Handel: German Arias

Track Listings

1. Allegro HWV 408

2. 'Das Zitternde Glanzen Der Spielenden Wellen' HWV 203

3. 'Susser Blumen Ambraflocken' HWV 204

4. 'Singe, Seele, Gott Zum Preise' HWV 206

5. Son HWV 386A: Andante

6. Son HWV 386A: Allegro

7. Son HWV 386A: Andante

8. Son HWV 386A: Allegro

9. 'Susse Stille, Sanfte Quelle' HWV 205

10. 'Die Ihr Aus Dunklen Gruften' HWV 208

11. 'In Den Angenehmen Buschen' HWV 209

12. Son HWV 399: Allegro

13. Son HWV 399: A Tempo Ordinario - Allegro, Non Presto

14. Son HWV 399: Passacaille

15. Son HWV 399: Gigue

16. Son HWV 399: Menuet

17. 'Flammende Rose, Zierde Der Erden' HWV 210

18. 'Meine Seele Hort Im Sehen' HWV 207

19. 'Kunft'ger Zeiten Eitler Kummer' HWV 202

Tracks:

Pagliacci: Vesti la giubba
TOSCA: E lucevan le stelle
Rigoletto: Questa o quella
Rigoletto: La donna e mobile
L'africana: O paradiso
La Juive: Rachel, quand du Seigneur
La Boheme: Che gelida manina
Aida: Se quel guerrier io fossi; Celeste Aida
Andrea Chenier: Come un bel di di maggio
La Favorita: Romanza: Spirto gentil, ne' sogni miei
La forza del destino: O tu che in seno agli angeli
Otello: Ora e per sempre addio
Les pecheurs de perles: Je crois entendre encore
La Gioconda: Cielo e mar!
Carmen: La fleur que tu m'avais jetee (Flower Song)
TOSCA: Recondita armonia
Faust: Salut, demeure chaste et pure
L'Elisir d'Amore: Una furtiva lagrima
Martha: M'appari tutt'amor
Serse: Ombra mai fu (Largo)
Il Trovatore: Di quella pira

Amazon.com

There's a plethora of single-disc Caruso collections, but this one's the preferred choice for opera fans who treasure this golden- voiced epitome of Golden Age singing. It's a Greatest Hits collection to beat all Greatest Hits collections. Selections span Caruso's career, from the lyric effusions of 1906-7 to the darker-voiced later recordings, including one of his last records, the 1920 La Juive aria, "Rachel, quand du Seigneur," which he invests with a heartbreaking poignancy that hasn't been bettered. Caruso shines brightest in the Italian repertory, capturing the pathos of Vesti la Giubba, the insouciance of the Duke's Rigoletto arias, and the hero's dilemma in Celeste Aida, among much else. But everything here is wonderful--great music, great singing. --Dan Davis

Customer Reviews:

Great to hear the Great Tenor.......2007-04-11

I am impressed how well these almost 100 year old recordings have been transfered to CD. Of course they aren't perfect but considering their age it is still a miracle. It is nice to hear Caruso in his prime and not on a scratchy vinyl. I would recommend this to any lover of Caruso's singing.

A childhood memory.......2006-05-28

I do not really know Opera. I am writing this review because I remember hearing Caruso's voice coming from a seventy- eight on an old Victor gramophone in my paternal grandparents house. The power and lyric quality of the voice struck me so strongly especially in 'Pagliacci'. The phrase has been with me, and comes back occasionally through all the years.
Caruso was then, and I believe still is considered at the very top of operatic singers. And it is a remarkable experience to hear so many years later , and in a stronger and clearer way sounds which one heard long ago in childhood, and have for years only lived in the mind.

Great collection........2000-11-04

This CD is an older RCA release, but still one of the best! A great introduction to Caruso.

Jennifer Larmore Sings Great Operatic Arias

Average customer rating:

The Art of Serious Fun
Larmore at her best again!

Jennifer Larmore Sings Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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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

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
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Soprano
Anna Netrebko & Rolando Villazón: Duets
Rossini - L'Italiana in Algeri
Russian Album
La Nilsson: My Life in Opera

ASIN: B000NY166A
Release Date: 2007-05-22

Tracks:

Star Of the Evening
O My Beloved
Fierce Flames Are Raging
Love Like Mine Is the Light Of Creation
That Ungrateful Man Betrayed Me
Where Was I?
My Beloved
Hence, Iris Hence Away!
Tell Me, My Beating Heart
See, O Norma
O Hated Gift
Juliet's Waltz Song

Customer Reviews:

The Art of Serious Fun.......2007-07-01

While most opera stars are submitting to record label hype and narrow artistic freedom, Jennifer Larmore seems to be flourishing in the recording studio. With Opera Rara and now Chandos behind her, she continues to offer sumptuous recordings that are both entertaining and of great artistic caliber. Certainly Larmore does not have to prove herself as she has been performing for nearly 25 years. Anyone who has seen her live knows she is the real deal and she is in top form on this arias disc. Now, mind you, she is singing both mezzo and soprano roles here. And in English. I was skeptical. Being a huge Larmore fan, I though "uh, oh"...My last Chandos purchase was Elizabeth Futral's arias disc and I was not impressed. But here the translations (sung in delicious theatrical English), top-notch singing by Je La and perfect conducting by David Parry with the Philharmonia Orchestra combine to make a highly addictive disc that will go down in history with Larmore's classics Where Shall I Fly and Call Me Mister. She really sets the bar high for other singers.

Thankfully, Larmore goes out of her comfort zone and sings some arias that one would not normally associate with this fearless singer. The Don Carlos and Trovatore arias will certainly give her naysayers something to chew on, but she does it! Note the last few bars of "O Hated Gift". I was on the edge of my seat.

The opening number ("Star of the Evening" from Adriana Lecouvreur) alone is worth the price of the disc. Orchestra and singer match brilliantly and Larmore's final bars brought tears to my eyes. It's good stuff.

