet's Griselidis (track 8), at least as softly and lightly, as both the music and dramatic situation require, this could have also been very successful. He instead turns the ABA shape of this mere chanson inside out and makes a wreck of it.

The less often excerpted "Lorsque enfant" from Werther closes out the first Massenet set, as does "Pourquoi me reveiller" the second. Villazon's identification with the distraught main character of this opera is abundantly clear in both. He capitalizes well on the quixotic emotions and dreamy tendencies of the distraught main character especially well in the first selection, and he is also less intruded upon by the producers or sound engineers there as well.

It is quite curious how the control room follows the tenor up a crescendo on a line that closes out the first section of the excerpt here from Massenet's Roi de Lahore, featuring a hero (from Hindu myth) that bound to certain stipulations, has literally returned from the dead. Not quite as ostentatious as Massenet's near remake of Lohengrin, Esclarmonde (but with female protagonist instead), it is one of Massenet's most colorful scores. It has only been recorded complete once commercially, with Joan Sutherland, Luis Lima, and appearing only ten minutes apart, James Morris, and for the part of General unfortunately eliminated from this scene here, John Tomlinson, along with one other cut to Villazon's part. It would've been more valuable to have all this complete instead of one or two other arias. He captures the incipiently worried tone of Alim well, but his coloring up the vowel sounds makes it seem that he has come from a place as remote from French culture as where the opera takes place.

Most successful of the Gounod selections are two of the three rarities. The first is Source delicieuse from Polyeucte, based on the Corneille play. It opens very well with a minute of orchestral cortege. It perhaps has only been recorded once before and well, by Roberto Alagna ten years ago; Villazon conveys the heroism of the piece somewhat well, if not as securely as Alagna. Anges du paradis from Mireille (which Mirella Freni championed and recorded complete for EMI), is third, perhaps a study for Ah leve toi, soleil (Romeo), several years down the road. The second Gounod rarity on this disc is "Inspirez-moi, race divine," said to be a Caruso favorite, from Reine de Saba. Its text indicates King Solomon's prize hired builder, Adoniram, to be a very confident, if mildly haughty chap. Villazon's interpretation seems to portray a hero that constantly has to look behind his back, with all the incipiently yet controllably vibrato ridden throb and backphrasing Villazon engages in here. The high C at the end, however, is convincing. Such device as in the above, also accents and colors most phrasing in the tomb scene from Romeo et Juliette.

"Ah! leve toi soleil" opens the first Gounod set, and is sung with the right ardor, conventionally marked by tiny captured scoops, coming off phrases. Villazon's entrance and two later lines catch for having placed so far back in the throat, and intonation gets momentarily derailed. "Salut, demeure" from Gounod's Faust quickly becomes expressively leaden and monochrome.

Recitative and the beginning of the aria, "Ah! fuyez" from Manon begin well nuanced enough, and for the aria, truly softly as a change from so much else on this disc, but all-purpose bench pressing and volume boosts intrude before long. That leaves two truly atmospheric selections from two Massenet rarities, to close this recital - first, an aria from Roma, Massenet's swan song for the lyric theater and "Ah! parais" from Le Mage, opera with plot line similar to that of Verdi's Aida, following. The melody, introduced by the cellos at the outset for the latter, somewhat takes after "Pays merveilleux" from Meyerbeer's Africaine, but in more voluptuous color, such as in Thais, and Villazon and Pido both capitalize well on its opulence. Pido's work, on numerous other numbers on this disc, seems heavy, lumbering, cloying, or just simply out of his idiom, so to speak.

Word has it that Villazon, while not having a big voice, is dramatically exciting on stage and probably more immediately engaged with the content of what he is singing. How this picked up a major award from Gramophone, for the specific problems this disc has, and over two more qualified nominations (Ciofi/Di Donato Handel Duets and a Florez album) is mystifying. So much digression here is over the very specific demands that French opera makes on singers. There's much reason for hope for this tenor, but this disc, for two-thirds of it, does little to help fulfill it.

