Verdi's Singers

1. Otello, opera Era la notte
Composed by Giuseppe Verdi
with Victor Maurel

2. Iphigénie en Tauride, opera in 4 acts, Wq. 46 Récit et air de Thoas
Composed by Christoph Willibald Gluck
with Victor Maurel

3. Don Giovanni, opera, K. 527 Deh! vieni alla finestra
Composed by Wolfgang Amadeus Mozart
with Victor Maurel

4. Otello, opera Era la notte
Composed by Giuseppe Verdi
with Victor Maurel

5. Falstaff, opera Quand'ero paggio
Composed by Giuseppe Verdi
with Victor Maurel

6. Otello, opera Esultate!
Composed by Giuseppe Verdi
with Francesco Tamagno

7. Otello, opera Niun mi tema
Composed by Giuseppe Verdi
with Francesco Tamagno

8. Otello, opera Ora e per sempree
Composed by Giuseppe Verdi
with Francesco Tamagno

9. Il Trovatore, opera Di quella pira
Composed by Giuseppe Verdi
with Francesco Tamagno

10. Il Trovatore, opera Deserto sulla terra
Composed by Giuseppe Verdi
with Francesco Tamagno

11. Guillaume Tell (William Tell), opera
Composed by Gioachino Rossini
with Francesco Tamagno

12. Guillaume Tell (William Tell), opera O muot asil
Composed by Gioachino Rossini
with Francesco Tamagno

13. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Voi che sapete
Composed by Wolfgang Amadeus Mozart
with Adelina Patti

14. Don Giovanni, opera, K. 527 Batti batti o bel Masetto
Composed by Wolfgang Amadeus Mozart
with Adelina Patti

15. Faust, opera Air des bijoux
Composed by Charles Gounod
with Adelina Patti

16. The Last Rose of Summer, for voice & piano
Composed by Thomas (ii) Moore
with Adelina Patti

17. Norma, opera Casta diva
Composed by Vincenzo Bellini
with Adelina Patti

18. Mignon, opera in 3 acts Connais tu le pays?
Composed by Ambroise Thomas
with Adelina Patti

19. La Sonnambula, opera Ah! non credea mirarti
Composed by Vincenzo Bellini
with Adelina Patti

20. La forza del destino, opera Scena della finestra
Composed by Giuseppe Verdi
with Antonio Pini-Corsi , Clara Joanna

21. La forza del destino, opera Predica di Fra' Melitone
Composed by Giuseppe Verdi
with Antonio Pini-Corsi

22. Falstaff, opera Quand'ero paggio
Composed by Giuseppe Verdi
with Antonio Pini-Corsi

23. Don Pasquale, opera Son nov'ore
Composed by Gaetano Donizetti
with Antonio Pini-Corsi , Ernesto Badini

24. L'elisir d'amore, opera Cavatina di Dulcamara
Composed by Gaetano Donizetti
with Antonio Pini-Corsi

Tracks:

Die Zauberflote: 'Der Holle Rache kocht in meinem Herzen'
Don Giovanni: 'Or sai chi l'onore'
Don Giovanni: 'Crudelle!-Ah no ... Non mi dir, bell'idol mio'
Lucio Silla: 'Dalla sponda tenebrosa'
Concert Arias: 'Vorrei spiegarvi, oh Dio!' K. 418
Concert Arias: 'Ah, se in ciel, benigne stelle' K. 538
Lucia di Lammermoor: 'Oh giusto cielo...Il dolce suono'
Lucia di Lammermoor: 'Ohime! sorge il tremendo fantasma'
Lucia di Lammermoor: 'S'avanza Enrico'
Lucia di Lammermoor: 'Spargi d'amore pianto'
La Traviata: 'E strano! e strano ... Ah, fors e' lui'
Die Fledermaus: 'Klange der Heimat'

Customer Reviews:

Good--but not great--coloratura.......2007-01-17

Edita Gruberova makes this a very nice album, easy to listen to. Some of the cuts are extremely well done, others are a bit bland. On the whole, though, a worthwhile item to purchase.

Mozart's "Die Holle Rache," from "Die Zauberflote," starts the album. One of the best examples of her skills on this CD. Her voice easily reaches the high notes (and there are a lot of them!); she nails the highest notes of all in a way that seems effortless. Overall, good technique. Another Mozart aria, "Or sai qui l'onore," from "Don Giovanni," is well and strongly sung; as well, one gets a sense of the character through Gruberova's singing.

Other items worth noting in some detail. Donizetti's "Lucia di Lammermoor," of course, presents sopranos with one of the premier coloratura roles. Here, there are four examples. Her voice is clearly heard in the ensemble piece (not all sopranos can say that, although her final high note was almost drowned out by the orchestra). "Il dolce suono" and "Ohime! sorge il tremendo fantasma" are okay, but seem a bit on the bland side. Needless to say, I was most interested in listening to the remarkable cabaletta of the "Mad Scene," "Spargi d'amaro pianto." And while the singing was sound, it did not excite. Her agile voice is right for this piece; she hit the high notes well. But her trills were only adequate--except for one wonderful trill off of a high note. To be considered a great coloratura, I have to confess, I want to hear great trills. Also, the ornamentation was a little tame.