The weak spots are minor. Poor Colin Lee is left on the floor in the Favorita duet. A more experienced tenor would have made this duet electrifying. On the other hand, Larmore alone (track 2) singing "O My Beloved" from Favorita proves (as she did in 2001 with OONY) that she should be singing this role on the stage and in a full recording while we're at it. She is Leonora and the tension she creates is heartbreaking.

I could have done without Hence, Iris Hence Away, heard on her In Performance DVD and Where Shall I Fly cd (surely there are other Handel arias, but perhaps that's another Chandos disc in the works???!!!), but it displays how she can still sing Handel like no other. The Tancredi aria is a nice surprise.

The Gioconda track is a blood and guts duet thanks to Susan Patterson and Larmore's singing. I love how Opera Rara and Chandos recital cds always include duets and more. Larmore is a generous singer and part of her genius is how she works off other artists.

As with every Larmore recital disc, she closes with a treat. Juliet's Waltz Song from Gounod's Romeo and Juliet???? Is she kidding??? Nope. I've heard many a soprano struggle though this aria and merely pull it off with a pinched high note. Should Larmore be singing this aria? Hell, no...Can she? Hell, yes!!! But what's so special is she sings it with pure pleasure; as if she'd sung this song her whole career. Not as a mezzo slumming it in soprano territory. And I think that's what she's trying to tell us here. Have fun, be true to your art form and never pander to your audience.

Larmore at her best again!.......2007-06-01

Jennifer Larmore is my favorite mezzosoprano since the very first time. Such an extraordinary artist! To enjoy!

Jennifer Larmore es mi mezzosoprano favorita desde la primera vez que la escuché. Es una artista extraordinaria y este nuevo cd, a pesar de estar grabado en inglés, muestra, una vez más, la calidad interpretativa de esta maravillosa cantante. Incluso se permite el lujo de cantar el vals de Juliette con más seguridad que muchas sopranos que la tienen en repertorio.

Bejun Mehta - Songs and arias of Handel, Schubert, Brahms, Britten

Average customer rating:

One of the greatest treasures
The perfect voice
Wow - the range of this young man's voice!

Bejun Mehta - Songs and arias of Handel, Schubert, Brahms, Britten
George Frideric Handel , Franz Schubert , Johannes Brahms , Benjamin Britten , Bejun Mehta , David Shifrin , Carol Rosenberger , and Los Angeles Chamber Orchestra Principas
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
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The God Delusion

ASIN: B0000006VF
Release Date: 1992-12-11

Tracks:

If God Be For Us
Where'er You Walk
So Shall The Lute And Harp Awake
What Though I Trace
How Beautiful Are The Feet
With Thee, The Unsheltered Moor I'd Tread
The Shepherd On The Rock - Schubert
Ladybug
My Sweetheart Has Rosy Lips
Down Deep In The Valley
A Tree Is Standing
The Last Rose Of Summer

Customer Reviews:

One of the greatest treasures.......2003-06-02

Fresh and supple voice, amazing breath control, incredible expressions, mature musicality. I have listened to some of the songs sung by real sopranos (meaning mature female), and I admit that they do have their own greatness, but this boy soprano seems to be far more exciting. He's got unbeatable, invincible energy and drive, which, I guess, only teenagers can possess, and the way he builds up the intensity is awe-striking.
He has a total control over the high notes also. You will hear the most beautiful pianissimo, soft, expressive, and floaty, in those otherwise ear-spliting pitches. His runs are also incomparable, very clear, driven, profound, and accurate. You will have to hear them at least once in your life time!

I have let my two teenage nephews, who knew nothing but rock music, listen to this CD, and lo and behold, they couldn't stop listening to it. We were on a trip to Yellow Stone at that time, a long boring drive, and they kept on asking me to play it over and over. We ended up listening to it several hours straight every day for 3 days! A different kind of excitement from rock music, every time the fast runs came, they couldn't stop dancing in the car mimicking them. The whole CD made them simply happy and jubilant. As a result, the otherwise boring long drive became a very happy, fun trip.

The only drawback is that his words are not very clear, and at times the accent is poor. But his musicality and mature expressions off-set it. Even if you don't understand the words, these songs will surely make your day. This is one of those CDs that proves that classical music can be much more exciting and fun than popular music. Good for kids, teenagers, and adults.

The perfect voice.......2002-12-02

Mr. Mehta is a countertenor now. When he was a boy soprano his voice was incomparable, in my view, one which answers to the myth of a Castrato's voice. Such gentle and even register throughout the range which surely arouses the jealousy of any soprano.

Mr. Mehta demonstrated sophisticated and precoscious techniques which made his gifted timbre even more unparalleled. His diction is not quite crisp. My conjecture that it's due to his nasal technique, not unfamiliar to a countertenor, the unique head voice suited to a boy's changing voice. Maybe, also because of this, the color of Mr. Mehta's voice on this CD is especially touching - woeful but never strident nor forced in high notes. The aria "If God Be for Us" is most sentimental and brings an aetheist to tears!

Wow - the range of this young man's voice!.......2000-04-18

I've listened to this marvel repeatedly and found a great satisfaction in the choice of music and personal stylistic of these pieces. I hope there are more young men inspired to give their voices a try as a result of Bejun's work here...I especially enjoyed the spiritual selctions, esp. "If God be for us..." Please don't cheat yourself of the opportunity to hear this!

Monica Groop (mezzo-soprano) - Arie Amorose (Baroque Arias and Songs)

Average customer rating:

My favourite mezzo-soprano
Just a great singing!
SKIP Cecilia Bartoli--go straight to Monica Groop
Amazing CD, I have been waiting for an album like this
Stellar, LIquid Gold--DON'T MISS THIS ONE!

