Verdi, Cherubini, & Turina: Quartets

1. String quartet in E minor
Composed by Giuseppe Verdi
with Britten String Quartet , Peter Lale , Keith Pascoe , Andrew Shulman
Conducted by Peter Manning

2. String quartet No.1, in E flat major
Composed by Luigi Cherubini
with Britten String Quartet , Peter Lale , Keith Pascoe , Andrew Shulman
Conducted by Peter Manning

3. La Oración del torero, for lute quartet, Op 34
Composed by Joaquin Turina
with Britten String Quartet , Peter Lale , Keith Pascoe , Andrew Shulman
Conducted by Peter Manning

Tracks:

Caccini/Mercurio: Ave Maria
Mascagni: Sancta Maria
Gounod: Ave Maria
Schubert: Ave Maria
Franck: Panis Angelicus
Rossini: Cuius animam
Verdi: Ingemisco
Mozart: Ave verum
Wagner: Der Engel
Handel: Ombra mai fu
Niedermeyer: Pieta signore
Rossini: Dominus Deus
Schubert/Mercurio: Mille Cherubini in coro
Gruber/Mercurio: Silent Night
Wade: Adeste Fideles
Gloria a te, Cristo Ges

Amazon.com

When he was growing up, Andrea Bocelli recalls finding inspiration in a favorite recording of sacred music performed by tenor legend Franco Corelli. Bocelli--who in the meantime has come to inspire millions of fiercely loyal fans himself--returns to the genre as the guiding theme of Sacred Arias, the release of which coincides with the first English-language biography of the singer. These performances are filled with the singer's phenomenally well-known vocal signature: his flair for long, sweetly floating high notes and the gentle sense of cadence he brings to a melody. It's a mistake to compartmentalize Bocelli into a singer of "operatic" versus "popular" styles: in truth his approach is at heart the same. Lack of color and control in his phrasing remains a drawback, but the emotional empathy Bocelli evokes is never in doubt. The arias collected here sample some of the most famous devotional pieces: Schubert's "Ave Maria" and Mozart's transporting "Ave Verum," as well as an arrangement of "Silent Night" in which Bocelli tries out his English. There's also a decidedly odd choice of bedfellows for a program of "sacred" music, such as a song from Wagner's Wesendonck Lieder (whose "angel" is the object of an overpoweringly erotic attraction) and Handel's figurative ode to a tree, "Ombra mai fu." Still, Bocelli sings with an unfeigned directness that is sure to expand his already enormous following even further. --Thomas May

Customer Reviews:

Beautiful music.......2007-01-12

This is my second copy of this CD, I burned the first one out!!
Andrea Bocelli has a very gorgeous voice that is a gift from above. His voice is not affected or braggadoccio but naturally magnificent. I could and do start my day listening to this spiritually uplifting CD almost everyday. It is a wonderful way to get off to a pleasant peaceful start, but also a nice way to come home in the evening if you have a CD player in your car. I highly recommend it to all.

Andrea Bocelli-Sacred Arias.......2006-08-25

Excellent listening. Voice quality and tone is superb. Brings tears to my eyes when I envision listening to this in a church setting.

An "experience" of sacred arias more than "listening" of sacred arias.......2006-04-28

I bought this CD's special edition with DVD, and I am impressed by bocelli's singing in this album. I have heard many voices singing sacred songs, and christmas songs, but very few singers can achieve the "sacred atmosphere" that bocelli devotes when he sings. He may not have a "strong" voice as opera singers, but I think singing these sacred songs, devoting the "sacred atmosphere" to the audience is much more important, the voice actually is just a tool that helps a singer to achieve the result. For real, I have heard some CD by some chorus that perform sacred arias, but they did not move me as much as this CD does, mostly not even close. Personally I like "O come all ye faithful", "silent night", all "ave maria"'s, "domine deus", "cujus animam" the most. When I listen Bocelli's singing I focus on what he tries to devote in singing more than his voice color, because in terms of voice color he surely cant be compared with pavarotti or domingo, so why compares? The way of listening him and listening real opera singers is different man. But the reason I gave only this CD four stars is that I have heard several sacred arias from this album performed by his voice teacher, the legendary tenor Franco Corelli. I tried not to compare both...but I cant, not because Bocelli sings bad, he is already excellent, just Corelli is TOO excellent that cant be described by human language (well I think even Pavarotti is not even close to Franco Corelli, but this is just my opinion). Anyway if you want to "experience" the true beauty of sacred arias, this CD is highly recommended. And this is also a very good sacred aria album for beginning listeners who want to broaden their musical taste to sacred arias.