Bean sings?.......2006-01-05

A friend lent me Villazon's debut album as an introduction to the man. I loved it - but this is the one I have bought. If, like me, you have tired of the comparisons between Villazon and others (esp Domingo) fear not, this artist is an original. I must confess that on seeing the cover I wondered if Brit comedian Rowan Atkinson (Mr. Bean / Black Adder - now there's a new comarison!) had strayed into the wrong studio, but a few tracks into either disc and you'll know you're listening to the real thing. True, he has baritonish notes in the lower register, and an easy reach for the upper notes but I honestly have not heard anyone quite like him before. His is a warm voice with an early maturity that should ensure he has a long career ahead of him. His diction is excellent, without the staccato enunciation or lack of French interpretation abilities that mar lesser singers' performances. Such vocal ease makes the sung word seem as natural as the spoken word is to us lesser mortals. That his song selection moves away from the 'usual suspects' of the tenor repertoire is to his great advantage; he knows what suits him and he brings each piece to new life. The overly familiar tracks of which there are thankfully few serve only to highlight through comparison to those we know Villazon's unique timbre and interpretation. This collection includes inspired music choices, incomparable renditions, marvellous orchestration and leaves the listener keenly anticipating his next release. The recording and production are impeccable (worth ***** in their category). It does not get much better than that. Atkinson may make you laugh (or not) - Villazon will make you smile and keep you feeling that way.

A fine romantic interpreter.......2005-12-20

If not quite a poet in the manner of, say, Edmond Clément, Rolando Villazón is a first rate romantic interpreter. His French is surprisingly good and he really understands how this school of writing needs to be lived and phrased, so that he doesn't summarily yell through all phrases like some "Italian" second-rater: he shades and molds the music in the elegant style of great French tenors of a bygone era: Clément, Franz, Dalmorès, Beyle, Vaguet, Scaremberg, D' Arkor, Thill...

Just like the damned record companies to give us a mere CD of Rolando Villazón's lovely art, whilst recording the above "Italian" second-rater in every complete French rôle under the sun!

Villazón's voice itself is more like a Spanish tenor's in timbre, none too pellucid, but a manly, resonant instrument of middle weight, which he never forces.

I don't know who Evelino Pido is, or how he got through school with that name, but he is a damned sight better than the much-touted Pappano (as in EMI's horrible latest Manon.) There are no metronomic run-throughs [RUIN-throughs!] on this disk.

If you adore Gounod and Massenet as I do, this CD will be very good news indeed to you.

Average customer rating:

GREAT TENOR!

The Very Best of Alfredo Kraus

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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ASIN: B0006VYEJ6
Release Date: 2005-04-26

Tracks:

Un'Aura Amorosa - Philharmonia Orchestra
In Qual Fiero Contrasto... Tradito, Schernito - Philharmonia Orchestra
A Te, O Cara - Montserrat Caballe
Son Gia Lontani
Vieni Fra Queste Braccia - Montserrat Caballe
Una Furtiva Lagrima
Povero Ernesto!...Cerchero Lontana Terra...E Se Fia Che Ad Altro Oggetto
Com' E Gentil
Tornami A Dir
Qui Di Sposa...Verranno A Te - Edita Gruberova
Tombe Degli Avi Miei...Fra Poco A Me Ricovero
Tu Che A Dio Spiegasti L'Ali
Un Di Felice
Lunge Da Lei...De' Miei Bollenti Spiriti...Oh, Mio Rimorso

Tracks:

Questa O Quella
E Il Sol Dell'anima
Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
La Donna E Mobile
Un Di, Se Ben Rammentomi...Bella Figlia Dell'amore - Sherrill Milnes
Che Gelida Manina
O Soave Fanciulla - Sherrill Milnes
In Un Coupe?...O Mimi, Tu Piu Non Torni - Sherrill Milnes
Amis, La Matinee Est Belle (Barcarolle)
En Fermant Les Yeux
Je Suis Seul...Ah! Fuyez, Douce Image
Toute Mon Ame Est La! Pourquoi Me Reveiller
Ange Adorable
L'Amour, L'Amour...Ah! Leve-Toi, Soleil!
Quel Trouble Inconnu Me Penetre...Salut! Demeure Chaste Et Pure
Ah! Mes Amis...Por Mon Ame

Customer Reviews:

GREAT TENOR!.......2006-12-23

I really enjoy this tenor and the CD!