Monica Groop (mezzo-soprano) - Arie Amorose (Baroque Arias and Songs)
George Frideric Handel , Giovanni Battista Pergolesi , Johann Martini , Juha Kangas , Henry Purcell , Antonio Caldara , Giovanni Paisiello , Francesco Durante , Ostrobothnian Chamber Orchestra , Christoph Willibald Gluck , Giulio Caccini , and Monica Groop
Manufacturer: Finlandia
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | 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
ASIN: B000059TM3
Release Date: 2001-04-17

Tracks:

Handel: Sta nell'lrcana (Alcina)
Purcell: Whem I am laid in earth (Dido and Aeneas)
Handel: Va tacito e nascosto (Giulio Cesare)
Gluck: Che puro ciel (Orfeo ed Euridice)
Gluck: Che faro senza Euridice (Orfeo ed Euridice)
Handel: Dopo notte (Ariodante)
Handel: Verdi prati (Alcina)
Handel: Where shall I fly (Hercules)
Gluck: O del mio dolce ardor (Paride ed Elena)
Handel: Ombra mai tu (Xerxes) Arie Antiche
Pergolesi: Se tu m'ami
Martini: Plaisir d'amour
Caldara: Selve amiche
Caccini: Amarilli mia bella
Paisiello: Nel cor plu non mi sento
Durante: Danza fanciulla

Customer Reviews:

My favourite mezzo-soprano.......2005-04-29

This is absolutely my favourite music! I am a huge fan of renaissance and baroque music and I also love Monica Groops beautiful dramatic mezzosoprano voice; so, this cd was a perfect choice. All the songs and arias fit well to Groop; I love the coloraturas in "Sta nell'ircana" and "Danza fanciulla"; "Che faró", "Plaisir d'amour" and other slow pieces are sung very softly and legatos are excellent. Many other mezzos have problems with vibrato; they use too much vibrato and their voice shake. Groop doesn't have this kind of problems. She also articulates quite well; I had no problem to hear the words of the recitativo in "Frondi tenere-Ombra mai fu". I also like Groop's skills to improvisate in Händel's arias, especially in "Ombra mai fu." My dream is to see Monica Groop on the stage in a leading role of a baroque opera.

I recommend this cd to anyone who likes old vocal music. If you liked Cecilia Bartoli's Se tu m'ami, you will like this too! If you don't like Bartoli's small voice, Groop is a very good alternative.

Just a great singing!.......2004-04-08

Professional singer myself (visit my web site-www.magdalenamoulson.com),I was surprised that I've never heard
about Monica Groop before.From the first notes I felt fascination for her amazing vocal technique and beautiful timbre of her voice.Effortless ,light singing , simple ,elegant style without fake affectation of some "world famous mezzos", makes this Cd a real found.Wonderful artist and great CD!
I think I will buy all Cd's of her!

SKIP Cecilia Bartoli--go straight to Monica Groop.......2004-02-29

This is some *gorgeous* and incredible singing. Monica Groop's delivery is honest, fresh, and welcome. If you want a recording of "arie amorose" I suggest this one or Janet Baker's. Since both Ms. Baker and Ms. Groop are fantastic singers, they needn't rely on annoying mannerisms like Cecilia Bartoli does. And we have only the record labels to thank for the Bartoli's success. Monica Groop has a rich, velvety mezzo sound. This CD is fantastic.

Amazing CD, I have been waiting for an album like this.......2002-03-04

This is a great album, very refreshing and relaxing, CD sound quality is excellent. Monica Groop's voice flies like an angel.
I can't stop listening to this CD. My boyfriend, who usually doesn't care for classical music, even likes it!

Stellar, LIquid Gold--DON'T MISS THIS ONE!.......2001-05-22

This CD is a revelation in a period when many of us cry for a REAL singer to emerge on the scene. Finnish singer Monica Groop has ALL the goods. A truly complete singer who defies categories or labels-though billed as a mezzo-soprano, she has no fear of the heights, sailing easily to high B's, beautifully, without effort. This woman is a true artist and should have the publicity and career that many LESSER singers have achieved.

Not since the celebrated artistry of the likes of Sutherland, Tebaldi, Callas, to name a few, have I been this taken with a singer. Groop's extremely varied and complete repertoire defies categorizing this singer as yet another "early music girl." She has complete vocal fluidity and ornamentation in all the right places-indeed her ornamentation and coloratura are accurate, impeccable and clear with a beautiful legato. No huffing and chugging here! Yet one can hear her other recordings: of Bach, Grieg, Sibelius, Brahms and Schubert lieder and song, and understand this is a voice full of beauty and tone, no "paring down" to wisps of flight and fancy for the Baroque and early music! Monica Groop sings with a warm, full and creamy tone that has golden shimmer and excitement.

This disc is one of the finest recital discs I have ever come across. It has moved to a place of honor on the same shelf as Sutherland's "Art of the Prima Donna." The selection of 6 Handel arias left me screaming for more! The pieces show beautiful lyric singing, astounding coloratura and simply breathtaking ornamentation. The orchestra, conducted by Juha Kangas is completely involved. Stylistic and musical playing are extraordinary, one example of which is the horn player fearlessly responding with like ornamentation and joining in the cadenza in the stellar "Vo tacito e nascosto" from Guilio Cesare. The additional pieces by Gluck, Purcell (Dido's Lament should go in the history books along t\with Jessye Norman's performance) are equally well performed and are a perfect complement to the Handel. Rounding out the disc are 6 pieces from "Arie Antiche" which have beautifully orchestrated by the conductor.