amazing talent.......2006-03-25

worth the price the songs are breathtaking and talent is indescribable

Perfect arias for the perfect voice.......2006-03-04

These are just terrific. How does Andrea acheive the range he does, and the power he has, without sounding too heavy or too light? His voice sounds like the perfect voice for these perfect arias.

I have noticed one concern with the CD. I have heard several clicks scattered here and there in the songs -- but the CD is clean and I feel confident it is not the machine. Has anyone else noticed this?

Sacred Arias [Special Edition with Bonus DVD]

Average customer rating:

A spiritual experience

Sacred Arias [Special Edition with Bonus DVD]
Andrea Bocelli , Giulio Caccini , Cesar Franck , Charles Gounod , Franz Xaver Gruber , George Frideric Handel , Jean-Paul Lecot , Eric Levi , Steven Mercurio , Wolfgang Amadeus Mozart , Louis Niedermeyer , Gioachino Rossini , Franz Schubert , Giuseppe Verdi , John Francis Wade , Richard Wagner , Myung-Whun Chung , and Santa Cecilia National Academy Orchestra Rome
Manufacturer: Philips
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ASIN: B0000CE9VO
Release Date: 2003-10-14

Tracks:

Ave Maria
Sancta Maria
Ave Maria
Ave Maria
Panis Angelicus - Norbert Balatsch
Cujus Animam
Ingemisco
Ave Verum Corpus
Der Engel
Frondi Tenere... Ombra Mai Fu
Pieta, Signore - Norbert Balatsch
Domine Deus
Mille Cherubini In Coro - Norbert Balatsch
Silent Night
Adeste Fideles (O Come, All Ye Faithful) - Norbert Balatsch
Gloria A Te, Cristo Gesu (The Hymn Of The Great Jubilee)
Agnus Dei
I Believe

Amazon.com

When he was growing up, Andrea Bocelli recalls finding inspiration in a favorite recording of sacred music performed by tenor legend Franco Corelli. Bocelli--who in the meantime has come to inspire millions of fiercely loyal fans himself--returns to the genre as the guiding theme of Sacred Arias. These performances are filled with the singer's phenomenally well-known vocal signature: his flair for long, sweetly floating high notes and the gentle sense of cadence he brings to a melody. It's a mistake to compartmentalize Bocelli into a singer of "operatic" versus "popular" styles: in truth his approach is at heart the same. Lack of color and control in his phrasing remains a drawback, but the emotional empathy Bocelli evokes is never in doubt. The arias collected here sample some of the most famous devotional pieces: Schubert's "Ave Maria" and Mozart's transporting "Ave Verum," as well as an arrangement of "Silent Night" in which Bocelli tries out his English. There's also a decidedly odd choice of bedfellows for a program of "sacred" music, such as a song from Wagner's Wesendonck Lieder (whose "angel" is the object of an overpoweringly erotic attraction) and Handel's figurative ode to a tree, "Ombra mai fu." Still, Bocelli sings with an unfeigned directness that is sure to expand his already enormous following even further. This new special edition includes two bonus tracks on a CD enhanced with a picture gallery as well as a full-length DVD of Bocelli in concert filmed at the Basilica of Santa Maria sopra Minerva in Rome. --Thomas May

Album Description

Special Edition includes enhanced CD with bonus tracks and concert DVD.

Customer Reviews:

A spiritual experience.......2003-11-27

The DVD is the full 77 minute concert with two featurettes previously released alone. The CD is the full 72 minute concert previously released alone, except that two bonus tracks have been added. The audio quality of each one is quite good. (If you have a Dolby Digital stereo, then you must go into the setup menu on the DVD to select Dolby Digital sound. The default music track is the stereo 2.0 sound.) The video quality of the DVD is astonishing.

