Bel Canto Arias [Import]

Editorial Reviews
Album Details
Recorded in her 59th Year, this was One of Sutherland's Last Studio Recordings. The Notes Are by Richard Bonynge, the Indefatigable Mind Behind the Research of Much of this Repertoire.

Tracks:

I Capuleti Ed I Montecchi: Recitativo E Romanza (Atto I): 'Eccomi In Lieta Vesta...Oh! Quante Volte'
Tancredi: Recitativo Ed Aria (Atto II): 'Gran Dio! Deh, Tu Proteggi...Giusto Dio Che Umile Adoro'
Don Pasquale: Cavatina (Atto I): 'Quel Guardo Il Cavaliere'...So Ancho'io La Virtu Magica'
Linda Di Chamounix: Recitativo E Cavatina (Atto I): 'Ah! Tardai Troppo...O Luce Di Quest'anima'
La Sonnambula: Scena Ed Aria Finale (Atto II): 'Oh! Se Una Volta Sola...Ah! Non Credea Mirarti'
Il Viaggio A Reims: Aria (Atto I): 'Partir, O Ciel! Desio'

Customer Reviews:

This is a beautiful voice.......2007-07-15

Kathleen Battle has been the best soprano in her repertoire. She is always exquisite singing opera arias, lieder, chansons, spirituals or jazz.

My dream woman.......2007-01-10

Another great recital by my dream woman. Battle's voice and style is not to everyone's taste, but that's why we can compare and choose which singers we love and adore! This CD has provided me with endless listening pleasure and I love every minute of it.

This will get me crucified.......2007-01-05

She drops instead of leaping to the last note in arias, like Caballe does. When she doesn't drop, she slides to the last note in arias, like Gruberova does. Never (at least on this disc) does she make a clean break and leap like Jo, Sills, Sutherland, Pons and Callas do. To name the few I'm familiar with. It's a drag. She sings like a dream. She has a warm facility during the song. I've had her Mozart album for years and loved it. Not anymore. I got this CD ("Bel Canto") a couple days ago, ripped the wrapping off eagerly, listened hopefully for the 56 minutes or whatever it was (twice to be sure I hadn't missed something), then said to hell with it. There are lots of beautiful voices out there (Studer, Ricciarelli, Tebaldi, Gheorghiu, - it's endless). And I love them all up to a point. But when it comes to someone who calls herself bel canto, which she is, just a coloratura cop-out, and has an attitude like I've heard that she does to boot, I say why bother. Both her CDs are in my sack of classical rejects that one of these days I'm going to try to sell on eBay. Phooey! What a rip!

Amazing!.......2006-05-22

This is my first Bel Canto album and Kathleen Battle has a new fan. Her voice is so powerful and clear. Now I have to upgrade my stereo system to listen to her nusic 8-).

Breathing Beautiful Life into Characters Commonly Dismissed.......2001-06-13

At last! This is the disc I have waited my whole life for: famed soprano Kathleen Battle showing her awesome talents in the bel canto repertoire. After glimpsing her coloratura abilities as Donizetti's Adina (L'ELISIR D'AMORE) and her ability to soar over ensembles as Mozart's Pamina (DIE ZAUBERFLOTE), we all knew that Ms. Battle was tailor-made for these arias and extended scenes. Miraculously, she never strains, her voice is creamy throughout its two and half octave range (listen to those high E's melt in her Amina's mouth), and her diction is remarkably intelligible. The above-mentioned gifts do not even hint at her ability for expression and gift for improvisation. One thing I have always loved about Kathleen Battle is the fact that she DOES improvise, breathing her own unique life into a characterization (listen to her Semele or Rosina for proof of this). This 56 minute CD has her tackle 2 apiece from Bellini, Donizetti, and Rossini. Once again she shows her affinity for Rossini but, like the previous reviewer, I have to express my surprise and delight at how beautifully SONNAMBULA sits in her throat. In fact, in my own humble opinion, her version is even more impressive than Dame Joan's and Sumi Jo's for its sheer vocalism! In this 15 minute scene, she is lent admirable support from Richard Croft, Randi Stene, and Mark S. Doss but make no mistake: this is Ms. Battle's show. Consider me converted... then again, who am I kidding? I'm one of her biggest fans and supporters! Enjoy this gem of a disc--sit back and be astounded.

Average customer rating:

Viveca sparkles
Pure pleasure....
More Bravura
Bel Canto Arias; Vivica Genaux
BRAVA! BRAVA! BRAVA!

Bel Canto Arias; Vivica Genaux
Vivica Genaux , Gioachino Rossini , Gaetano Donizetti , John Nelson , and Ensemble Orchestral de Paris
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Vivica Genaux - Handel/Hasse: Opera Arias
Arias for Farinelli
HOMAGE: The Age of the Diva
A. Scarlatti - La Santissima Trinità / Invernizzi · Gens · Genaux · Agnew · Abbondanza · Europa Galante · Biondi
Tragédiennes

ASIN: B0000BWTK1
Release Date: 2003-09-16

Tracks:

Nacqui All' Affanno
Cruda Sorte! Amor Tiranno!
Amici, In Ogni Evento...Pensa Alla Patria
Nella Fatal Di Rimini
Il Segreto Per Esser Felici
Popolo, Amici, Sanguinosi Allori... Ah! Si, Da Tanti Affani
E Sgombro Il Loco... Un Bacio, Un Bacio Ancora
Mura Felici
Eccomi Alfine In Babilonia... Ah! Quel Giorno Ognor Rammento
Una Voce Poco Fa

Customer Reviews:

Viveca sparkles.......2007-01-04

If you love Bel Canto and Mezzo Sopranos, you will love Vivica Genaux!

Pure pleasure...........2006-05-19

I have her Farinelli CD, as well. I also saw her on A&E some time ago. My only criticism was her excessive chin movements but, then, I don't get all bent out of shape over Bartoli's grimaces -- and the voice is the thing, after all.

As for Fach, a singer doesn't need to enjoy merely one, although many are restricted to such. What I like about Genaux, aside from the absolutely beautiful tone, is that she is NOT mannered. She has just the right take on every one of these arias. Spare me from the singers who just MUST emote all over the place when simplicity and class are sufficient.

I've had this CD since for some time and decided to see what others thought of it -- I'm always interested in other opinions.