The aria from "La Traviata" would have been much better if the associated florid piece, "Sempre libera," had been included. However, her singing seemed to catch the emotions of this aria nicely. The one item from "Die Fledermaus" was fun, spritely sung.

There are other components of this CD, too.

All in all, a good, but not great, coloratura album. Key difficulties: lack of a great trill and rather plain ornamentation in the Mad Scene. Key pluses: a wonderfully agile voice; clean high notes; an ability to connect to the character in her singing.

So, a CD worth purchasing. . . .

Pretty good.......2006-04-25

Right away, we get Queen of the Night, which is very good, overall very fine. However, Gruberova doesn't have the rich texture and the power like Lucia Popp. Nevertheless, how many voices sound even remotely like this!!!

Here comes the Gruberova.......2005-09-08

Is this the worst cover they could find, or was there anything else left in the file labeled "Revenge of the Eightes: The Bridal Years"?
Pay no mind: on this CD, Gruberova's easy high notes alone are worth suffering through the visual horror. She cuts to the chase and starts with Queen of the Night's Hoelle Rache, a very very good one. And the orchestra is very, very loud. This is Mozart with subtlety of a sledge hammer, but it works well with Gruberova's athletic style.
Donna Anna that follows is interesting- Or Sai Chi L'Onore is strong, but lyrical. Gruberova sang a mean Donna Anna live and this is strong evidence for how good she was it in that role. Non mir dir is overdone and swooned somewhat, but it still works.
Another Mozart aria that follows, Dalla sponda tenebrosa, is good too, if overswooned again, and Vorrei spiegarvi gives us more of Edita's trademark top notes and lyrical poise, and some high octane energy- this is a live recording and the ovation at the end is well earned.
What doesn't quite work is the rest of the album; Ah, se in ciel is flat in places, Lucia's scene is overdone and overcrooned in the worst way, Violetta's scene is cut in half and bland. The end piece, Klange der Heimat by Strauss is OK, just about that.
Gruberova was a veritable force on opera stages- still is, but this is a mish mash collection, exciting in places but uneven. Another CD she released, the "The Art of Coloratura" has more interesting choices, but the cover that is even worse. Take your pick.

A contrary view.......2003-09-14

I'm a great fan of coloratura singing and have samples of just about all the great coloratura sopranos (Sutherland, Sills, Pons, Grist, Dessay, et al) and I must admit that Gruberova is one of the best. However, I must say her voice leaves me somewhat cold - very little vibrato and lot of scooping makes about 50% of her notes something less than "spot on", which is distracting. In particular, her "Vorrei spiegarvi, o Dio!" is, in my mind, a tragedy. Her intonation is shaky throughout and the scooping and crooning is horrendous! If you want to hear a truly great rendition of this really challenging number, listen to Beverly Sills' studio recording (included on "The Singers: Beverly Sills"). Talk about amazing!

Don't mean to rain on anyone's parade (for Gruberova is a truly fine singer and many of the tracks on this album are worth hearing), but just felt compelled to point out another view on "Vorrei. . .", particularly.

When will I hear her challenged!!.......2003-06-02

All I can say is, I'm waiting for the day when I can hear Edita Gruberova challenged. Here, we have the most difficult repertoire of all time: advanced coloratura arias by Mozart, Strauss and Verdi that make Soprano's quiver, and Donizetti's most challenging creation of Lucia di Lammermoor -- and Gruberova sings it like ice cream! What I mean by that is that she has a ridiculously ease with it ALL. Everything I've ever heard is SOOO easy for this woman!

"Vorrei Spiegarvi, oh Dio!" is sung live and she just slays the audience. Pitch is absolutely perfect (she's showing off!) and tone is pure and beautiful. She even floats a rarely done high G in the middle just for the fun of it.

Her Lucia arias are by far among the most amazing interpretations in history. Though no one can beat Beverly Sills are far as pyrotechnic coloratura extra ornamentation, her truthful acting and easy popping high notes are remarkable! All of the written high notes at the end of phrasing sounds right smack in the middle of her range! You almost assume the key has been lowered.
What I found incredibly disappointing and cheated with, is that on this CD is from La Traviata: 'E strano! e strano ... Ah, fors e' lui.' But no where to be found is the END of this set of arias: "Sempre libera." "Sempre libera" is the high excitement climax of this and it's not included! But all aside, these are sung with utter compassion and emotional committment. I now intend to purchase a full version of Gruberova's Traviata.

Also memorable is Strauss' Die Fledermaus: 'Klange der Heimat.' Again, technical mastery and very easy high note at the end.