Tracks:

Ecco: Respiro Appena. Io Son L'umile Ancella
Poveri Fiori
La Mamma Morta
Ebben? Ne Andro Lontana
L'altra Notte In Fondo Al Mare
Una Voce Poco Fa
Ombra Leggera
Dov'e L'Indiana Bruna?
Merce, Dilette Amiche
Dei Tuoi Figli La Madre
Tu Che Invoco Con Orrore
O Nume, Tutelar
Caro Oggetto

Customer Reviews:

Early Callas.......2007-05-12

This is a very fine representation of Maria Callas in her early prime. The voice is in great shape and this is a wonderful introduction to her artistry and range of styles, especially for interested parties who do not know her. This is a must to have in your vocal collection.

A litmus test for appreciating Callas.......2006-03-17

I can remember my shock at eightenn when I was on my own for the first time and could play any recordings I wanted without offending my non-musical family. I knew Maria Callas by reputation and bought one of her famous performances, Carmen, only to hear not a celestially beautiful voice but a hooded, murky one that wobbled in all registers and screeched in the upper ones. Everyone who first encounters her discovers that Callas was possessed of a mesmerizing artistry but nothing like a lovely voice. In fact, she disdained lovely singing. This is too well known to repeat again; everything about Callas has been over-described, analyzed, worshipped, condemned, apologized for, and obsessed over.

Her Carmen came late in her career, unlike this famous mono recording from 1954, but its close miking and hard sound (made better by remastering) reveal all too painfully the same flaws. It could serve as a litmus test for whether a listener will ever "get" the Callas phenomenon. Her artistry couldn't be more intense and searching than it is in the five verismo arias at the beginning--even non-opera lovers know her 'La Mamma Morta' from its heartbreaking use in the movie 'Philadelphia,' where the dying Tom Hanks acts out its meaning as he walks in a trance of ecstasy clutching his IV stand.

I have lain awake listening to those five arias every night for a month, and it says something for Callas's art that I can foresee listening to them again. Not now, perhaps, becasue even the best things wear out with repetiiton. I just thought it was good to pay tribute to them and the deep emotions they inspired. My incidental motive, since EMI has rehashed every Callas item to death, is to point out that this indeed is one of her greatest recordings, an essential not just for lovers of singing but for the history of opera itself.

Great recordings of the century A label this recording deserves.......2005-09-21

Recorded in September 1954 together with Puccini Arias. This recording shows the La Divina in the prime of her vocal abilities. This 1954 recording presents Callas with enormous range of musical styles in which the La Divina was entirely at home. This recording refects Callas ability not just to sing but to put drama in every aria. I am happy that finally EMI gave this recording the recognition in it deserves "Great Recordings of the Century". For those who do not want to purchase the Recitals 1954-1969 [BOX SET] or plans to buy the recital collection one buy one , I strongly suggest to purchase this edition, the cover has the original cover artwork of the original LP (very nostalgic).

Verdi: Requiem Mass; Cherubini: Requiem in C minor

Average customer rating:

Theatrical Verdi, ravishing Cherubini
I'm satisfied.
All-out operatic, no holds barred

Verdi: Requiem Mass; Cherubini: Requiem in C minor

Manufacturer: EMI Classics
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Binding: Audio CD

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Dvorák: The Masterworks [Box Set]
Missa Solemnis in D major, op.123

ASIN: B0002Z83M0
Release Date: 2005-02-15

Tracks:

Requiem Aeternam
Kyrie Eleison
Dies Irae
Tuba Mirum
Mors Stupebit
Liber Scriptus
Quid Sum Miser
Rex Tremendae Majestatis
Recordare
Ingemisco
Confutatis Maledictis
Lacrymosa Dies Illa
Domine Jesu Christie
No.4 - Sanctus
No.5 - Agnus Dei

Tracks:

No.6 - Lux Aeterna
No.7 - Libera Me
Introitus Et Kyrie - Ambrosian Chorus
Graduale - Ambrosian Chorus
Dies Irae - Ambrosian Chorus
Offertorium - Ambrosian Chorus
Sanctus - Ambrosian Chorus
Pie Jesu - Ambrosian Chorus
Agnus Dei - Ambrosian Chorus

Customer Reviews:

Theatrical Verdi, ravishing Cherubini.......2007-04-21

Listeners may be familiar with Riccardo Muti's 1987 La Scala recording of the Verdi Requiem featuring Studer, Zajic, Pavarotti, and Ramey (a wonderful album but a bit pricey). This earlier recording (June 1979) with the British is, fortunately or unfortunately, quite a different rendition.