Average customer rating:

Great Bliss for Your Buck!

Peace: Pure Classical Calm

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00070EBR6
Release Date: 2005-01-25

Tracks:

Agnus Dei - National Youth Choir Of Great Britain
Gollum's Song - Nic Raine
II. Adagio - Julia Thornton
In Trutina - Janice Watson
Gnossienne No.1 - Anne Queffelec
Eddie - Michael Nyman
Puer Natus Est Nobis - Choir Of The Monks Of The Benedictine Monastery Of Santo Domingo, Silos Ismael Fernandez De La Cuesta
Meditation - Paul Tortelier
Agnus Dei - Winchester Cathedral Choir, David Hill
II. Andante - Diana Ambache
Air 'On The G String' - English Chamber Orchestra
The Swan - Susan Tomes
II. Adagio - Sharon Isbin
Requiem - Stephen Farr
Venus, The Bringer Of Peace - Sir Charles Mackerras

Tracks:

II. Largo - Christopher Warren-Green
Canon In D - Halle Orchestra
II. Largo Ma Non Tanto - Alison Bury
Lascia Ch'io Pianga - Fabio Zanon
Guitar Concerto In D - Sharon Isbin
Aria - Maggie Cole
Ombra Mai Fu - Gerard Lesne
II. Andantino - James Galway
Liebestraum No.3 - Kun Woo P aik
Bailero - Arleen Auger
Gabriel's Oboe - Ennio Morricone
Pie jesu - Edward Saklatvala
Variation 18 - Mikhail Pletnev
Song For Athene - Winchester Cathedral Choir, David Hill
II. Andante - Dmitri Alexeev
Benedictus - National Youth Choir Of Great Britain

Customer Reviews:

Great Bliss for Your Buck!.......2007-01-13

Wonderful combination & range of classical music from both centuries past and current day. Included are two disks of soothing, relaxing bliss.

Elina Garanca ~ Mozart Opera & Concert Arias

Average customer rating:

We have been blessed
A Beautiful Mozart Recital

Elina Garanca ~ Mozart Opera & Concert Arias
Wolfgang Amadeus Mozart , Louis Langrée , Elina Garanca , and Camerata Salzburg
Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Arie Favorite
Aria Cantilena
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Mozart Arias
Tragédiennes

ASIN: B0009U55ZQ
Release Date: 2006-01-10

Tracks:

Chi Sa, Chi Sa, Quai Sia K.582
Deh, Se Pliacer Mi Voui (La Clemanza Di Tito)
Basta, Vincesti... Ah, Non Lasciarmi, No K.486A
Va Pure Ad Altri (La Finta Giardiniera)
Alma Grande E Nobil Core K.578
Misero Me!... Misero Pargoletto K.77
Se L' Augellin Sen Fugge (La Finta Giardiniera)
Ah, Scostati!... Smanie Implacabili (Cosi Fan Tutte)
Ch'Io Mi Scordi Di Te?... Non Temer, Amato Bene K.505
Temerari... Come Scoglio (Cosi Fan Tutte)

Customer Reviews:

We have been blessed.......2006-02-11

I could not wait to hear this recital after seeing the pre-publicity material from EMI/Virgin. And what a delight. We have been truly blessed with this amazing recital of Mozart favourites, sung with absolute beauty by Garanca. This CD will be played endlessly. A standout track is 'Ch'io mi scordi di te'. Listen to it and see what I mean. Music from heaven!

A Beautiful Mozart Recital.......2006-02-09

I was initially very impressed with Elina Garanca from the Bajazet recording. If she had a baroque album I probably would have purchased that before a Mozart set. However, when I heard this I was enraptured.