Nancy Eckert

More Bravura.......2006-03-23

When I read a review stating that Vivica sang with two little volume on this recording, I found that very hard to believe. Everything I had previously heard of her showed a voice with unlimited power. However, when I purchased this set I agreed that Vivica sings with to little volume and possibly emotion. This is puzzling; I think it must have been an artistic decision that doesn't really work.

However, I can't agree with the other reviewer about this being the wrong repertoire. Most of Genaux's early roles were Rossini and her Bel Canto technique is superb. I love the selection of music, and despite the shortcomings, I really enjoy listening to this CD. I just wish she used a little more emotion and power in the parts that call for it.

Bel Canto Arias; Vivica Genaux.......2005-09-26

Vivica Genaux seems to have a lovely personality not to mention an absolutely fabulous voice both live and on disc, but some of these arias just don't work for her voice, some are just too.....well.... Bel Canto but the arias by Rossini I liked, especially
"Una Voce Poco Fa".
I also feel I should mention that Vivica is NOT a soprano
as "Sergey Tsoy "Dallas Opera"" states in his review, but rather a Mezzo-soprano.

BRAVA! BRAVA! BRAVA!.......2004-12-20

In my opinion, Vivica is a fantastic singer and an outstanding artist. I have heard her singing live in Rossini's La Cenerentola, and it was literally breathtaking. Many sopranos sing well and have beautiful voices, but it is perhaps their choice of vibrato which makes them sound extremely out of tune, weak, irritating, and just ugh! Also, many of them sing just loudly. I am not a singer, but to my ears, Vivica is absolutely the best soprano (or at least, one of a few) whom I have heard live - beautiful, pure, in tune (yes, fortunately and unfortunately it matters, too), great vibrato, wild tempi, rock-solid consistency of musical ideas, convincing stage presence, logical, elegant, and so forth. It is all these things add together, which make a true impression. I still wonder, how is it possible to sing with such clarity, presicion, and beauty? Because it is often either, or. But she somehow combines everything, and that's just marvelous. And also, her tonal quality is so fresh and sounds really out of the ordinary. Although I have never heard her CDs, I have no second thoughts about this particular one, which I have just bought and wait with great impatience until it arrives. Brava to Vivica, for, to my mind, her type of artistry comes in a truly short suply nowadays! It is my personal opinion.

Kiri Te Kanawa - Sole e amore (Puccini Arias) / Kent Nagano

Average customer rating:

A Decline?
My favorite soprano, past her prime
A voice like pure light
Enjoyable
Bravo!

Kiri Te Kanawa - Sole e amore (Puccini Arias) / Kent Nagano

Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | 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

Italian | Languages | Opera & Vocal | Styles | Music

Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music
Similar Items:

Kiri
Pavarotti's Opera Made Easy - My Favorite Love Duets
Kiri! Her Greatest Hits Live
Kiri Te Kanawa - Ave Maria
Voice of the Violin

ASIN: B000005E51
Release Date: 1997-07-29

Tracks:

TOSCA: Vissi d'arte
Le Villi: Se come voi
Manon Lescaut: In quelle trine morbide
Manon Lescaut: Intermezzo Atto 3
Manon Lescaut: Sola, perduta, abandonnata
Sole e amore
La Boheme: Si, mi chiamano Mimi
La Boheme: Donde lieta usci
Canto d'anime
Madama Butterfly: Un bel di vedremo
Madama Butterfly: Intermezzo Atto 2, Parte seconda
La rondine: Ch'il bel sogno di Doretta
Morire
Suor Angelica: Senza Mamma, o bimbo
Gianni Schicchi: O mio babbino caro
Turandot: Signore ascolta
Turandot: Tu che di gel sei cinta

Customer Reviews:

A Decline?.......2005-04-02

I tend to agree with most of the reviews, with perhaps some small ambivalence with the views of Kate and ofthekosmos. I see that the reviewer Operaman! is now wearing a white hat of benevolence, in sharp contrast with his review of the video "Kiri at Christmas" (VHS), wherein he makes a blanket assertion denying merit in anything Kiri has done or will do. " . . . her bland presentation and mediocrity re all things musical." His version of Kiri is not the person I've listened to and watched for many years -- the Kiri I know. Not satisfied with that denunciation, all manner of irrelevancies are cited. She had a lapse of memory years ago at the Met -- as if that has not happened to the best of opera stars. None of the irrelevancies had anything to do with her singing in this performance, which is the only thing a review should consider. After reading his 'review' -- diatribe? -- I find it amusing that the he takes refuge with the thought that those who disagree with him are "so biased in their admiration for Kiri that it gets in the way of a critical review of her recording." Come again, who's biased?

Marketing phenomenon? No mystery here. If you have a product that people want, they'll beat a path to your door.

I'm four months shy of my 86th birth date, have lived through the Great Depression and survived WW2 and Korea. But now in the words of a 1930's ditty, "I don't get around much any more." That doesn't matter: I have my Kiri collection to keep me company. Eight operas, six recitals, three bios and some miscellany on DVD; her earlier ones I had converted from VHS format. In addition there are over thirty CDs, the earliest one, "The Young Kiri" dating from her pre-opera days. So you can see I know a bit about the woman and her work.

I'm not a newcomer to opera. In the year 1944, on furlough from flying missions over Germany, I saw my first opera in London.-- "Rosalinde". In their understandable foolishness, the British had renamed Die Fledermaus to Rosalinde. Couldn't very well have the so Teutonic title emblazoned on billboards throughout London. But as I discovered later, "The Bat" was in every essential the original Strauss opera. I fell in love with the medium, and later bought countless records, but could not afford the prices of live opera. One memorable event of opera, however, lives in memory. Many years ago the reigning queen of American opera, Lily Pons gave a free concert at Grant Park in Chicago -- I lived most of my early years in Chicago. I've forgotten most of the arias Lily Pons sang that evening but one title is still sharp in memory. O Mio Babbino Caro. As everyone knows, it is Kiri's trademark.

Invariably, my mornings begin with breakfast with Kiri. I may awake cranky and out of sorts, as the aged are prone to do; however the face, the voice, the sheer presence of Kiri will always set the world aright.