Amazon.com

George Frideric Handel and Hamburg town councillor and poet Barthold Heinrich Brockes were students at the same time in Halle, and it's probable that they knew each other and were perhaps even friends. Brockes wrote a nine-volume anthology, from the first volume of which Handel, between 1724 and 1727, set his Nine German Arias. In translation, the Brockes work is titled "Earthly Delight in God, Consisting of Physical and Moral Poems," the texts reflecting pleasure in the glory of God's natural creation. Handel had been writing opera in England since 1710; the reason behind the composition of these arias, his last works in German, and which were unpublished in his lifetime, remains unknown. Nevertheless, this is ravishingly beautiful music, impeccably crafted and here performed with exquisitely balanced and open textures by the award-winning Akademie für Alte Musik Berlin. Dorothea Röschmann is a wonderfully warm soprano, ideally suited to the generous spirit of this repertoire. She has previously recorded Handel's Messiah, Bach's Christmas Oratorio, and Telemann's Orpheus; Telemann's E minor and G major quartets from his 1733 collection of "Table Music" make delightful instrumental interludes in this vibrant, eloquent, and utterly captivating program. --Gary S. Dalkin

Customer Reviews:

A Recording of Lesser Known But Exquisite Handel Arias.......2005-08-06

The various arias by George Frideric Handel and Georg Philipp Telemann gathered on this recording are less well known works by these great composers and as such they provide a fresh addition to the catalogue. Written for voice and continuo with occasional added flute, oboe, violin and cello, these nine arias by Handel were written between 1724 and 1727, well after Handel had established himself as a successful opera composer. They are elegant and eloquent: his consideration for the voice is ever present. The Telemann works are two of his quartets for voice and instruments and are better known than the Handel arias.

Dorothea Röschmann is a fine musician, far better known in Europe than in this country (a bit distressing!). She has a number of very fine recordings of oratorios and operas in the catalogue, each of which displays the broad spectrum of her talent. While the voice is not exuberantly exciting, Röschmann's musicality and intelligence is superb. Her voice is warm and flexible and she performs these baroque works with much style. Well worth adding to the collections of fine baroque recordings. Grady Harp, August 05

ALLES JAUCHZET.......2004-08-01

`Everything rejoices'. The poems of Handel's 9 German arias rejoice in God's creation as manifested in the beauty of nature. They are the work of Barthold Heinrich Brockes, a fellow-student with Handel at university with whom he seems to have stayed on friendly terms. Handel's arias are not early works, they date from the height of his English period and are not known or believed to have been written to any commission or for any specific occasion. They do not seem to have been composed as a set. In style they come as close to Bach as anything I know by Handel, although I don't mean by that that they sound like Bach. You would not easily mistake their authorship, but what they show is the `absolute' musician in Handel rather than the musical dramatist or rhetorician. The voice is accompanied in each song by a single solo instrument, mostly violin but varied on this disc with flute and oboe, and by a standard continuo, and they are simply exquisite. They are not miniatures either - the shortest, In den angenehmen Buschen, has no middle section and takes four and a half minutes or thereabouts, the longest, Suesser Blumen, takes nearly eight and a half - in other words they are the length of representative movements from the Beethoven sonatas. Where they resemble neither Bach nor Beethoven nor anyone else in musical history is in Handel's incomparable feel for the voice and his unequalled instinct for how words go to music.

Dorothea Roeschmann is a new artist to me, and an acquaintance I'm pleased to make. These days the standard of work we are offered by the various early-music groups is so high and so consistent that nothing less than excellence will do, and we are offered nothing less than excellence here, by Roeschmann, by the Berlin Akademie and indeed by Harmonia Mundi. The disc is also excellent value, containing as it does nearly 80 minutes of music. What they have all done is to make a concert of it rather than just a recording of 9 arias. The order of the arias is rearranged, which surely ought to bother nobody as they were not conceived as a set in the first place. After the fifth and ninth arias there is a `quatuor' for flute, oboe, violin and continuo by Telemann. These are in the standard four short movements with slow and fast alternating that one finds in the trio sonatas of Handel himself and other contemporaries. They are thoroughly enjoyable and offset the work of the greater master very effectively. The liner note accompanying the texts of the arias is by Roman Hinke with English and French translations at all points. It is really quite useful and informative, but I am still getting over the hearty Teutonic similitude comparing the Telemann works to `the culturally enriching equivalent of the swirl of whipped cream topping the pigeon pie with champagne truffles', which reads even better in German as `das schoengeistige Sahnehaeubchen zu Taubenpastete mit Champagnertrueffeln'. Hard to argue with that really, indeed in my own town we eat little else.

Joyous, Contemplative Music -- Earthy, Spiritual Singing.......2002-06-24

I cannot recommend this recording highly enough. All elements are in delightful harmony. With recordings of the Neun Deutsche Arien from two of my favorite singers, Arleen Augér and Emma Kirkby, this performance still came as a revelation. The strength of the ensemble deserves much credit, but it's the rich individuality of Ms. Röschmann's voice that is the recording's distinct and defining merit. A mezzo's cushiness, an alto's huskiness, with the soprano's reach-all lending the pieces an essential blend of the earthy and the spiritual. Her technique is quite unusual and interesting, and wholly convincing here, although an approach I hope she doesn't take indiscriminately elsewhere. She possesses melting legato, estimable breath control, delicious and judicious vibrato. Her way with the coloratura is surefooted ... yet somewhat throaty and with a somewhat unrefined feel, giving the music an appeal that is direct, simple, even humble rather than ornate. The flung leaps and offhand passage work might not work with an older voice or less attractive timbre, but here they seem to flow from the mood and the melody, truly enhancing the character of the music. (René Jacobs, the middling countertenor who has evolved over the last 15 years into one of the world's most accomplished early-music conductors, above all in Monteverdi, is credited with the ornamentation.)The pieces are an oddity even in Haendel's varied output. The texts are idyllic pictures of pantheistic contentment. These are couched in durable melodies, following the model of the da capo aria (ABA), but with the contrasting middle section here offering very little by way of contrast-certainly not in tempo or mood, though they can be less overtly melodic, almost parenthetical. (Omission of woodwind from the B section in a couple of instances is the only significant formal nod to this convention.) The instrumentation is for strings and harpsichord or organ, with woodwind in some pieces-flute, oboe, or bassoon, never more than one in any aria. It's a rather foursquare arrangement, but with some unusual harmonies expertly slipped in.The ensemble here is very accomplished: subtle and supple violin, expressive lower strings, appropriately recessed continuo, lilting winds. The violin work has an improvised effect, such is its sweetness of tone, fluidity in tempo, flexibility in rubato, sensitivity in ornamentation. The lower strings (including a viole d'amour that seems sometimes to be strummed) have less opportunity to shine, but are consistent and beautiful and never prone to tiring sameness; I did love the amusing digs of the bass in the seventh aria (presented second here) at the line "Die ihr aus dunklen Grüften" ("Ye that from dark pits"). These arias, with their spirituality residing securely in baroque formality, are very Bachian in nature and ability to satisfy.The virtues of the instrumental ensemble fully justify entrusting them with the "filler" items on the disc, two quartets by Telemann. (Note that the fourth part of the quartet is basso continue, which if my ears don't deceive can be taken by bass, harpsichord, or both.) The E minor quartet for flute, violin, cello, and continuo is fairly moody. The G major for flute, oboe, violin, and bass is more extrovert, with greater contrasts between sections: for example, the expansive second movement starts out briskly, but leads to an elegiac middle section with stirrings of the abandoned briskness before the restatement. The third movement, Largo, is transitory and not developed at all, leading into the jubilant finale with vigorously strummed strings that has an appropriate valedictory atmosphere.This recording is a wonderful treasure and was one of my very favorites of 2001. I look forward to hearing Ms. Röschmann in Lieder, where her gifts must certainly lead her.