Muti's 1987 recording featured brilliant but well-disciplined singing. In this 1979 album, however, the discipline seems to have been left outside the recording studio.

Words are grossly mispronounced, soloists are often a bit flat, and some of the vocalizing is uncomfortably forced. There is also a lot of use of ritards that sometimes sound overdone.

But what made up for these drawbacks - and why I really LOVE this CD! - was the no-holds-barred theatricality. If you want a performance that is every bit as operatic as Verdi never wanted it to be, if you want every human emotion front and center, if you want a reading that couldn't care less about all those vocal niceties that music teachers charge so much to teach - well, here it is!

The CD fools you at first. The opening Requiem chorus is barely audible, as is often the case. But suddenly you get punched in the face with the angriest, most violent "Te decet" basses you've ever heard. Forget the usual hymn-like treatment this passage normally gets. These hymnists are carrying sledgehammers.

When the four soloists enter for the Kyrie, they leave no doubt that this really is going to be Verdi's "greatest opera." I have never, ever heard the Kyrie opening with such prima donna bombast.

Veriano Luchetti had recorded the Verdi Requiem just two years earlier with Georg Solti and Leontyne Price. He was theatrical then, and still is. It's a real pleasure to hear him go full voice in places like Quid sum miser and Hostias.

Agnes Baltsa would later record a marvelous Verdi Requiem with Herbert von Karajan (1984). Her big, powerful voice still rings with Muti.

Evgeny Nesterenko is a star of the Russian opera world. In 1979, he was no doubt the Jerome Hines of the USSR. Of all the Verdi Requiem basses I've heard, Nesterenko is one of my favorites. His pronunciation will make purists cringe, though, and half the time he sounds like he's singing through his nose. But his monumentally deep bass sound and swooping vocal theatrics are so much fun to listen to!

While all of the soloists did their part to maximize the drama, I think Renato Scotto gets first prize. Her Recordare is the weepiest I've ever heard, with lots of pop-music style inhaling to add to the emotion. In the Lacrymosa, you can almost see the tears coming down; you'd think you were watching the final scene of Madama Butterfly. In the Libera Me, she sounds frightfully angry, like she's ready to punch God in the face. Scotto has a huge voice with a bit of a wobble; she is recorded extremely well here.

The Ambrosian Chorus, like the La Scala Opera Chorus several years later, had their hands full with Muti's lightning-fast tempos. Practically all the choral highlights (Dies Irae, Sanctus, Libera Me fugue) are done at frightening speeds which this chorus handles with great control. The sopranos are strangely over-miked at times: during the Libera Me fugue, their long sustained notes were distractingly loud and detracted from the main melody line.

The Philharmonia Orchestra does well, but even they can only do so much. Muti conducts the Dies Irae so quickly, that the strings literally have to slow down ever so slightly so they can negotiate the virtuosic runs. The brass sound great throughout, but sometimes they are over-miked to the point where they drown out the chorus.

Luigi Cherubini (1760 - 1842) wrote two requiems. The first, the Requiem in C Minor, was written in 1816 in France. If you've never heard a requiem that has no soloists, I strongly recommend this performance by Muti, the Ambrosian Chorus and the Philharmonia Orchestra (recorded July 1980, London).

Cherubini was a contemporary of Mozart's, so comparisons are inevitable. Mozart never came close to finishing his requiem; Cherubini's score is complete from cover to cover. Personally, I was totally enchanted with this setting and am at a loss as to its infrequent recordings and performances.

The Cherubini Requiem lasts 48 minutes. The opening Introitus and Kyrie were subdued and very moving, quite unlike Verdi's version. The Dies Irae was a powerful statement, proving that a good chorus and orchestra are all you need to depict Judgment Day.