Late last year Kiri gave a recital in Nashville. I did not learn about it until the day before the performance. Perhaps the Gods of Opera smiled down on me -- the ticket I bought blindly turned out to be a seat on the very first row. I don't know how that happened, the recital was a sellout; yes, this center of country music does have a hard core of opera lovers. My seat was perhaps fifteen or twenty feet from the stage. Kiri was magnificent. Lovely as ever and so tall, so composed and stately. Her dress, manner, voice and delivery exquisite. Alas, she sang but one of my favorites -- Depuis le Jour -- but she more than made up for the lapse with her trademark encore, O Mio Babbino Caro. Nashville opera lovers are not usually very demonstrative, but from the wild reaction you'd have thought this was a country music performance! This was the only time I have seen Kiri live and I'll carry the memory to the end of my days.

Did this performance tell me if Kiri is in decline? No. Mind you, Kiri was sixty years of age last year --amazing! -- so a 'decline' is very possible. But if anything, she did sound better than any of my CDs or DVDs. Of course, the excellent acoustics in the hall and Kiri's so manifest presence did make any judgement impossible. It does not matter, so long as I have my DVDs and CDs -- frozen in time -- Kiri will never decline, will never age, will never die.

My favorite soprano, past her prime.......2001-04-19

Kiri was my first diva, and it was at her concert seven years ago that I became enthralled with opera. However, I find this album difficult to listen to because nearly all of the arias have already been recorded, and were recorded when she was in her prime. This album was recorded when she was 52-53. Get her 1983 album "Verdi and Puccini", where she sings seven Puccini arias (including "Un bel di", Doretta's song, "O mio babbino caro," "Vissi d'arte") with astounding beauty and ease. However, if you are a big Kiri fan, you will enjoy "Sole e amore," as it includes three Puccini songs which she had not previously recorded and for which her voice is ideal. Also, the arias from "Manon Lescaut" are superbly performed.

A voice like pure light.......2000-11-06

This album can make you cry from the sheer loveliness. I understand that even divas who have sung Madame Butterfly (some selections from that on the album) many times say it is difficult to get through a performance without weeping. I'm amazed that anyone ever does. The booklet that comes with this album translates the Italian lyrics into English, French, and German, as well as providing an introduction to Puccini. Dame Kiri Te Kanawa is a living treasure! The passion in O mio babbino caro will levitate the furniture. Thank God, sincerely, for movie sound tracks that leave clues to those of us from culturally limited backgrounds that beauty like this exists. Well worth owning.

Enjoyable.......2000-07-20

Although Kiri Te Kanawa does not have one of the most distinctive voies of all time, she is extremely pleasant to listen to. The gentle, hence effective, way she builds her crescendos and climaxes are beautiful. Her voice warms the heart and her dramatics successfully can move the patient listener. I must disagree with the reviewer below who found her voice "foggy." I think, for the most part, she is vocally splendid in most of the selections on this album.

That said, I'm not sure she is has an ideal voice for the heavier Puccini roles. Her voice is effective in Liu's arias as well as Mimi's. Her "Ch'il bel sogno di Doretta" from La Rondine and Lauretta's "O mio babbino caro" are unrivaled (especially the former---only Price's version of this aria is comparable in my mind), and "Sola, perduta, abandonnata" is another highlight of this album that comes to mind.

The Butterfly selections, as well as the "Vissi d'arte" from Tosca seemed to be a bit beyond her fach. I do not consider them memorable when compared to other historic performances.

I do recommend this CD simply because the first selections I mentioned are so beautiful. There were really only a few pieces that I felt fell flat, and the more lyric pieces are worth the price of the album.

Bravo!.......2000-03-30

Kiri Te Kanawa continues to shine in this album of Puccini arias. As was stated in one of the other reviews, we hear the music, not the singer. As a performer, Ms. Te Kanawa knows how to get out of the way so we don't get caught up in who she is, but we truly hear the music and all its emotion. My young children have even found this album engaging which is pretty significant for opera! Te Kanawa will always be a class act with a fine voice and a passion not readily apparent in others of lesser fame. The two orchestral pieces on the album are wonderful as well. Bravo Puccini! Brava Te Kanawa! Bravo Nagano!

Average customer rating:

Great Bel-Canto Hebrew Arias
Joseph Malovany
Manufacturer: Israel Music
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Arias | Opera & Vocal | Styles | Music
ASIN: B00008F8FJ
Release Date: 1997-09-16

Tracks:

Psalm 92. Ma Gad'lu
Song Of The Levites (Hashir Shehaleviyim)
Mechalkel Chayim (Thou Sustainest The Living)
Sh'ma B'ni (Listen My Son)
Hachnissini (Shelter Me)
Asher Boro (Who Created Joy)
Im Eshkachech Yerushalayim (If I Forget Thee O' Jerusalem)
Yedid Nefesh (The Soul's Beloved)
Shim'i Bat (Listen Daughter)
Bein N'har P'rat (Twixt Tigris And Euphrates)
Psalm 128 (A Pilgrim Song)

Average customer rating:

Opera in English
4 1/2Stars...exciting voice and singing

Barry Banks Sings Bel Canto Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Gitano

ASIN: B0002AAPB2
Release Date: 2004-07-27

Tracks:

'In Dreams Of Endless Pleasure'
'Through Her Soul In Endless Grieving'
'May Destiny Befriend You'
'The Blow At Last Has Fallen'
'Could I Ever Believe'/'Her Joy Is My Joy'
'Here I Stand'/'Since It Is Not By Merit'
'Poor Lost Ernesto'/'I Shall Go, No More Returning'
'Only One Teardrop'
'Palace Of Horrors!'/'Ah, How Can I Hide The Flames'
'Darling! Darling, Let Me Embrace You!'
'I Lost The Will To Action'
'Suzel, Good Morning!'
'The Night Is Calm'

Customer Reviews:

Opera in English.......2007-03-19

Barry Banks is certainly a contender for one of the best tenors around. THis is a great example of coloratura and legato line which is very well executed in a rather booming tenor voice. I just saw Mr. Banks in "The Elixer of Love" and he was stupendous. This is a large tenor voce in the theatre which alas is difficult to capture in a studio recording...you have to take my word. THe translations are often odd as they generally are, but this recording is certainly worth having. (although I prefer in the original language)

4 1/2Stars...exciting voice and singing.......2004-12-02

Mr. Banks has a "heroic lyric tenor" if there is such a category. His fast vibrato and power lend the voice excitement and attention getting presence. I was intrigued by him in his stunning appearance in the Rimsky-Korsakov "Le'Coq d'Or" DVD (a not-to-be-missed experience)-- he was a stand-out there there and I went looking for other things by him. This CD is treasurable in many ways. The repertoire is interesting and the duets add flavor to the whole. The only small complaint I have is that perhaps Mr. Banks lacks just the last bit of emotional connection in his singing. You won't go wrong getting this excellent CD.