Pick up the pace, this is joyful music!.......2000-09-05

After the high praise for this disk I was disappointed. Roeschmann has a clear but rich voice and sings beautifully. The German arias themselves are absolutely gorgeous. However, the Academie take most of the pieces at such a slow pace that I could not really enjoy the music. These are songs in praise of the wonder of the natural world and I think they should be sung joyfully, but most on the new disc are taken at a funereal pace. I much prefer the version Emma Kirkby did on EMI with the Parley of Instruments, unfortunately out of print now. Vocally she may not be quite as fluid as Roeschmann but her faster tempi (3 minutes shorter in the first song) are much more charming. The use of oboe on flute on the new version is a nice touch, though.

Ravishing young soprano.......2000-07-22

Some of you may remember Handel's Deutsche Arien from an old 1960's DG recording with Gundula Janowitz. Surprisingly, few if any other sopranos have recorded these gorgeous songs since then (a not very tempting recording with Catherina Lingendza came in between). So we must congratulate HM and Dorothea Roschmann for this marvelous release. These contemplative songs (no baroque bravura here) need a Lieder singer, and Dorothea Roschmann is admirable and delightful, not unlike a young Irmgaard Seefried. The solo group and the recorded sound are excellent, so this is one of the best recitals of the year, next to Sara Mingardo's Vivaldi disc in OPUS111.

Average customer rating:

Good coloratura work by Elizabeth Futral
At Last a Solo Recital on CD
An Interesting display

Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | 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

Operettas | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

Diana Montague Sings Great Operatic Arias, Vol. 2
Christine Brewer: Great Operatic Arias
Sweethearts
Pasión!
The Very Best of Régine Crespin

ASIN: B00009AQMF
Release Date: 2003-06-24

Tracks:

Come Take Me In Your Arms
My Soul Is Filled With Love For You
What Are These Tears And Sighs
How I Loved Him!
A Maiden Adorning
He Has Come Back
See Here, Dorabella
Ah! Let me Live In This Dream
He's The God Of Youth And Springtime
The Silver Moon Was Shining
Ain't It A Pretty Night!
Take Me Away To The One I Adore
Oh Sleep, Why Dost Thou Leave Me?

Customer Reviews:

Good coloratura work by Elizabeth Futral.......2007-05-27

This is an interesting CD from soprano Elizabeth Futral. The theme of this is a set of operatic arias sung in English, not in the original French or Italian or. . . . I'm not sure how sold I am on the concept, but, after all, it's the singing and musicality that is most important. And, by that measure, Elizabeth Futral does very nicely.

The accompanying booklet begins by noting that (page 8) "The voice of the light soprano has enchanted listeners for centuries." Futral's singing is characteristic of this type of voice.

In this era, any coloratura soprano has two challenges: first, to compare with the past generation's astonishingly talented practitioners, well exemplified by Joan Sutherland and Beverly Sill. Second, though, there are some wonderful coloratura sopranos today against whom others will be compared, with Natalie Dessay and Sumi Jo among the most adept. Thus, Futral will almost automatically be compared with such exemplars. I do not think one could say she is the equal of those four just mentioned, but she does not compare badly either.

From the Wikipedia: "In musical notation, the Italian word staccato (literally detached, plural staccatos or staccati) indicates that notes are sounded in a detached and distinctly separate manner, with silence making up the latter part of the time allocated to each note. The rhythm is not affected. Notes identified as staccato should be played or sung abruptly and short." This is worthy of comment, since the "Bell Song" from "Lakme," one of the selections on this CD, features many such notes. Futral sings them well. Her performance in this work is well done (although it is somewhat jarring, again, to hear it sung in English). She begins with a nice high note and a bang up following trill. She displays good agility and features nice technique on staccato notes. Overall, this is well done. Toward the end, which calls for great ornamentation, she seems a bit hesitant at time, but she concludes with a nicely sung high note.

Other examples of her singing. From Handel's "Alcina," she sings "Come take me in your arms." Her voice is a light, standard coloratura voice (although not all coloratura sopranos have such a voice, of course). She displays considerable agility, a decent trill, and good ornamentation. There is a bit of harshness on a high note toward the close, but hardly fatal to the overall positive effect of her singing.