Actually I've been looking for a beautiful Mozart female vocal recital album for quite some time, but nothing that I purchased really did it for me. While I was very interested in hearing more of Garanca, I really didn't expect a mezzo to be what I was looking for as an ultimate singer of Mozart. As it turns out, not only does Garanca have an upper register that would be the envy of many a soprano, she has a smooth effortless delivery that is perfect for those lush Mozart arias. Though I believe she is quite young, she seemingly has an unending reservoir of vocal power and prowess.

I give this album the highest recommendation!!

Average customer rating:

A great collection

Pure Cinema Classics

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Simply the Best Movie Themes
The Space Between Us
Love Actually

ASIN: B000091AIR
Release Date: 2005-01-31

Tracks:

American Beauty: Any Other Name - Nikolaj Bloch
Barry Lyndon: Sarabande - Academy Of St Martin In The Fields
The Shawshank Redemption: The Marriage Of Figaro - Canzonetta Sull'aria - Bernard Haitink
Harry Potter And The Philosopher's Stone: Hedwig's Theme - Nic Raine
William Shakespeare's Romeo + Juliet - City Of Prague Philharmonic
The Mission: Gabriel's Oboe - Ennio Morricone And His Orchestra
Breakfast At Tiffany's: Moon River - Nic Raine
The Piano: The Heart Asks Pleasure First/The Promise - Michael Nyman
Dances With Wolves: John Dunbar Theme - Nic Raine
Jean De Florette: Jean De Florette Theme - Orchestre De Paris
Ocean's Eleven: Clair De Lune - Dame Moura Lympany
The Godfather: The Godfather Waltz - Nic Raine
Pearl Harbor: Heart Of The Volunteer - Nic Raine
Face/Off: 'Raindrop' Prelude No.15 In D Flat - Dmitri Alexeev
A Room With A View: O Mio Babbino Caro - Philharmonia Orchestra
You Only Live Twice: Main Theme - Nic Raine
The English Patient: As Far As Florence Rupert Bear - Kenneth Alwyn
Raging Bull: Cavalleria Rusticana - Intermezzo - Paul Bateman
Traffic: An Ending (Ascent) - Brian Eno
2001 - A Space Odyssy: The Blue Danube - Berlin Philharmonic Orchestra

Tracks:

The Deer Hunter: Cavatina - Manuel Barrueco
Titanic: My Heart Will Go On - Orchestra
Amelie: La Valse D'Amelie - Yann Tiersen
Midnight Cowboy: Main Theme - Nic Raine
Gladiator: Gladiator Suite - Nic Raine
The Lord Of The Rings - The Fellowship Of The Ring: The Fellowship - Nic Raine
Chocolat: Gnossienne No.1 - Anne Queffelec
Merry Christmas Mr. Lawrence: Main Theme - Mark Ayers
Ghost: Unchained Melody - Nic Raine
Cinema Paradiso Love Theme - Ennio Morricone & His Orchestra
Le Reine Margot: Lullaby - Nic Raine
Elizabeth: Nimrod ('Enigma' Variations) - London Symphony Orchestra
Hannibal: Goldberg Variations - Aria - Maria Tipo
Edward Scissorhands: Main Title/Ice Dance - Paul Bateman
Diva: Ebben? Ne Andro Lontana - Philharmonia Orchestra
Billy Elliott: Swan Lake, Act II, No.10 Scene - Andre Previn
The Man Who Wasn't There: 'Pathetique' Sonata - II. Adagio Cantabile - Walter Gieseking
The Big Blue: Overture - Eric Serra Gilbert Dal'Anese
The Killing Fields: Etude - Mike Oldfield

Customer Reviews:

A great collection.......2004-02-28

This is a really fabulous collections of songs. There is a great balance of old and new. This isn't a collection from one single genre and the diversity keeps the mix interesting. It's great to hear songs that wouldn't normally be noticed while a movie is playing and it's also great to hear those easily recognizable tunes from popular movies.