Average customer rating:

Bel Canto Arias

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00000E38C
Release Date: 1990-10-25

Bel Canto: Arias by Bellini & Donizetti; Roberto Alagna

Average customer rating:

Can Belto...But not much else.
Fascinating CD
What Happened to a Wonderful Voice?
LOVELY RECITAL
Alagna's Bel Canto

Bel Canto: Arias by Bellini & Donizetti; Roberto Alagna
Roberto Alagna , London Voices , and Evelino Pido
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Roberto Alagna - Opera Arias
Roberto Alagna - French Arias / Bertrand de Billy
Roberto Alagna & Angela Gheorghiu - Duets & Arias
The Tenor's Passion
Roberto Alagna - Verdi Arias / Gheorghiu, Berlin Phil., Abbado

ASIN: B0000647IJ
Release Date: 2002-07-02

Tracks:

Donizetti: Poliuto: Veleno e l'aura ch'io respiro!
Donizetti: Polluto: Sfolgoro divino raggio
Bellini: La sonnambula: Prendi, l'anel ti dono
Donizetti: La Favorite: Un ange, une femme inconnue
Donizetti: La Favorite: La maitresse du roi?
Donizetti: La Favorite: Ange si pur
Donizetti: Don Pasquale: Sogno soave e casto
Bellini: Norma: Meco all'altar di Venere...
Bellini: Norma: Me protegge, me difende
Donizetti: Roberto Devereux: Ed ancor la tremenda porta...
Donizetti: Roberto Devereux: A te diro negli ultimi
Donizetti: Dom Sebastien: Seul sur la terre
Bellini: I puritani: A te, o cara
Donizetti: L'elisir d'amore: Quanto e bella
Donizetti: L'elisir d'amore: Una furtiva lagrima
Bellini: Il pirata: Ascolta. Nel furor delle tempeste
Donizetti: La Fille du regiment: Pur me rapprocher de Marie
Donizetti: La Fille du regiment: Ah, mes amis
Donizetti: La Fille du regiment: Messieurs son pere...
Donizetti: La Fille du regiment: Pour mon ame

Amazon.com

On this disc, tenor Roberto Alagna concentrates solely on the work of bel canto masters Donizetti and Bellini. These are composers who foreground vocal timbre and rely on highly decorated melodies to propel their dramas. Alagna's voice is therefore placed under a rather harsh spotlight, with none of the carefully wrought orchestral effects or complex harmonies of Verdi and Puccini (his more usual operatic territory) to support him. Generally, he succeeds beautifully and produces some rich, varied singing with a burnished heroic edge. In the more declamatory arias, such as "Sfolgorò divino raggio" from Poliuto and "Me protegge" from Norma, his powerful high Cs and C-sharps are stunning and raise the hairs on the back of your head--they're not called "money notes" for nothing. He is less successful in the gentler areas of the repertoire, however, with its long-breathed delicate melodies that call for a greater degree of legato--the tender "Una furtiva lagrima" from L'elisir d'amore is wrestled into submission rather than caressed. That said, the orchestral playing is delicious, particularly in "Sogno soave" from Don Pasquale, and the overall disc contains much to please. --Warwick Thompson

Customer Reviews:

Can Belto...But not much else........2003-03-05

I'm an Alagna fan, have all his CDs. As the previous reviewer noted, this is a fascinating one -- but more so for how absolutely wrong-headed it is. This is not the ideal repertory for a singer with as light (and that's a compliment), romantic and expressive a voice as Alagna. Or perhaps he just doesn't know what to do with it. He pretty much bellows each number, throwing the notes out to the 5th balcony -- unfortunately, not always hitting them correctly. In fact, Alagna is so often singing below the pitch here that when he actually nails a note dead-on it's a bit startling. If you don't know this singer's work, by all means start with his debut CD, his French arias CD, or perhaps the first CD he recorded with his wife Angela Gheorgieu. If you are a fan and must have this CD, don't say you weren't warned.

Fascinating CD.......2002-12-18

I enjoyed Roberto Alagna's singing ever since his first album of opera arias came out. The lyric instrument has darkened a little over the past decade, but it's still a very exciting and unique, clearly setting Alagna apart from so-called cross-over tenors who haven't sang a single role onstage. Alagna, along with José Cura, Ramon Vargas, and most recently Salvatore Licitra, form a distinct group that I would like to call REAL New tenors, capable of not only singing these roles onstage, but infusing them with personality and energy.
The recital at hand pays tribute to the tradition of Bel Canto era and, while some notable music is not represented (most regrettably, Edgardo's death scene from Lucia), it's not to be missed.
First aria from Poliuto is ringing and heroic, and it sets a tone for the whole disc - it's a disc of achievements. Those looking for "money notes" will find them aplenty here.
The aria from La Somnabula is a sharp contrast -- the singing is much lighter, with real care for the legato line, simply beautiful.
La favorite - I actually prefer it sung in Italian, a little more delicacy is needed here. And where's the bass voice? Did not care much for the falsetto notes at all in Un ange une femme inconnue... However, the aria more known as "Spirito Gentil" is sang with real feeling and warmth.
"Meco all'altar di Venere" from "Norma" is a little bombastic, remember that the character is telling a dream.
The "money note" from "A te diro negli ultimi" sounds like it just does not belong there, forced and out of place. I have an unconventional view on high C's, C-sharps, and D's: a tenor can be a wonderful singer without them (oh what blasphemy). If a tenor does chose to sing them, they should be of consistently good quality. Alagna sings some beautifully, but some come out either forced or not 100% clear. I hate to do comparisons, but there are still some great Donizetti and Bellini recordings featuring young Luciano Pavarotti. Even though he did not do as much vocal coloration or characterization, his high notes were ringing with perfect clarity, sounding effortless and even playful.
"A te o cara" is supposed to be an ensemble, but in this arrangement you can't quite hear the lower voices, just Gheorghiu soaring above... In this case, by the way, the tenor's high C's are beautifully and passionately sang.
Interesting arrangement of Una furtiva lagrima", this is a fine morsel in this album. This Nemorino is definitely more mature and sympathetic than the one Alagna did for the complete recording of L'Elisir.
The recital ends with what's bound to be a controversial recording of "Ah, mes amis". While I understand what Alagna was trying to accomplish with singing in "different voices", it still was a bit strange to hear. Same comment about high C's here as above.
Overall, I would give it 4 stars. If anything, it's quite "gutsy" and it alone would be worthy of praise.