The Offertorium, at 16'33", was the longest movement. It features a heavenly setting of the phrase "sed signifer sanctus Michael" and a rousing setting of "Quam olim Abrahae" that must surely have lifted the audiences off their chairs.

The Sanctus is short (only 1'20") but is overwhelming in its majestic sweep. The requiem finishes with a dramatic setting of the Agnus Dei that might surprise some modern ears.

The Ambrosian Chorus makes the most of this exhilirating score; they are a joy to listen to. Muti and the Philharmonia seem to have put the Verdi behind them, and have formed a satisfying partnership that makes this precious music shine.

No texts or translations. This 2004 album was released earlier in 1996.

Highly recommended.

I'm satisfied........2007-01-23

Thank you all very much for posting to me this CD. Everything went well, and got my CD in my hand in no time. I will purchase from here in the future.

All-out operatic, no holds barred.......2006-09-27

On its first CD release The Gramophone's reviewer ranked Muti's first Verdi Requiem from the early 80's as among the top ten ever recorded. Put another way, there are nine better, but in the LP era some critics found this performance so compelling that it was ranked No. 1 on many lists. Where did this exaggerated praise come from?

First, the professional Philharmonia chorus sounds superb, singing with wonderful unity and musicality (though not with Verdian fervor). All of the soloists are exemplary except for the aging Scotto--she was the greatest artist among them but not the spinto-dramatic soprano required here, or the alternative lyric soprano one sometimes hears (e.g., Schwarzkopf).

More generlaly, this was a hot shot's Requiem, eschewing spirituality for raw power and impact. Muti's Dies Irae and Sanctus were exhiliratingly fast. Memories of the fiery Toscanini were recalled. Now the Dies Irae seems like a pardoy as it races past. To tell the truth, the one thing that riveted my attention, despsite the wobble in her voice, was Scotto's tragic, almost wild solo singing. Muti's second try in the Nineties delivered a tamer reading, but this one can stand as a tribute to his early promise as Toscanini's all-too-brief successor.

Leonie Rysanek, Live Recordings 1955-1991

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Leonie Rysanek, Live Recordings 1955-1991

Manufacturer: Orfeo D'or
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ASIN: B000PSJCGA
Release Date: 2007-05-29

Average customer rating:

Just the best of the best.

Maria Callas Live

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Lyric & Coloratura Arias by Maria Callas (EMI's Great Recordings of the Century)
Maria Callas - At Covent Garden 1962 and 1964

ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Arturo Toscanini: NBC Symphony Orchestra- Vol.XI

Average customer rating:

A Singer's Verdi
A remastering to rejoice over
Despite the sound, impressive!!
New sound is a major improvement
At long last, Toscanini's recordings are somewhat listenable

Arturo Toscanini: NBC Symphony Orchestra- Vol.XI
Cesare Siepi , Giuseppe di Stefano , NBC Symphony Orchestra , Robert Shaw Chorale , Giuseppe Verdi , Luigi Cherubini , and Herva Nelli
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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Similar Items:

Schubert: Symphonies Nos. 5, 8, 9; Mendelssohn: Symphonies Nos. 4 & 5
Arturo Toscanini: Great Symphonies, Vol. 6
Brahms: The Four Symphonies
Toscanini Conducts Verdi: Two Sacred Works: Requiem Mass & Te Deum
Arturo Toscanini: The Complete Philadelphia Orchestra Recordings 1941-42

ASIN: B00004R8MF
Release Date: 2000-04-04

Tracks:

I. Requiem & Kyrie
II. Dies Irae: Dies Irae
II. Dies Irae: Tuba Mirum
II. Dies Irae: Mors Stupebit
II. Dies Irae: Liber Scriptus
II. Dies Irae: Quid Sum Miser
II. Dies Irae: Rex Tremendae
II. Dies Irae: Recordare
II. Dies Irae: Ingemisco
II. Dies Irae: Confutatis
II. Dies Irae: Lacrymosa
III. Offertorio: Domine Jesu Christe
III. Offertorio: Hostias
IV. Sanctus
V. Agnus Die
VI. Lux Aeterna
VII. Libera Me: Libera Me, Domine
VII. Libera Me: Dies Irae
VII. Libera Me: Libera Me, Domine