From Donizetti's "Linda di Chamounix," there is "My soul is filled with love for you" (otherwise known as "O luce di quest'anima"). Her version is not too shabby when compared with such greats as Sutherland and Jo. The cabaletta shows off, again, her agile voice. Good staccato high notes. Nice trills and a well nailed final high note.

Then there is the charming "Son vergin vezzosa" from Bellini's "I Puritani," here entitled "A maiden adorning." Again, nice agility, good trills, well done florid singing technique. While there is some harshness in the penultimate high note, overall, well done.

In short, Futral adds to a currently rich supply of coloratura sopranos, and compares well with the best of them.

At Last a Solo Recital on CD.......2005-03-19

Elizabeth Futral is one of those rare sopranos who seems to put pacing of her career, care of the voice, and commitment to repertoire range ahead of the too early media blitz that can hamper a singer's career. Clearly she has it all - beauty of voice, beauty of physical presence, fine acting skills, intelligence, and interpretive insights.

Having seen her Cleopatra in LA Opera's GUILIO CESARE and in SF Opera's production of Previn's STREETCAR NAMED DESIRE put her high on the list of important new sopranos. This rather strange recording gives samples of her foray's into all styles from Handel to Previn and does a fine job in capturing the beauty of her phrasing and quality of her seamless soprano voice. It is somewhat distracting to place a first recital recording before the public being sung entirely in English, especially for those who are unfamiliar with Futral's gifts. But credit Chandos with the courage to try something different, something that may introduce new audiences to the opera field.

Surely after the recent successes of Futral performances in the opera houses more recordings will follow. Meanwhile this is a tasty sampler of just how versatile - and special - Elizabeth Futral is. Grady Harp, March 05

An Interesting display.......2003-07-23

Coloratura-soprano Elizabeth Futral is a remarkable artist with a beautiful instrument and a most impressive technique. Her appearences in record stores are mostly on lesser known and up and coming labels such as Opera Rara and CHANDOS; with a few performances on DG.

This CD has an unusual semi-personal package. Duets, trios and quartets are featured. The title of the program is called Great Operatic Arias which seems rather broad for a soprano recital disc.

Futral sings well as always, however the content seems to lack a bit of intricacy and polish. Each aria, duet etc leaves you wondering whether or not a bit more time could have been put into this. The arias range from baroque to 20th century; covering four languages.

The entire program is performed in English and this is interesting... Although some of the arias just sound plain strange in English! It is a very nice thing to actually completely and instantly understand what is being sung. I was most impressed with the CHANDOS Lucia di Lammermoor. Futral probably gave her best performance on record in that role. She is astonishingly good on that recording. Her mad scene is awesome!

Tracks:

The Elixir Of Love: Nemorino's Romanza - 'I Saw The Tear...' (Una furtiva lagrima)
The King Of Y's: Mylio's Aubade - 'Since Your Unbending Guardians...' (It Is Vain My Fairest Angel)
The Fair Maid Of Perth: Henry Smith's Serenade - 'The Sounds Of Distant Laughter...' (A la voix d'un amant fidele)
Martha: Lionel's Aria - 'None So Rare, None So Fair...'(M'appari)
Lakme: Lakme's And Geralds Duet - Love Lay Asleep In Your Heart
Falstaff: Act III Second Part, Fenton - 'From These True lovers Lips
The Abduction From The Sersglio Belmont's Aria: Belmont's Aria - Costanza, Costanza, To See You Once More!
Armida: Ubaldo's and Carlo's Duet-Murmuring Breezes Cool The Air
Semele: Jupiter - 'Where'er You Walk...'
Sadko: Song Of The Hindu Merchant - 'From Crystal Waters And From Misty Mountains...'
The Barber Of Seville: The Count's Aria - 'Finish This Futile Argument'

Average customer rating:

Sheer Delight!

Arias, Duets and Trios

Manufacturer: Bella Voce Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | 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

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Janowitz, Gundula | Divas | Opera & Vocal | Styles | Music

Troyanos, Tatiana | Divas | Opera & Vocal | Styles | Music
Similar Items:

Tatiana Troyanos in Recital
Gundula Janowitz Songs: Strauss Liszt & Schubert
Ruth Ann Swenson - Positively Golden ~ Colaratura Arias
The Very Best of Régine Crespin
Massenet: Le Cid (Complete) [Germany]

ASIN: B000007TO8
Release Date: 2000-08-05

Tracks:

Giulio Cesare: Act III, Aria: 'Da Tempeste Il Legno Infranto' - Gundula Janowitz
Giulio Cesare: Act I, Aria: 'Svegliatevi Nel Core' - Tatiana Troyano
Die Zauberflote: Aria: 'O Zittere Nicht' - Arleen Auger
Le Nozze Di Figaro: Act II, Arietta: 'Voi Che Sapete' - Tatiana Troyanos
Le Nozze Di Figaro: Act IV, Recitative And Aria: 'Giunse Alfin Il Momento'/'Deh Vieni, Non Tardar' - Arleen Auger
Le Nozze Di Figaro: Act III, Recitative And Aria: 'E Susanna Non Vien'/'Dove Son' - Gundala Janowitz
Arabella: 'Aber Der Richtige, Wenn's Einen Gibt' - Gundula Janowitz/Arleen Auger
Ariadne Auf Naxos: Final Prologue: 'Sein Wir Wieder Gut' - Tatiana Troyanos
Ariadne Auf Naxos: 'Grossmachtige Prinzessin' - Arleen Auger
Vier Letzte Lieder: 'Fruhling' - Gundula Janowitz
Vier Letzte Lieder: 'Im Abendrot' - Gundula Janowitz

Tracks:

Der Rosenkavalier: Trio: 'Marie Theres'!/'Hab' Mir's Gelobt' - Gundula Janowitz/Tatiana Troyanos/Arleen Auger
Der Rosenkavalier: Duet: 'Ist Ein Traum, Kann Nicht Wirklich Sein' - Arleen Auger/Tatiana Troyanos
Die Entfuhrung Aus Dem Serail: Act III, Aria: 'Ich Baue Ganz Auf Deine Starke' - Nicolai Gedda
Die Entfuhrung Aus Dem Serail: Act I, Aria: 'Ach Ich Liebte, War So Glucklich' - Arleen Auger
Die Entfuhrung Aus Dem Serail: Act III, Recitative And Duet: 'Welch Ein Geschick' - Arleen Auger/Nicolai Gedda
Capriccio: Scene 4, Sonnet: 'Kein Andres, Das Mir So Im Herzen Loht' - Nicolai Gedda
Ariadne Auf Naxos: 'Grossmachtige Prinzessin' - Arleen Auger
Les Pecheurs De Perles: Act III, Scene: 'Oh! Ciel, Quel Trouble!' - Nicolai Gedda
Lakme: Act II: 'Ou Va La Jeune Indoue' - Arleen Auger
Benvenuto Cellini: Tableau 4, Scene 8: 'Seul Pour Lutter, Seul Avec Mon Courage' - Nicolai Gedda

Customer Reviews:

Sheer Delight!.......1999-05-20

Three great artists in their prime, in ravishing live performances. What a treat! Janowtiz's Handel is less than exciting, and why Arleen Auger sings Zerbinetta's aria TWICE is beyond me, but those quibbles aside, these generously filled discs are a sheer delight

Ruth Ann Swenson: Endless Pleasure: Handel & Mozart Arias

Average customer rating:

Gorgeous
This album is so dull and boring!
Beautiful voice!
A bland misfire from a good singer and conductor
Excellent recording

Ruth Ann Swenson: Endless Pleasure: Handel & Mozart Arias
Charles Mackerras , Wolfgang Amadeus Mozart , Lisa Beznosiuk , The Orchestra of the Age of Enlightenment , George Frideric Handel , Ruth Ann Swenson , and John Toll
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | 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:

Ruth Ann Swenson - i carry your heart / Warren Jones
Ruth Ann Swenson - Positively Golden ~ Colaratura Arias
Ruth Ann Swenson - Con Amore ~ Italian Opera Arias / Rudel, London SO
Kathleen Battle Sings Mozart
Handel Operatic Duets ~ Amor e gelosia / Ciofi · Di Donato · Il Complesso Barocco · Curtis

ASIN: B00000DFNV
Release Date: 1998-11-03

Tracks:

Semele: Endless Pleasure
Semele: Myself I Shall Adore
Semele: O Sleep, Why Dost Thou Leave Me
Giulio Cesare: V'addoro, Pupille, Saette D'amore
Giulio Cesare: Se Pieta Di Me Non Senti
Giulio Cesare: Da Tempeste Il Legno Infranto
Die Entfuhrung Aus Dem Serail: Recit: Welcher Wechsel Herrscht In Meiner Seele
Die Entfuhrung Aus Dem Serail: Aria: Traurigkeit
Die Entfuhrung Aus Dem Serail: Martern Aller Arten
Misera dove son, K. 369: Recit: misera, dove son!
Misera dove son, K. 369: Aria: Ah! non son io che parlo
Lucio Silla: Recit: In un istante oh come s'accrebbe il mio timor!
Lucio Silla: Aria: Parto, m'affretto

Customer Reviews:

Gorgeous.......2004-10-01

Her voice is just breathtakingly gorgeous.Her voice is of such a smoothness, purity, and delicasy.I loved her renditions of semele and they are the best I've heard. She beat out Fleming on this one. Fleming having released a new album with some of the same Handel arias.Her voice is just a jewel.This deep soprano is one of my new favorites-beautiful voice. I wonder why I haven't heard more about her having such national critical aclaim and awards.

This album is so dull and boring!.......2003-02-28

The title of this review says it all. Ruth Ann Swenson is such a dull singer. Her singing is very weary and uninvolved in the "Giulio Cesare" arias and in "Martern aller Arten". None of Cleopatra's emotions is conveyed by her singing. Konstanze's defiance and dignity are noticeably absent from her rendition. If you want to hear a great rendition of this Mozart aria, check out Joan Sutherland's version on her "The Art of the Prima Donna" recording. Sutherland's voice sails through that aria with so much ease that it is breathtaking. Sutherland also has more temperament. Cleopatra's seduction aria and lament aria are so underembellished that it is criminal. Swenson has a wonderful trill and she should have been able to show it off in those two arias. I suspect that Charles Mackerras had something to do with her restraint in embellishing those arias. Cleopatra's bravura aria is done well, but the embellishments are strange. The coloratura is assured, but it sounds too careful and deliberate. Only once does a trill surface. What a shame! Beverly Sills has much better renditions of Cleopatra's arias. The "Semele" arias are done well and the coloratura seems more carefree. She really seems to identify with the character of Semele.

The album, on the whole, causes one's mind to wander very often. Charles Mackerras is competent, but his tempos are way too slow. His orchestra plays well, but it sounds weak and anemic. This whole album is a shame. Swenson needs to develop dramatic involvement and she needs to execute coloratura with abandon. Her diction is great. It would be a great shame to waste such promising talent.

Beautiful voice!.......2001-08-11

I am a big fan of Ruth Ann and this CD is wonderful. Her interpretations of these arias are executed well. The arias from Semele are refreshing. However, a better Semele can be found in Kathleen Battle. Her Mozart's are my favorites on this album. The last aria, "Parto, m'afretto", is sung beautifully with some amazing fireworks. Brava Ruth Ann!

A bland misfire from a good singer and conductor.......1999-11-04

Ruth Ann Swenson is a highly accomplished and enjoyable singer, but not an all-purpose one. Her rich, full tone, accurate coloratura, easy high notes and beautiful trill work wonderfully in "Rigoletto" and in "La Sonnambula," for example; she seems dramatically committed and engaged in those roles, too. Here, she seems detached, clueless and stylistically at sea -- neither her tone nor her phrasing conveys the luscious sensuousness of Semele's arias, and her Mozart is similarly bland and uncomprehending. It's surprising that Charles Mackerras, usually a superb and enlivening conductor of both these composers' music, could not stimulate or lead her to something better.