What Happened to a Wonderful Voice?.......2002-11-08

With great expectations I purchased this disc. I was awaiting more of the vocalism I had heard on other Alagna recital discs. I was disappointed. I had noticed a raspiness in the Tosca recording, but was hoping it was my imagination, or that he was having a bad day. But NO! This recording shows definite signs of vocal deterioration, misuse, strain, I don't know what else I can say. The more dramatic arias he can still get away with, but the high notes are pushed and thin. Where it really shows up is in the sustained lines. And let's not kid ourselves, all the high C's in the Regiment aria are dubbed in later (and not very well). For those of us who love Alagna, there is still much to admire in this recording. The artistry and intelligence of the other recitals is still present. The voice is still a marvel. But I am saddened that a once magnificent instrument is showing the signs of fading at this early date, instead of lasting for the long healthy career it so richly deserves.

LOVELY RECITAL.......2002-09-24

I own many recordings of tenor recitals. However, Roberto Algana's new Bel Canto disc has certainly gone to the top of my favorite list. I have listened to it many time having a very difficult time getting past selection number 17 (Tonio's aria from act two of the Daughter of the Regiment) without re-listening to that particular selection two or three times before moving on.
I feel that Roberto has got to be in his prime or at least very close to it. His singing on this album is just beautiful. There are so many high B's, high B flats,and high C's that he should be crowned the "king of the high notes"! Nevertheless, fabulously sung high notes are not the whole story on this recital. He has perfect control of his voice blending all registers just perfectly and interpreting each selection exquisitely. He even has a slight tear in his voice on the more emotional items recorded. There is power to spare as well as much tenderness.
I truly love this recital and only wish that he could record each opera represented therein in its entirety
If you love beautiful singing along with wonderful high notes, get this album.

Alagna's Bel Canto.......2002-09-02

This CD is bonanza for the high notes freaks (like me). High C's, D-Flats and even a glorious
High D natural at the end of Roberto Devereux's " A the diro..". Besides those full voiced high notes, he
regales us with perfectly executed appoggiaturas, diminuendos, floating head tones, like the high D-flat
ending of "Un Ange.." from La favorite.
The range of tenorial platitudes covered by Alagna in this CD certainly could earn him the title
of "Primo Tenore Assolutto". Because, at least on record, he does justice to all of those titles enumerated
above. He may not erase memories of some of the competitors from the past, but certainly [...] no one
from the current tenor crop, can sing these selections better than him.
Throughout this CD, Alagna's voice is firm, full toned with a ring that makes him easily identifiable.

Tracks:

La Traviata: Lunge Da Lei... De' Miei Bollenti Spiriti - Verdi Domingo/Helena Jungwirth
La Traviata: Annina, Donde Vieni? ...O Mio Rimorso! - Verdi Domingo/Helena Jungwirth
Aida: Se Quel Guerrier Io Fossi! ... Celeste Aida - Verdi Domingo
Don Carlos: Io I'ho Perduta!.. Io La Vidi, E Il Suo Sorriso - Verdi Domingo
Don Carlos: Fontainebleau! Foret Immense Et Solitaire! - Verdi Domingo/Katia Ricciarelli/Ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojev/Chor Del Teatro...
Don Carlos: Je I'ai Vue, Et Dans Son Sourire - Verdi Domingo/Katia Ricciarelli/Ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojev/Chor Del Teatro...
Don Carlos: C'est Elle!... J'avais Fait Un Beau Reve!... Au Revoir Dans Un Monde - Verdi Domingo/Katia Ricciarelli/Ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojev/Chor Del Teatro...
Don Carlos: Oui, Pour Toujours! - Verdi Domingo/Katia Ricciarelli/Ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojev/Chor Del Teatro...
Un Ballo In Maschera: S'avanza Il Re... La Rivedra Nell'estasi - Verdi Domingo/Sumi Jo/Goran Simic/Kurt Rydl/Florence Quivar
Un Ballo In Maschera: Di' Tu Se Fedele - Verdi Domingo/Sumi Jo/Goran Simic/Kurt Rydl/Florence Quivar
Un Ballo In Maschera: E Scherzo Od E Follia - Verdi Domingo/Sumi Jo/Goran Simic/Kurt Rydl/Florence Quivar
Un Ballo In Maschera: Forse La Soglia Attinse... Ma Se M'e Forza Perderti - Verdi Domingo
Il Trovatore: Quale D'armi Fragor Poc'anzi Intesi? - Verdi Domingo/Leontyne Price/Ryland Davies/Ambrosian Opr Chor
Il Trovatore: Ah! Si, Ben Mio - Verdi Domingo/Leontyne Price/Ryland Davies/Ambrosian Opr Chor
Il Trovatore: L'onda De' Suoni Mistici - Verdi Domingo/Leontyne Price/Ryland Davies/Ambrosian Opr Chor
Il Trovatore: Di Quella Pira - Verdi Domingo/Leontyne Price/Ryland Davies/Ambrosian Opr Chor
Rigoletto: Questa O Quella Per Me Pari Sono - Verdi Domingo/Nicolai Ghiaurov/Piero Cappuccilli
Rigoletto: Ella Mi Fu Rapita!... Parmi Veder Le Lagrime - Verdi Domingo/Nicolai Ghiaurov/Piero Cappuccilli
Rigoletto: La Donna E Mobile - Verdi Domingo/Nicolai Ghiaurov/Piero Cappuccilli
La Forza Del Destino: La Vita E Inferno All'infelice - Verdi Domingo
La Forza Del Destino: Oh, Tu Che In Seno Agli Angeli - Verdi Domingo
La Forza Del Destino: Qual Sangue Sparsi!.. S'affronti La Morte - Verdi Domingo/Chor Of The Mariinsky Theatre

Tracks:

Ernani: Merce, Diletti Amici... Come Rugiada Al Cespite - Verdi Domingo/Roger Wagner Chor
Ernani: Dell'esilio Nel Dolore... O Tu, Che I'alma Adora - Verdi Domingo/Roger Wagner Chor
Ernani: D'Ernani I Fidi Chiedono... Odi Il Voto... Sprezzo La Vita (Alternative Aria) - Verdi Domingo/Alfred Walker/James Courtney/Chor Of The Mariinsky Theatre
I Lombardi Alla Prima Crociata: O Madre Mia, Che Fa Colei? - Verdi Domingo/Montserrat Aparici
I Lombardi Alla Prima Crociata: La Mia Letizia Infondere... Come Poteva Un Angelo - Verdi Domingo/Montserrat Aparici
I Lombardi Alla Prima Crociata: Come Poteva Un Angelo - Verdi Domingo/Marjorie Dix
I Lombardi Alla Prima Crociata: Componi, O Cara Vergine.. In Cielo Benedetto - Verdi Domingo/Christina Deutekom/Ambrosian Opr Chor
Jerusalem: L'Emir Aupres De Lui M'appelle... Je Veux Encore Entendre - Verdi Domingo
Luisa Miller: Il Foglio Dunque? - Verdi Domingo/Luigi De Corato/Wladimiro Ganzarolli/Gwynne Howell/Chor Of The ROHCG
Luisa Miller: Quando Le Sere Al Placido - Verdi Domingo/Luigi De Corato/Wladimiro Ganzarolli/Gwynne Howell/Chor Of The ROHCG
Luisa Miller: Di Me Chiedeste? - Verdi Domingo/Luigi De Corato/Wladimiro Ganzarolli/Gwynne Howell/Chor Of The ROHCG
Luisa Miller: L'ara, O L'avello Apprestami - Verdi Domingo/Luigi De Corato/Wladimiro Ganzarolli/Gwynne Howell/Chor Of The ROHCG
Giovanna D'Arco: Il Re! - Nel Suo Bel Volto - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
Giovanna D'Arco: Sotto Una Quercia Parvemi - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
Giovanna D'Arco: V'ha Dunque Un Loco Simile - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
Giovanna D'Arco: Pondo E Letal, Martiro - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
Giovanna D'Arco: Di Novel Prodigio - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
Giovanna D'Arco: Quale Piu Fido Amico - Verdi Domingo/Keith Erwen/Sherrill Milnes/Ambrosian Opr Chor
Les Vepres Siciliennes: E Di Monforte Il Cenno! - Verdi Domingo
Les Vepres Siciliennes: Giorno Di Pianto - Verdi Domingo
Les Vepres Siciliennes: Ah, Toi Que J'ai Cherie (Alternative Aria) - Verdi Domingo

Tracks:

Otello: Esultate! L'orgoglio Musulmano - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
Otello: Tu?! Indietro! Fuggi! - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
Otello: Ora E Per Sempre Addio - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
Otello: Pace, Signor... Era La Notte, Cassio Dormia - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
Otello: Oh! Mostruosa Colpa! - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
Otello: Si, Pel Ciel Marmoreo Giuro! - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
Otello: Dio! Mi Potevi Scagliar - Verdi Domingo/Sergei Leiferkus/Chor De L'Opr Bastille
Otello: Niun Mi Tema - Verdi Domingo/Robin Leggate/Mark Beesley/Roderick Earle
Macbeth: O Figli, O Figli Miei!... Ah, La Paterna Mano - Verdi Domingo/Antonio Savastano/Chor Del Teatro Alla Scala
Macbeth: Dove Siam? Che Bosco E Quello?... La Patria Tradita - Verdi Domingo/Antonio Savastano/Chor Del Teatro Alla Scala
Nabuco: Che Si Vuol?... Il Maledetto Non Ha Fratelli - Verdi Domingo/Chor Und Orch Der Deutschen Opr Berlin
Stiffelio: Non Ha Per Me Un Accento!... Vidi Dovunque Gemere... Ah! V'appare In Fronte Scritto - Verdi Domingo/Veronica Villaroel/Carlos Alvarez
Aroldo: Sotto Il Di Siria Ardente - Verdi Domingo/Marjorie Dix
Simon Boccanegra: O Inferno! Amelia Qui!... Sento Awampar Nell'anima... Cielo Pietoso - Verdi Domingo
La Battaglia Di Legnano: O Magnanima, E Prima Delle Citta Lombarde... La Pia Materna Mano - Verdi Domingo
Un Giorno Di Regno: Buoni Amici!... Pietoso Al Lungo Pianto - Verdi Domingo/Chor Of The Mariinsky Theatre
Un Giorno Di Regno: Deh, Lasciate A Un'alma Amante - Verdi Domingo/Chor Of The Mariinsky Theatre
Attila: Oh, Tutto Di Navicelle - Verdi Domingo/Ambrosian Opr Chor
Attila: Ella In Poter Del Barbaro!.... Cara Patria, Gia Madre E Reina - Verdi Domingo/Ambrosian Opr Chor
Attila: Qui Del Convegno E Il Loco - Verdi Domingo/Eric Cutler
Attila: Che Non Avrebbe Il Misero - Verdi Domingo/Eric Cutler
Attila: O Dolore! Ed Io Vivea (Alternative Aria) - Verdi Domingo/Eric Cutler

Tracks:

I Due Foscari: Qui Ti Rimani Alquanto - Verdi Domingo
I Due Foscari: Dal Piu Remoto Esilio - Verdi Domingo
I Due Foscari: Del Consiglio Alla Presenza Vieni Tosto... Odio Solo, Ed Odio Atroce - Verdi Domingo
I Due Foscari: Si, Io Sento, Iddio Mi Chiama (Alternative Cabaletta) - Verdi Domingo
I Due Foscari: Notte, Perpetua Notte - Verdi Domingo
I Due Foscari: Non Maledirmi, O Prode - Verdi Domingo
I Masnadieri: Quando Io Leggo In Plutarco - Verdi Domingo/Eduardo Valdes
I Masnadieri: O Mio Castel Paterno - Verdi Domingo/Eduardo Valdes
I Masnadieri: Ecco Un Foglio - Verdi Domingo/Eduardo Valdes
I Masnadieri: Nell'argilla Maledetta - Verdi Domingo/Eduardo Valdes
I Masnadieri: Come Splendido E Grande Il Sol Tramonta!... Di Ladroni Attorniato - Verdi Domingo/Eduardo Valdes
Il Corsaro: Come Liberi Volano I Venti... Tutto Parea Sorridere - Verdi Domingo/James Courtney/Chor Of The Mariinsky Theatre
Il Corsaro: Si: De' Corsari Il Fulmine - Verdi Domingo/James Courtney/Chor Of The Mariinsky Theatre
Il Corsaro: Eccomi Prigioniero! - Verdi Domingo/James Courtney/Chor Of The Mariinsky Theatre
Falstaff: Dal Labbro Il Canto Estasiato Vola - Verdi Domingo
Oberto, Conte Di San Bonifacio: Son Fra Voi!... Gia Parmi Udire Il Fremito - Verdi Domingo/Chor Of The Mariinsky Theatre
Oberto, Conte Di San Bonifacio: Ciel, Che Feci! Di Qual Sangue Ho Macchiato Il Brando Mio! - Verdi Domingo
Alzira: A Costoro Quel Nume Perdoni - Verdi Domingo/Alfred Walker/Eduardo Valdes/Chor Of The Mariinsky Theatre
Alzira: Un Inca... Eccesso Orribile!... Dio Della Guerra - Verdi Domingo/Alfred Walker/Eduardo Valdes/Chor Of The Mariinsky Theatre
Alzira: Amici! - Ebben? - Verdi Domingo/Thomas Hampson/Philharmonia Chor
Alzira: Irne Lungi Ancor Dovrei... Non Di Codarde Lagrime - Verdi Domingo/Thomas Hampson/Philharmonia Chor
Messa Da Requiem: Ingemisco Tamquam Reus - Verdi Domingo

Amazon.com

There is only one word for this four-CD set: glorious. Released to commemorate the 100th anniversary of Verdi's death, it presents arias from every one of his 28 operas, a comprehensive overview of his work. It is also a tribute to Placido Domingo, one of his foremost present-day interpreters. An extraordinarily versatile artist, Domingo is heard in selections from his signature roles, like Otello, Radames, and Don Carlo, taken from recordings made between the 1960s and the '90s. He's also heard in new recordings of arias from the earliest, unfamiliar operas he has not performed on stage, and alternate arias Verdi wrote for different versions of his operas. Thus, he sings I Lombardi in Italian, Jérusalem in French, and Don Carlo and I Vespri Siciliani in Italian and French.

There are also extended scenes with illustrious colleagues, including Leontyne Price, Katia Ricciarelli, Nicolai Ghiaurov, and Sergei Leiferkus, whose Iago is an exquisitely insidious villain. He is accompanied by the greatest orchestras and conductors. For the new recordings, his partners are Myung-Whun Chung and Valery Gergiev, whose Mariinsky Theater musicians contribute some beautiful string solos. The matchless beauty of Domingo's voice seems untouched by the years, and he can change and vary it to suit the musical and dramatic requirements. His top notes never lose their clarion ring, yet the final B-flat of "Celeste Aida" tapers off, as Verdi demands. Even more remarkable, he can create real characters. Even without the texts, the mood, emotion, and meaning always come through. In this incomparable treasure trove, all opera lovers will find their own favorites, and many new gems besides, all performed to utter perfection. --Edith Eisler

Customer Reviews:

Verdi singing to set the standard for all tenors.......2007-03-03

Placido Domingo's magnificent voice scarcely needs any introduction or praise or comments, as it is a splendid vehicle that speaks for itself. Not only is the voice - a strong, wood-grained, ringing tenor of a richer and darker sound than a pure lyric tenor - an amazing thing, a gift of God, but Domingo is himself a master of the technical demands of music (in addition to being a master of the technical demands of singing - not the same thing at all!) and a truly great singing artist.

That is, he is never content to sing without becoming the character, without expressing the emotions of the character.

The size, colour and drama of the voice make him an ideal Verdi exponent. Who could ever forget his magnificent performances in "Un ballo", "Don Carlos", "La Traviata", "Il Trovatore", and a host of other Verdi tenor roles? And the consistency of Domingo's vocal quality is something of a phenomenon. This man has had an enviable career - and it's his superb vocal technique that has carried him through it.

I particularly love the way that he varies the outpourings of that golden tone. At one moment it's all fire and blazing intensity, and the next it's a thing of restraint and tenderness. Is there anything at which to cavil in Domingo as a Verdi tenor? I do not think so...

The world has been fortunate to be gifted with such a tenor. If music itself adds meaning to our life and to existence itself, it finds an ideal servant of itself in this man who is certainly one of the finest tenors in the world.

This collection of Verdi arias represents not only the recordings of Domingo in the roles he's tackled during his long career (with some of the finest fellow singers you could imagine), but also some earlier Verdi that he'd not performed, and which he recorded specially for this multi-CD set. The result is a triumph. One can see the difference instantly between various characters - not an easy thing to do.

I would also like to recommend another set - "Der junge Domingo" (The Young Domingo), a 5-CD set released by BMG. I cannot find it here on Amazon, so I can only suggest those who are interested try alternative sources. It's a quite stunning collection - admittedly it contains "Svegliatevi nel cor" which I think is a mistake, but then it was recorded before the Handel revival and was thus less historically informed than one might wish. But really... it doesn't matter. The great beauty and intelligence of Domingo's singing shines through even that, and it's followed by a lovely "Il mio tesoro" from Mozart's Don Giovanni. Things get even better - there's a Donizetti aria from Il Duca d'Alba, the famous tenor aria from La Juive, the "Quando le sere al placido" from Luisa Miller, Lenski's aria from Eugene Onegin, some Gounod (including arias from Faust and Roméo et Juliette), the love duet from Madama Butterfly with Leontyne Price, and much more...

The Greatest Verdi Tenor The Wonderful Mr. Domingo.......2005-09-28

This is Placido Domingo's best recording to date. His greatest and strongest repertoire was Verdi, as he himself claimed, and this recording is a lovely tribute to Verdi himself. A plethora of arias from such operas as La Traviata, Il Trovatore, Aida, Don Carlos, Otello and such earlier works like Il Foscari, Jersualem, Nabucco, Stiffelio and Ernani. In Placido Domingo, the opera scene found the heir to Enrico Caruso and successor to Franco Corelli. Originally trained as a baritone, Domingo had opera in his blood. His Spanish-born parents were Zarzuela singers. Placido's voice is dark, rich, full lyric, but dramatic and compelling, the perfect voice for Verdi and Puccini. Domingo mastered a number of operatic languages including French, German and Russian. His charisma, good looks and dramatic prowess was all to his credit and he appeared in Zefferelli movies (Traviata in 82 and Otello in 86. Many detractors and critics have taken a while to praise Domingo, and it wasnt until he sang Wagner that they came around. He has always been "outshined" by Pavoratti with whom he had a real rivalry with. But unlike Pavoratti, Domingo has more dramatic integrity in his characterizations and is the more cerebral singer. His voice is more beautiful, less brassy than the overweight showy Pavoratti. This is his best recording and I urge all fans to own it at once.