Customer Reviews:

Another Splendid Furtwangler Box in Original Masters Series.......2004-12-29

Let me start by saying it took me a while before I began to fully appreciate Wilhelm Furtwangler as a conductor. When I began collecting classical CDs, I realized early on that I preferred vintage stereo recordings to newer digital performances. However, historic mono recordings were a horse of a different color. I just couldn't select something that didn't sound very good as my one and only version of a given piece, even if it meant scrapping something as amazing as Furt's Beethoven 9th. But don't worry I have since come to my senses -- first, why own only one of a given work, and two, Furtwangler is indeed one of the master conductors of the 20th Century. And while I don't own dozens of his discs, I do now consider some of his recordings to be the best representations available (Schubert 9th, Schumann 4th -- see my reviews), despite the mono sound.

Anyway, recently I've picked up both of the Furtwangler Box Sets in DG's Original Masters series, and I certainly feel they were worthwhile purchases (and terrific values to boot). This latest set, "An Anniversary Tribute," features five discs of music and one interview disc (in German of course, rats!) in performances ranging from Bach and Gluck to Strauss' "Metamorphosen." However, serious Furtwangler fans should be aware that several of these selections have been available previously, and may duplicate their collection. In particular, there is a 1944 Bruckner 9th, most recently OOP on the Music & Arts label and fetching ridiculous prices in the Amazon Marketplace (thankfully, sanity is now restored), and a 1952 Brahms 1st available on DG 415 662-2, among others. Also of note, now that UNI owns both DG and Decca, there is a 1951 Schumann 1st with the Vienna Philharmonic that was originally released on Decca but is now included in this "DG" set. All in all though, this is another first rate set in the "Original Masters" series.

Average customer rating:

Ten Top Mezzos

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Bartoli, Cecilia | Divas | Opera & Vocal | Styles | Music

Horne, Marilyn | Divas | Opera & Vocal | Styles | Music

Ludwig, Christa | Divas | Opera & Vocal | Styles | Music

Von Stade, Frederica | Divas | Opera & Vocal | Styles | Music

Tracks:

Una voce poco fa (ll barbiere di Siviglia) - Cecilia Bartoli
Voi che sapete (Le nozze di Figaro) - Frederica Von Stade
Mon coeur s'ouvre a ta voix (Samson et Dalila) - Regina Resnik
But death, alas!...When I am laid in earth...With drooping wings (Dito and Aeneas) - Janet Baker
Non ho colpa, e mi condanni (Idomeneo) - Agnes Baltsa
Hore mit Sinn, was ich dir sage! (Gotterdammerung) - Christa Ludwig
O mio Fernando (La favorita) - Fiorenza Cossotto
O don fatale (Don Carlo) - Grace Bumbry
O del Mio dolce ardor (Paride ed Elena) - Teresa Berganza
Nacqui all'affanno...Non piu mesta (La Cenerentola) - Marilyn Horne

Average customer rating:

Magic of old 78 rpm recordings
An historical treat
An important part of any collection

Great Singers, 1909-1938

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Ponselle, Rosa | Divas | Opera & Vocal | Styles | Music

Galli-Curci: Prima Voce
Marcella Sembrich
Prima Voce - Covent Garden: An Early History on Record
The Very Best of Beniamino Gigli
The Very Best Of Maria Callas

ASIN: B0000037J2
Release Date: 1992-12-02

Tracks:

La Somnambula: Ah! Non Giunge - Luisa Tetrazzini
Pagliacci: No! Pagliaccio Non Son - Enrico Caruso
Lucrezia Borgia: Brindisi - Ernestine Schumann-Heink
Don Giovanni: Il Mio Tesoro - John McCormack
I Puritani: Son Vergin Vezzosa - Amelita Galli-Curci
Il Barbiere Di Siviglia: Largo Al Factotum - Riccardo Stracciari
Norma: Casta Diva - Rosa Ponselle
I Puritani: A Te O Cara - Giacomo Lauri-Volpi
Turandot: In Questa Reggia - EVA TURNER
Un Ballo In Maschera: Eri Tu - Lawrence Tibbett
Carmen: Habanera - Conchita Supervia
La Boheme: Che Gelida Manina - Beniamino Gigli
Samson Et Delilah: Softly Awakes My Heart - Marian Anderson
L'Amico Fritz: Suzel, Buon Di - Tito Schipa/Mafalda Favero
Refice: Ombra Di Nube - Claudia Muzio
Die Zauberflote: Dies Bildnis Ist Bezaubernd Schon - Richard Tauber

Customer Reviews:

Magic of old 78 rpm recordings.......2007-07-21

This excellent compilation of famous operatic pre-WW2 recordings start with a blast - Luisa Tetrazzini oompah-pah her way through Bellini with cartoonish abandon and her impact is such that nothing that comes afterwards can compare to her genius.Sure,they are all excellent in their way,after all we are talking about Caruso,Ponselle and Tauber here but its Tetrazzini I always return to and this CD inspired me to search for her own "Prima Voce" CD.Special mention: Richard Tauber who had a golden touch with everything and Marian Anderson who stand out.Excellent introduction.