Excellent recording.......1999-10-29

I own every recording that Swenson has ever done. (which isn't any kind of unusual feat, she is terribly under-recorded) This one shows off her ease with the challenges of Handel and Mozart. "Myself I Shall Adore" is sung with an amusing sense of playful vanity--not to mention the accuracy and sheer beauty of her fioratura and trills. Swenson moves her voice with quicksilver speed. Every note is articulated. I love the intimate way she caresses Handel's intoxicatingly lovely, "V'adoro pupille." Caesar would have been utterly charmed. My favorite item on the disc is her "Parto m'affretto." It's filled with a true heroine's pathos and seamless coloratura. Her staccatti are spectacular. A very passionate and gorgeous performance that will bring you endless pleasure.

Emma Kirkby - Handel Opera Arias / Goodman, Brandenburg Consort

Average customer rating:

Handel Arias...Lovingly Played, Triumphantly Sung...MORE, PLEASE!
Amazing virtuosic singing

Emma Kirkby - Handel Opera Arias / Goodman, Brandenburg Consort
George Frideric Handel , Brandenburg Consort , Roy Goodman , Emma Kirkby , Alistair Ross , Katharina Arfken , Robert Farley , and Rachel Brown
Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Kirkby, Emma | Divas | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Emma Kirkby sings Handel, Arne, Haydn & Mozart
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A Purcell Songbook [Australia]
Sandrine Piau - Handel Opera Seria

ASIN: B000002ZXL
Release Date: 1996-05-21

Tracks:

Second Overture to Almira in G minor
Vedrai s' a tuo dispetto (Almira, Act 3)
Perche viva il caro sposo (Rodrigo, Act 3)
Vo' far guerra (Rinaldo, Act 2)
Overture to Silla: Largo - Allegro
Andante
Ah! spietato (Amadigi di Gaula, Act 2)
Destero dall' empia Dite (Amadigi di Gaula, Act 1)
V' adoro, pupille (Giulio Cesare in Egitto, Act 2)
Overture to Tamerlano: (Largo) - Allegro
Adagio - Menuet
Cor di padre (Tamerlano, Act 2)
Ombre, piante (Rodelina, Act 1)
Overture to Scipione: (Largo) - Allegro
Allegro
March (Scipione, Act 1)
Scoglio d' immota fronte (Scipione. Act 2)

Customer Reviews:

Handel Arias...Lovingly Played, Triumphantly Sung...MORE, PLEASE!.......2007-07-11

One of my favorite singers, and certainly for baroque, is Emma Kirkby. She is certainly unparalleled in this, her element.

This album, so sadly, I see, has now gone out of print. It has long been one of my favorite albums. I frequently put it on when I do not have time to listen to a complete Handel opera, but can feed my desire for his work, with these many excerpts, interspersed with instrumental selections from his operas, as well by the Baroque Consort, Roy Goodman at the helm.

Goodman seems to be a greatly underrated, unappreciated conductor...but NOT in MY book! Like so many others, he sort of "sits" just on the outside of truly popular recognition, which I do not understand.

Anyway, if you are able, get yourself a copy of this album, and thrill to some of the greatest vocalization of Handel's music you have ever heard.

Particularly, "Vedrai sa' tuo despetto", "Ah Spietato", Ombre, piante", and "Vo' far guerra"......you're gonna love this album, and be blown away with Kirkby's pyrotechnics! I bet you'll always keep it within handy reach! ~operabruin

Amazing virtuosic singing.......2002-04-01

Emma Kirkby's first album of seldom-performed Handel arias and overtures is brilliantly put together and executed. This has to be some of Handel's most difficult and virtuosic music--and Roy Goodman certainly doesn't pull any punches with tempos, particularly in the aria from "Almira," which is taken so fast that even Kirkby, with her legendary vocal agility, has to work to keep up. But she does, and it comes off wonderfully. The only other recording of this aria that I have heard is about half as fast, and even then the soprano has difficulty wheezing through it. The slower arias are performed well, but it is in the more uptempo selections (and there are plenty) that Kirkby shines brightest.

Track Listings:

Track Listings

track listings

Track Listings

Amboy Dukes [Import]

Dupre: Organ Music, Vol. 2

Full Clothed & Naked

1925-1932

That Driving Beat, Vol. 3 [Import]

Collection

How Lovely Is Christmas

Fabrics

Growl

Darn That Dream

Fancy Ultra Fresh [Enhanced] [Import]

Exhibition

Far East Broadcast

Brother's Keeper

The 1956 Torme-Paich Legendary Sessions

1. Allegro HWV 408
2. 'Das Zitternde Glanzen Der Spielenden Wellen' HWV 203
3. 'Susser Blumen Ambraflocken' HWV 204
4. 'Singe, Seele, Gott Zum Preise' HWV 206
5. Son HWV 386A: Andante
6. Son HWV 386A: Allegro
7. Son HWV 386A: Andante
8. Son HWV 386A: Allegro
9. 'Susse Stille, Sanfte Quelle' HWV 205
10. 'Die Ihr Aus Dunklen Gruften' HWV 208
11. 'In Den Angenehmen Buschen' HWV 209
12. Son HWV 399: Allegro
13. Son HWV 399: A Tempo Ordinario - Allegro, Non Presto
14. Son HWV 399: Passacaille
15. Son HWV 399: Gigue
16. Son HWV 399: Menuet
17. 'Flammende Rose, Zierde Der Erden' HWV 210
18. 'Meine Seele Hort Im Sehen' HWV 207
19. 'Kunft'ger Zeiten Eitler Kummer' HWV 202