Magnificent Achievement.......2002-12-27

This set is a recorded testimony to both Verdi's genius and Placido Domingo's versatility. Through 70's, 80's, and 90's, Domingo recorded with three major labels -- DG, RCA, and EMI. Out of these three, DG captured the most Verdi recordings, so it only was right for it to combine what they already had with newly recorded material, mostly early Verdi arias (Chung & Gergiev conducting), plus some licensed material (e.g. Giovanna D'Arco) from EMI.
What impresses right away is how little has the voice changed over the years. Yes, some freshness heard on Ingemisco is lost now, but there is much greater insight gained, as displayed in such heroic pieces as "O magnanima, e prima delle città lombarde". Through numerous performances (Domingo has long ago broke Enrico Caruso's record for opening nights at the MET) and numerous recorded recitals, Domingo managed to keep the powerful, ringing spinto tenor mostly intact. What's most intriguing is HOW did he manage it. He did not pick and choose the roles (as Bergonzi, for instance), he sang Otello since the 70's, and recently has even recorded some of Wagner's extremely demanding roles (see EMI's catalog). Domingo's voice is not typical for an Italian tenor, e.g. he does not have the squillo (or the "ping") on top notes, but what's amazing is that it is able to produce bronze-like ring on all notes. During the mid-eighties, the voice had a fascinating baritonal quality; Domingo has even recorded Il Barbiere. On this CD, the selections with Guilini reflect that period the best.
Deutsche Grammophon chose to alternate the new-recorded material with old one. As a result, those who have been devoted fans of the tenor for, say fifteen-plus years, will notice some difference, but those relatively new to his art would not.
The set, albeit not a bargain, has many delights. In addition to featuring selections from out-of-print editions (e.g. Luisa Miller with Maazel) the newly recorded material is targeted at paying homage to early Verdi and his lesser-known works. For instance, "Ah, toi que j'ai chérie" from French version of I Vespri siciliani is a great aria, makes one wish for a complete opera to be recorded some time soon. The French selections in particular show how attentive Verdi was to highlighting the beauty of language with his music. This really explains why Italian translations done later did not fare as well as the originals, and vice versa.
The selections from complete operas impress with starry casts. We hear the voices of Price, Cappuccilli, Ghiaurov, Milnes, Jo, and most wonderful choruses. And most of world's greatest conductors are present here -- Karajan, Gergiev, Kleiber, Levine, Abbado, just to name a few. Each brings his own distinct style, some controversial, some debated, all exciting, but none simply conventional.
Many have noted Domingo's chameleon-like ability to "become" the character. I would just like to add a note that he is now added the ability to infuse his characters with subtle sensuality. Granted, a tenor aria is written to be appealing and engaging, but it takes a great artist to make it "glow."
We are indeed very lucky to share a time frame with Placido Domingo. For years to come, he will be the idol for aspiring singers and a source of wonder for the numerous fans of great vocal performances.

VOICE.......2002-09-10

What a voice and what a power. Here we have a combination of a beautiful music and a perfect voice. What else would you need to enjoy it.

superb, exhilarating, outstanding!!!!!.......2002-02-10

Pure,absolute satisfaction!That's the onlypossible feeling I could possible have after having listened and cherished this fabulous set of CD's. It is a tribute to this magnificent master of fine singing,as well as a monumental homage to the mythical Giuseppe Verdi!Placido Domingo is the perfect, harmonious combination of acting, passion and singing. He is always powerful and crystal clear in his high notes. Maestro Domingo knows every time where and when to adjust his divine voice in the appropriate tone and volume.He is never too loud(too forte!) or too low, and never croons. Although there are some trivial flaws as far as the sound quality of specific tracks is concerned e.g. the last high note from "O mio rimorso!", this CD-set is a real tresure and an excellent value for money for anyone who wishes to call oneself a "real VERDI - addict" as well as a fan of this glorious artist, a dramatic, a heroic,a lyric,a mature,a perfect singer. HAIL PLACIDO DOMINGO, TENOR OF THE TENORS!

Average customer rating:

Aspects of Verdi and Bel Canto!

Verdi Arias

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini
The Very Best of Nicolai Gedda
Russian Album

ASIN: B00027LE5Q
Release Date: 2004-07-13

Customer Reviews:

Aspects of Verdi and Bel Canto!.......2004-10-02

Mr. Bergonzi is a famous Verdi tenor and this collection is simply sublime, beyond words. His singing is both accented and lyrical, perhaps too lyric for the ideal Verdi voice. Bergonzi's Verdi comes with a bel canto approach.

Well this is where we may separate a Verdi voice from Verdi style. Bergonzi is a Verdi stylist par excellence and deserves the highest respect possible where certainly no other tenor since Lauri Volpi, with his more virile and wide ranging voice, has realized the magnitude and beauty of Verdi's style combined with the great dramatic accents and declamation.

Among the greatest Verdi stylists, which are rarer among tenors than the other voice categories, are Martinelli, Lauri-Volpi, Bergonzi, and even Veriano Luchetti; rare indeed but these men have the tone, the accent, the power, the legato, and the INTELLIGENCE to bring Verdi's drama to life. That is what Verdi wanted after all: "Accent Accent Accent"

Track Listings:

Track Listings

You Need It: Anthology [Import] [Original recording remastered]

She's So High, Pt. 1 [CD-single] [Import]

Sensational 70's

Xplicit

You Should Be Nicer To Me

Vivaldi & Telemann: Oboe Concertos

Yellow Princess [Import]

Wild Man Blues

Workbook

Vuelve [Extra tracks] [Import]

Y Que le Voy a Hacer

Songs of Inspiration

Jazz on the Latin Side Allstars, Vol. 1