An historical treat.......2007-04-19

This is a worthy addition to the collections of music from opera from the early part of the 20th century. Names that are famous come to life as one listens to their music; one comes to see differences in technique from the earlier part of the 20th century to today. This includes some of the greatest names in opera from the time period, such as Enrico Caruso, Beniamino Gigli, Amelita Galli-Curci, and so on. Let's consider a sampling. . . .

The redoubtable Luisa Tetrazzini sings "Ah! Non giunge" from Bellini's "La Sonnambula." We experience a different coloratura technique from that of the past 50 years; in itself, this makes this version interesting. The singer takes this song at a nice pace. Tetrazzini shows nice agility; her higher notes are cleanly hit in the first "go through." In the repeat, there is greater ornamentation. She uses higher notes as opposed to more trills and other florid techniques characteristic of the more recent past. There are some nice high notes toward the finale. She displays an attractive voice and good technique, although the c lose is a bit wild and wooly.

John McCormack sings "Il mio Tesoro" from "Il Trovatore." He shows a rich voice, although a bit wooden to me. The song is competently sung, but not much characterization comes through (compare with Stracciari's manic "Largo al factotum").

Amelita Galli-Curci, the well regarded coloratura soprano sings "Son vergin vezzosa," a piece well rendered by the likes of Joan Sutherland and Beverly Sills and Sumi Jo. Again, different technique from what we are used to, but nicely sung. She demonstrates a smooth and agile voice. The ornamentation is well done (if not as we are accustomed to). She hits some high notes, although the last one seems a bit thin. All in all, a nice version.

And then there is Riccardo Stracciari, singing the wonderful "Largo al factotum" from "Il Barbiere de Siviglia." He sings with great enthusiasm and creates a character with just his voice (mirabile dictu!). He begins at a quick pace and goes from there. His voice is attractive, with a nice lower tone. He seems to enjoy singing this; he also shows nice breath control. After his repeating "Figaro" many times, he then accelerates the pace of the music, putting the music into high gear. He hits the notes well, remains musical, and generates great energy. A terrific version (he's in the same league with Tito Gobbi, whom I think did a stellar job on this work).

Others? Gigli, Caruso, Marian Anderson, Tito Schipa, Richard Tauber, Lawrence Tibbett, Rosa Ponselle, and so on. This would be a very nice addition to the musical library of anyone who is interested in the voices from an earlier era. Despite the more primitive technology, the voices ring out and leave one with a sense of what once was in the world of opera.

An important part of any collection.......2002-01-18

While noone will rave about the sound quality of these recordings, they are none the less important documents regarding the transition of operatic style from the 19th to the 20th centuries. Most pieces are at a quicker tempo or edited due to recording restrictions of the time, however, these imperfections vanish when one hears the stunning diction and speed of Stracciari's "Largo" from Barbiere, or the halting dignity of Ponselle's "Casta Diva" foreshadowing Callas and Sutherland. Ernestine Schumann-Heink's glorious "Brindisi" and Marian Anderson's supple English version of "mon couer ouvre a ta voix" from Samson are beautiful examples of 19th century technique and vocalism captured by 20th century technology. Not to be missed!

Average customer rating:

A wonderful sampler of music

The Cambridge Singers Collection

Manufacturer: Collegium
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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

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

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

John Rutter Collection
Requiem & Magnificat/Rutter, Cambridge Singers
The John Rutter Christmas Album
Cambridge Singers a Capella
Awake

ASIN: B0000031IA
Release Date: 1993-06-14

Tracks:

Trois chansons de Charles d'Orleans: 1. Dieu! qu'il la fait bon regarder
Trois chansons de Charles d'Orleans: 2. Quant j'ai ouy le tabourin
Trois chansons de Charles d'Orleans: 3. Yver, vous n'estes qu'un villain
The Keel Row
The Willow Tree
Regina Caeli Latare: Regina caeli laetare
Ave Maria
Laudi alla Vergine Maria
Caroline Ashton: Magnificat In G
Te Deum In C
Remember Not, Lord, Our Offenses
Christe Jesu, pastor bone
O beatum et sacrosanctum diem
Lay A Garland
Fancies: Riddle Song
Five Childhood Lyrics: Sing A Song Of Sixpence
Suite Antique: Waltz (From Suite Antique)
The Wind In The Willows: The Wind In The Willows (Opening Extract)
Magnificat (First Movement)

Customer Reviews:

A wonderful sampler of music.......2005-09-23

This disc is a sampler of other Cambridge Singers discs. The tracks on the album were recorded at different times and places, including the regular venues for the Cambridge Singers such as the Lady Chapel at Ely Cathedral and the Great Hall of University College School, London.