Tracks:

Four Sacred Pieces, No.4: Te Deum
I. Introitus Et Kyrie
II. Graduale
III. Dies Irae
IV. Offertorium
V. Sanctus
VI. Pie Jesu
VII. Agnus Dei

Customer Reviews:

A Singer's Verdi.......2006-02-09

Although Verdi really challenges singers in so much of his music, there's no question that he wrote well for the voice. This is quite apparent in Toscanini's January 1951 broadcast concert of Verdi's "Requiem." Having performed this music, this writer can attest that this is a recording to treasure. The soloists are outstanding (probably singing their best), the chorus is excellent, and the NBC Symphony plays as well as it ever did. The added excitement is in hearing a live performance, without any retakes, and the incredible drama and emotion of the music in Toscanini's hands.

Yes, Toscanini actually yells during the "Tuba mirum," as the brass blares its terrifying call, just before the chorus enters fortissimo. Was Toscanini urging on his performers? Certainly this is overwhelming music. My former choral director told us that Verdi wrote with a sense of fear as the approaching Day of Judgment, even if the composer notoriously despised organized religion. Did Verdi fear God's anger and judgment? He certainly had a healthy respect for divine providence and this performance displays that.

Some listeners complain that this is just another Verdi opera. It's true that it sounds a lot like "Aida," which was composed within a few years of this work. However, Verdi used the musical language he understood; there is a definite sense of drama throughout the music, even as he treats the traditional Latin text with great respect and even awe.

The performance took place on the 50th anniversary of Verdi's death, a date that Toscanini would long remember because of his close relationship with the composer. Toscanini was asked to lead the musical forces at Verdi's funeral in January 1901. By 1951, when this Carnegie Hall performance took place, Toscanini must have wondered how much time remained for him. He was to have some serious health problems during that year and his long-suffering wife, Carla, would finally pass on. Certainly, as the years had passed, the Requiem took on greater significance as a lasting memorial, not only for Verdi's friend Manzoni but for Verdi's own prestigious career.

The recurring setting of the "Dies Irae," the Day of Wrath or Day of Judgment, with its pounding bass drum characterizes this powerful music. The choral singing is particularly difficult at those times and the singers here are outstanding. The very challenging double chorus singing during the "Sanctus" is especially good with its lightning-speed precision. Yet there are also sensitive, even sweet, moments, culminating with the soprano's more hopeful singing during the "Lux aeterna" or "Eternal Light," leading finally to the "Libera me," in which the chorus joins in hushed tones. Herva Nelli seldom sang as well as she did in those closing moments. The music always has left this listener with a sense of peace, probably as Verdi intended.

This 1951 recording may have been surprassed by the later stereophonic recordings (especially by Sir Georg Solti), in which Verdi's spectacular use of brass and percussion are absolutely amazing, but this is a performance that is closer to Verdi's own intentions.

Near the very end of Toscanini's long career, he conducted Verdi's very last work, a setting of the traditional hymn "Te Deum." This took place on March 14, 1954, in an NBC concert which also included one of Vivaldi's concerto grossos and the prologue to Boito's "Mefistofele." It has long been said that this was the last great concert that the Maestro conducted because of his overwhelming emotions over his impending retirement and the abandonment of the NBC Symphony. Indeed, the two concerts that followed this one were not up to Toscanini's usual standards, which is particularly unfortunate because they were the only time that Toscanini and his orchestra were taped in stereo.

The Robert Shaw Chorale, which had sung so well in the Verdi "Requiem" three years earlier, shone particularly bright in Verdi's "Te Deum." The singers and the orchestra succeed briliantly during the many mood shifts of the music, as Verdi imaginatively scores the powerful text. What a wonderful, moving, and enjoyable performance!

Toscanini had a particular fondness for the music of the early Italian romantic composer Luigi Cherubini and this is quite apparent in his performances both of the "Requiem" and Cherubini's only symphony. The performance is from NBC Studio 8-H with exceptionally good sound.