Average customer rating:

This is the very best

Very Best of
Jussi Bjorling
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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The Very Best of Franco Corelli

ASIN: B000083GOH
Release Date: 2003-04-22

Tracks:

Questa O Quella - Jussi Bjorling
La Donna E Mobile - Jussi Bjorling
Ah Si, Ben Mio - Jussi Bjorling
Di Quella Pira - Jussi Bjorling
Di Tu Se Fedele - Jussi Bjorling
Se Quel Guerrier Io Fossi!...Celeste Aida - Jussi Bjorling
Ingemisco - Orchestra
Cujus Animam - Orchestra
Una Furtiva Lagrima - Royal Orchestra
Cielo E Mar - Orchestra
Come Un Bel Di Di Maggio - Jussi Bjorling
Amor Ti Vieta - Orchestra
E La Solita Storia - Nils Grevillius
Donna Non Vidi Mai - Royal Orchestra
Che Gelida Manina - Jussi Bjorling
In Un Coupe?...O Mimi, Tu Piu Non Torni - Robert Merrill
Recondita Armonia - Jussi Bjorling
E Lucevan Le Stelle - Nils Grevillius
Nessun Dorma - Orchestra
Mamma! Quel Vino E Generoso - Nils Grevillius
Recitar!...Vesti La Giubba - Jussi Bjorling
No. Pagliaccio Non Son - Robert Shaw Chorale

Tracks:

Mi Batte Il Cor...O Paradiso - Orchestra
Salut! Demeure Chaste Et Pure - Orchestra
Ange Adorable - Nils Grevillius
Ah! Leve - Toi, Soleil - Royal Orchestra
Intant Charmant...En Ferment Les Yeux - Orchestra
Je Suis Seul!...Ah, Fuyez, Douce Image - Royal Orchestra
La Fleur Que Tu M'Avais Jetee - Orchestra
Je Crois Entrende Encore - Royal Orchestra
Adelaide - Harry Ebert
Morgan! - Harry Ebert
Cacilie - Harry Ebert
In The Silence Of Night - Nils Grevillius
Lilacs - Nils Grevillius
Ideale - Orchestra
'O Sole Mio - Orchestra
Mattinata - Orchestra
Becuase - Royal Orchestra
Only A Rose - Orchestra
For You Alone - Orchestra
Uti En Skog Pa Berget Ida (Au Mont Ida Trois Deesses) - Orchestra
Nu Ar Jag Pank Och Fagelfri ( Ich Hab Kein Geld) - Orchestra
Julsand (O Helga Natt) - Royal Orchestra

Customer Reviews:

This is the very best.......2007-01-25

Unless, you are as crazy as I am about Bjorling and willing to buy everything available anyway, this is the collection to purchase.

It includes the best of all the other compilations. The sound is very clean: much better than some of the records that I have with the same material.

The French stuff is wonderful -- especially Le Reve. There is something so melancholic about his voice. He doesn't need to act or add anything phony. As soon as he opens his mouth, you know this story is not going to end well.

The collection covers more than 20 years. It's amazing that the voice changed so little. His voice lost none of it beauty or power over the years.

Best Beethoven Adeliade ever. What a pity he never recorded any Schubert song cycles.

My God, this collection even includes Adam's Julsang -- which as far as I know existed only in a Swedish RCA 33 rpm. You will never think of "Oh, Holy Night" the same way again.

If you have not listened to Bjorling before, you will never think of some other famous tenors the same way either.

And a bargain. Two disks for $17? Start here.

Track Listings:

Track Listings

track listings

Track Listings

Hittin the Hi Spots [Import]

Johann Christian Bach: Opera Overtures, Vol. 3

Let's Buzz

From Long Island to Stockholm [Original recording remastered] [Import]

Road to the Crater

R&B Music: "Die For Fortune & Fame" [Explicit Lyrics]

Pure Gershwin

germanbooks88.com Music: Alfonso X El Sabio: Cantigas De Santa Maria

Lui Na Greine Grianna [Import]

One for Bu!!

Plastic Surgery Disasters / In God We Trust Inc. [Original recording remastered]

Kachayme

FM 105.5 Hit Ranking Latino [Import]

Prophecy

For Sentimental Reasons: 25 Early Vocal Classics