--Music--
Selections on this disc come from eight different Collegium recordings, representing a wide range of the Cambridge Singers' work. Pieces here include secular and sacred work, ancient and modern. There are a cappella and accompanied pieces. Composers represented here include Stanford, Bruckner, Verdi, Debussy, Taverner and Purcell, as well as a number of pieces by John Rutter himself. The latter pieces include the first movement of Rutter's wonderful 'Magnificat'.

Guest performers include the King's Singers and the City of London Sinfonia, Richard Baker as a narrator and Wayne Marshall on the organ.

The music is very well done; Rutter's ear for tone and balance is superb, and his building of this ensemble of singers has retained a consistent beauty and grace through the years. Their best pieces are liturgical and religious pieces, but there is a good deal of power and fun in the secular and folk songs.

--Liner Notes--
The notes for this recording include the titles and words of each anthem or hymn. The notes for each piece also includes brief biographical information of the composer, and unique information about each work, when particular composers are represented more than once. One thing conspicuously missing is much biographical information about John Rutter, or any descriptive information about the Cambridge Singers apart from the most basic of information.

--John Rutter--
Rutter was born in London and educated at Clare College, Cambridge. This was where his career as a composer, arranger and conductor began. His early work was with groups at King's College Chapel at Cambridge as well as the Bath Choir and Philharmonic Orchestra. He has worked for the BBC providing music for educational series such as 'The Archaeology of the Bible Lands', until in 1979 he began forming the Cambridge Singers, and has continued a remarkable career of performance and recording as their director ever since.

--The Cambridge Singers--
The Cambridge Singers are a mixed choir of voices, many of whom were members of choir of Rutter's college, Clare College, Cambridge. While they specialise in English and Latin liturgical pieces, they have a wide range of recordings that span from modern compositions (including a remarkable requiem by Rutter) to English folk songs of the Middle Ages. Many are former members of the choir of Clare College and other Cambridge collegiate choirs (hence the name, Cambridge Singers). In the quarter-century since the founding, the Cambridge Singers have produced an impressive body of recordings.

Average customer rating:

This is supposed to be Verdi at his worst???
THIS OPERA IS GREAT
Great Early Verdi with an Enjoyable Performance

Giuseppe Verdi: Un Giorno Di Regno
Giuseppe Verdi , Lamberto Gardelli , Jessye Norman , Jose Carreras , Ricardo Cassinelli , Fiorenza Cossotto , William Elvin , Wladimiro Ganzarolli , Ambrosian Singers , and Vincenzo Sardinero
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Norman, Jessye | Divas | Opera & Vocal | Styles | Music
ASIN: B00000410H
Release Date: 1989-10-19

Tracks:

Overture - Royal Philharmonic Orchestra
Intro E Duettino: Mai Non Rise Un Piu Bel Di - Ambrosian Singers
Intro E Duettino: Tesoriere Garbatissimo - Ambrosian Singers
Scena E Cavatina: Sua Maesta, Signori - Ambrosian Singers
Scena E Cavatina: Compagnoni Di Parigi/Verra Pur Troppo Il Giorno - Ambrosian Singers
Recitativo: Al Doppio Matrimonio/Sire Tremante Io Vengo - Jose Carreras
Scena E Duetto: Provero Che Degno Io Sono/Infiammato Da Spirito Guerriero - Jose Carreras
Scena E Cavatina: Ah, Non M'hanno Ingannata!/Grave A Core Innamorato - Fiorenza Cossotto
Coro E Cavatina: Si Festevola Martina - Ambrosian Singers
Coro E Cavatina: Non San Quant'io Nel Petto/Non Vo' Quel Vecchio, Non Son Si Sciocca - Ambrosian Singers
Recitativo E Sestetto: Ebben, Giulietta Mia - Jose Carreras
Recitativo E Sestetto: Cara Giulia, Alfin Ti Vedo.../Recitativo E Terzetto: In Te, Cugina... - Jose Carreras
Recitativo E Terzetto: Bella Speranza Invero - Jose Carreras
Recitativo E Duetto Buffo: Quanto Diceste Mostra Un Gran Talento - Ambrosian Singers
Act I: Recitativo e Duetto buffo: Diletto genero, a voi ne vengo - Ambrosian Singers
Finale I: Tesorier! Io Creder Voglio/In Qual Punto Il Re Ci Ha Colto!/Affidate Alla Mente... - Jose Carreras

Tracks:

Coro Ed Aria: Ma Le Nozze Non Si Fanno? - Jose Carreras
Coro Ed Aria: Pietoso Al Lungo Pianto/Deh, Lasciate A Un'Alma Amante - Jose Carreras
Recitativo E Duetto: Bene, Scudiero, Vi Ritrovo In Tempo/Un Mio Castello!... - Jose Carreras
Recitativo E Duetto: Tutte L'Armi Si Puo Prendere - Ambrosian Singers
Duetto: Ch'io Non Posso Il Ver Comprendere? - Ingvar Wixell
Recitativo Ed Aria: Nipote, In Quest'istante - Wladimiro Ganzarolli
Recitativo Ed Aria: Perche Dunque Non Vien?/Si, Scordar Sapro L'infido - Ambrosian Singers
Scena E Duetto: Oh Me Felice Appieno!/Ah! Non Sia, Mio Ben, Fallace - Jose Carreras
Recitativo E Settimino: Si, Caro Conte! - Wladimiro Ganzarolli
Recitativo E Settimino: A Tal Colpo Preparata - Wladimiro Ganzarolli
Finale II: Sire, Venne In Quest'istante/Eh! Facciamo Da Buoni Amici - Wladimiro Ganzarolli

Customer Reviews:

This is supposed to be Verdi at his worst???.......2006-09-15

Most opera lovers know that this was Verdi's second opera and first fiasco. The failure of Un giorno di regno hit him so hard that he almost gave up his career as a composer. As reasons for the fiasco we are told that while Verdi was composing this opera buffa, his wife and two children died. It is understandable that someone dealing with such personal tragedy may not be in the best mental state to write a comic opera. And that is all most of us know about this opera.

But after hearing this recording, I think it is completely unfair to apologize on Verdi's behalf. Un giorno di regno is absolutely delightful. Sure, it's not hysterically funny, like Rossini's comic operas, but the music is extremely well-crafted. Verdi really did know what he was doing even though he was still in his 20s. Listen to the Marchesa's beautiful big aria in Act II, with its graceful chromaticism, ornamentation and cadenzas. It's gorgeous stuff, almost reminiscent of Bellini. There is plenty of wonderfully energetic music. Perhaps taking his cue from Rossini and La Cenerentola, Verdi wrote TWO wonderful buffo duets (Treasurer/Baron). Many of the pages of Il corsaro, Alzira, Attila and Giovanna d'Arco strike me as uninspired "filler". But I do not get that feeling with Un giorno di regno. I think Verdi did a great job... mostly...

Bless his heart, he did not quite know the capabilities of the human voice yet. The soprano roles are actually quite low, with the Marchesa regularly dipping down to low Cs, Bs and As. The soprano lead in Verdi's first opera, Oberto, also descends below the staff on a regular basis. The men's roles, however are all very high. Verdi did not write many high Cs for his tenors. I can think of one case in which Verdi asks his tenors to sing a high C: Otello ("cortigiaaaaaNA!") and a high D: I vespri siciliani. But here Verdi asks the tenor to sing a high C and hold it (in the act II aria). All three of the bass/baritone buffos regularly ascend to high Es, Fs and F-sharps.

Now, the performance. It's marvelous. First of all, Fiorenza Cossotto is just perfect as the Marchesa. Beautiful tone, personality, coloratura, high notes, low notes -- she's got it all. Not a single note is strained or forced. Jessye Norman is quite obviously out of her element here. Much of what she does is lovely and cute, but when surrounded by the likes of Cossotto and Carreras, it becomes apparent that she is simply not very idiomatic here. The Italian is not good, especially in recitatives. Her intonation is sometimes off. But one can hear that she is an intelligent singing actress.

Carreras is heavenly. In 1974 he was at the beginning of his career and the voice is handsome, full, unforced and soaring. The high C I mentioned earlier is magnificent! Ingvar Wixell does a great job as well. His voice is resonant, full of color and his delivery is appropriately humorous. He handles the high tessitura of his aria very skillfully. Vicente Sardinero was, I think, a very underrated artist. He had a glorious baritone, well displayed on the recording of Puccini's second opera, Edgar. Here he is the Treasurer and sings beautifully. Vladimiro Ganzarolli is the Baron. Gorgeous bass! He also handles the high tessitura wonderfully and infuses his delivery with great comic colors.

You just can't lose with this recording. The music is delightful -- a real testament to what Verdi was capable of, even in the worst of circumstances. This opera really needs no apology. The performances are great. The price is low. There is just no down-side. Get it and let us know what you think of it.

THIS OPERA IS GREAT.......2003-08-28

If you want to know what joy of singing is, try listening to this opera. It's really great. Terrific. You'll find joy in it, and you'll never think you've lost your money because you've bought it.

Great Early Verdi with an Enjoyable Performance.......2002-11-12

While this is not necessarily the Verdi most are familiar with, this second opera is still very much an enjoyable Verdian opera. It will not take long to recognize the Rossini influence, however Verdi has polished the style and has made it his own. Being one of only two comedies he composed, it's lighter tones will further differentiate it from what one is accustomed to, but Verdi seems quite comfortable with it. As for the performance, while I've only heard this one, I liked it very much.

Average customer rating:

Fascinating - but not Corelli at his very best
Amazing Corelli Rarities!
Another masterpiece from Franco CORELLI
Another masterpiece from Franco CORELLI
Thank You Decca

The Singers: Franco Corelli

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Heroes - Franco Corelli
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Tebaldi and Corelli: Great Opera Duets

ASIN: B00005NY7C
Release Date: 2001-09-18

Tracks:

Otello: Gia Nella Notte Densa - Franco Corelli/Teresa Zylis-Gara
La Gioconda: Ma Chi Vien?/Laggiu Fra Le Nebbie Remote - Franco Corelli/Remo Cambiati/Renata Tebaldi
Manon Lescaut: Tu, Tu, Amore? Tu? - Franco Corelli/Renata Tebaldi
Tosca: Dammi I Colori!/Recondita Armonia - Franco Corelli
Tosca: E Lucevan Le Stelle - Franco Corelli/Alfredo Mariotti
Francesca Da Rimini: No, Smaragdi, No!/Inghirlandata Di Violette - Franco Corelli/Renata Tebaldi/Les Chors Leman
Faust: Rien!... En Vain J'interroge - Franco Corelli/Nicolai Ghiaurov/Ambrosian Opr Chor
Faust: Quel Trouble Inconnu/Salut! Demeure Chaste Et Pure - Franco Corelli

Customer Reviews:

Fascinating - but not Corelli at his very best.......2007-06-13

There is always a special thrill in the inimitable tones of Franco Corelli, and I would sooner hear him at not quite his best than many another tenor at his peak, but there's no denying that the items from 1972, four years before his retirement, present him in slightly clumsy voice, with a slight beat intruding in his top notes, more sense of effort than we are used to hearing in his best recordings and the incipient lisp more apparent. Tebaldi, too, in her pre-retirement mezzo phase following her vocal crisis, is well past her best and often rather acid but still capable of providing heft and ample tone. The "Manon Lescaut" in particular is especially dramatic, sung, as it is here, by two real stage animals, and it is a double pleasure to hear Corelli tackle at least a part of that elusive "Otello" he never sang when partnered by the lovely, under-rated, Teresa Zylis-Gara. The mid-1960's items capture Corelli at his most convincing and more familiar best, fairly execrable French in the "Faust" notwithstanding.

I particularly loved the "Francesca da Rimini" excerpt as this is an opera I would cite as inexplicably neglected - perhaps because we don't have singers capable of doing justice to its visceral verismo melodies. (If you want this wonderful opera complete, try the late Olivero/Del Monaco version -two more great singers in the twilight of their careers, singing their hearts out. Tebaldi, in any case, gives Olivero a run for her money in terms of tender expressiveness.) I withold a star only because this is not the disc to present either Corelli or Tebaldi at their greatest - but it's still essential for their legion fans.

Amazing Corelli Rarities!.......2002-12-15

The real of joy of this recording, and what makes it different than most other Corelli recordings, is that it is largely material that he never performed live on stage. So while it's a joy to listen to it, one can't help but be sad by the fact that he never chose to perform these roles live.
On this disc, only Tosca and La Gioconda were in Corelli's repetoire, and they are well represented here. The disc opens with the famous love duet from Otello in which Corelli is partnered with the excellent Teresa Zylis-Gara. The audience goes wild- and no wonder why! All the elements are there- the romance, the passion, the heroism. Without a doubt, Corelli would have been an incredible Otello!
He is partnered with Renata Tebaldi, past her prime, in two duets. The first, from Manon Lescaut, finds Tebaldi trying to keep up with Corelli. There is, however, magic when the two of them sing together. The second is the challenging, but beautiful duet from Zandonai's Francesca da Rimini. Listen to Corelli's diminuendo when he sings "Francesca" at the end! You will have goosebumps.
He is heard also in Faust. Though his French was less than ideal, he still creates an excellent Faust and is well partnered by Nicolai Ghiarouv.
All in all, this disc is a must for any Corelli fan, or any opera fan.

Another masterpiece from Franco CORELLI.......2002-06-24

It is always a great pleasure hearing Franco Corelli singing, specially because he will never record again. Whatever we can find out recorded by him, studio or live performances, is wellcome. Once Franco Corelli stated that his live performances recording were far better than studio recording, which I absolutely agree with him. On live performances one can feel and hear how Franco Corelli set himself FREE when singing. In my modest opinion, there is no other opera singer like him. His voice, the way he performed when singing is absolutely outstanding. The beautiful pianissimos he introduced on his singing will assure to him and to everybody that he will never be forgotten for that achievement. No comparison with anyone else. He is unique. He changed the way Opera use to be sang and performed. Although no one is perfect, Franco Corelli did his best and made all the efforts possible to be almost perfect in what he was great: singing for us, all those who enjoy Bel Canto, Canto Lirico. Highly recommended.

Another masterpiece from Franco CORELLI.......2002-06-24

Thank You Decca.......2001-09-27

Franco Corelli fans should be so grateful. At last a recording company is releasing some wonderful classical material. Along with several of Franco Corelli's most loved arias this CD is a fabulous remastering of some of Franco Corelli's best (and least often heard) singing. There was, and never will be, a more exciting and thrilling tenor voice. I thought I had at least one example of every song that Maestro Corelli had recorded, but here is a fabulous duet from Francesca da Rimini - magnificent. The pairings with Renata Tebaldi sear the soul and heart as well as the ears. We will not hear voices like this again. The "Gia nella notte densa with Zylis-Gara has been restored beautifully and is a sad reminder of what we missed when Corelli chose not to record this Verdi masterpiece.

Tracks:

Cavalleria Rustica: Addio Alla Madre - Enrico Caruso
La Gioconda: Suicidio - Emmy Destinn
Nabucco: Vieni, O Levita...Tu Sul Labbro - Jose Mardones
La Favorita: O Mio Fernando - Margaret Matzenauer
Le Nozze Di Figaro: Se Vuol Ballare - Giuseppe De Luca
Il Barbiere Di Siviglia: Largo Al Factotum - Pasquale Amato
Romeo Et Juliette: Waltz Song Je Veux Vivre Dans Ce Reve - Geraldine Farrar
Romeo Et Juliette: Cavatina...AH! Leve-Toi Soleil - Dmitri Smirnov
La Boheme: Donde Lieta Usci - Frances Alda
Pagliacci: Quil Fiamma Avea Nel Guardo1...Stridono Lassu - Alma Gluck
Mignon: Adieu, Mignon - Alessandro Bonci
Lohengrin: Euch Luften Die Mein Klagen - Johanna Gadski
Marta: Chi Mi Dira (Porter Song) - Marcel Journet
Il Barbiere Di Siviglia: La Calunni E Un Venticello - Adamo Didur
Alceste: Fatal Divinita - Louise Homer
La Traviata: Ah, Fors' E Lui...Sempre Libera - Nellie Melba
Falstaff: Quand Ero Paggio - Antonio Scotti
La Chanson Des Baisers - Emma Eames
Lucrezia Borgia: Il Segreto Per Esser Felici (Brindisi) - Ernestine Schumann-Heink
Mignon: De Son Coeur - Pol Plancon
Linda Di Chamounix: O Luce Di Quest Amima - Marcella Sembrich

The Ultimate Opera Collection ~ Domingo, Te Kanawa, Carreras, Caballé, Baker and other great singers

Average customer rating:

a complimentary adition to an existing collection

The Ultimate Opera Collection ~ Domingo, Te Kanawa, Carreras, Caballé, Baker and other great singers
Giuseppe Verdi , George Frideric Handel , Christoph Willibald Gluck , Georges Bizet , Wolfgang Amadeus Mozart , Charles Gounod , Giacomo Puccini , Ruggero Leoncavallo , Gaetano Donizetti , Berlin State Opera Orchestra , Orchestre National de France , Strasbourg Philharmonic Orchestra , London Philharmonic Orchestra , Lyon Opera Orchestra , Lorin Maazel , James Conlon , Claudio Scimone , Alain Lombard , Raymond Leppard , Nello Santi , Pascal Verrot , Armin Jordan , Plácido Domingo , José Carreras , Julia Migenes , France Radio Choir , Marilyn Horne , I Solisti Veneti , Frederica von Stade , Kiri Te Kanawa , Giacomo Aragall , Rhine Opera Chorus , Dame Janet Baker , Glyndebourne Festival Chorus , Jules Bastin , Montserrat Caballé , Ruggero Raimondi , and Barbara Hendricks
Manufacturer: Elektra / Wea
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 | Opera & Vocal | Styles | Music

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German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

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

Horne, Marilyn | Divas | Opera & Vocal | Styles | Music

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ASIN: B000005E8I
Release Date: 1992-09-01

Tracks:

Aida: Celeste Aida
Bizet: Habanera
La Boheme: Your tiny hand is frozen
Serse: Ombra mai fu
Cose Fan Tutte: A guarda sorella
Gounod: Salut! Demeure chaste et pure
Gounod: Soldiers' Chorus
Gluck: Che faro senza Euridice?
Leoncavallo: Vesti la giubba
Cosi Fan Tutti: Soave sia il vento
Gounod: Jewel Song
Bizet: Toreador's Song
La Boheme: They call me Mimi
L'Elisir d'Amore: Una furtiva lagrima
Rinaldo: Lascia ch'io pianga mia cruda sorte
Turandot: Nessun Dorma
The Magic Flute: Queen of the Night's Aria
La Boheme: O soave fanciulla

Customer Reviews:

a complimentary adition to an existing collection.......2000-12-08

This C.D. compliments my collection nicelly, where it has a song I already have, it is by a different artist, orchestra or conductor. It is a very well researched and thought out C.D. I would recomend it to anyone who already loves Opera, and to anyone who is new to Opera. It has a wonderfull variety and is very high quality. Volume II of this series is equally worthwhile I might add, I bought them both on a whim, and have not been sorry.