A remastering to rejoice over.......2005-12-12

I've heard before-and-after examples of BMG's amazing remastering job on the old Toscanini archive, and this Verdi Requiem is one of the very best. Despite the original microphone placement, which puts the chorus a bit too far back and the inner woodwinds too close, those are quibbles compared to the vibrant solo voices and the sudden expansion of space compared to the pinched acoustic we've winced over for fifty years.

This is a work that Toscanini has only himself to compete with. He didn't take a revernet approach to the Requiem--the whole cast of Aida has taken a wrong turn and wound up in church. Much of the time the soloists are clearly competing, and why not? Siepi, Di Stefano, and Barbieri in full voice are magnificent. Herva Nelli had no significant career on records aside from those with Toscanini, but she comes across here as a secure, committed dramatic soprano.

That Toscanini's reading fits on one disc testifies to its fiery tempos and untethered drama. The Robert Shaw chorale wouldn't be bettered until professional choruses became the norm in following decades; too bad they are the least audible aspect of the recording. I think this Verdi Requiem must be judged a first-choice, along with the Debussy La Mer, among the newly remastered "Immortal" series that I've encountered so far.

Despite the sound, impressive!!.......2004-05-19

A friend of mine listened to this CD and said: "Puff, it is hard to make a deconvolution between the trumpets and the rest of the orchestra"... That is, soloists are perfectly catched, but trumpets in Tuba Mirum fill everything and you cannot hear the chorus just in the beginning. Violins are hardly audible in some parts but, on the whole, it is a very, very great performance. First, you can make a comparative with famous Giulini's Requiem, stereo sound, and it is incredible to see that his Kyrie is slower than Tosca's, losing all the strength and frenzy environment that Tosca achieves. But, Giulini's goes revved up in Dies Irae, much more that Tosca's, and again loses enchantment. Tuba Mirum is much more the same tempo for both. Briefly, Tosca yields a more uniform performance than Giulini and that is why this performance catches you up with emotion and strength. It is sublime, pity for the mono and loudness of the trumpets. Regarding the soloists, Di Stefano is simply gorgeous. His top register is brilliant here, and his phrasing seductive as ever. But when you go to Hostias, it is "perfection". I have listened to it 20 times or more, incredible his singing there. In Giulini's, Pavarotti is sensational too, but Di Stefano is capable to touch the Heaven itself. The bass, Siepi, is attractive in all his register with his widened rich voice. Herva Nelli sounds like Callas, yes, in certain low tones, and, for the mezzo, Barbieri, compare to the Giulini's one in Kyrie. She is more "menacing and loose" when singing "Christe", ...

In summary, a great performance, that maybe, is the Reference.

New sound is a major improvement.......2001-06-21

I bought the 1990 remastering of the Verdi "Requiem" but after one or two times, I did not listen to it very often, since the sound was compressed and the loudest passages were badly distorted. This new remastering is a significant improvement over the older one, and allows the listener to really enjoy the performance, unhindered by sonic annoyances. The performance was a live radio broadcast, with all of the intensity and power that the best such performances can have. Highly recommended as the definitive "historical" performance of the Verdi "Requiem".

At long last, Toscanini's recordings are somewhat listenable.......2000-07-10

I have enjoyed Toscanini's performances of classical music since I was a teenager, now almost 35 years ago, but I was never very happy about the thin, shrill sound of his recordings. Why did they sound so bad? It took me years to discover that, unlike Stokowski or Koussevitzky, Toscanini had no interest in the technical side of making records. As long as he could hear all the orchestral "voices," he was content, if not entirely happy. This left the technical end of the business up to various producers and engineers at RCA, many of whom had their own crackpot ideas about how to position microphones. (Please remember, the early RCA Opera Series LPs sounded just as thin, shrill and dry as Toscanini's recordings; remember the Reiner "Carmen," or the Cellini recordings of "Rigoletto" and "Il Trovatore.") What this did was compress the tremendous crescendos that Toscanini achieved, turning them into crunching sounds that simply overwhelmed the microphones. And then, when these tapes were processed into LP discs, they compressed the sound even more, with the result that Toscanini sounded as if he were conducting a military band in your bathroom instead of a real, live symphony orchestra in Carnegie Hall.

With the advent of 20-bit remastering, however, and the dedication of real music-lovers intent on restoring (as much as possible) the sound of the original tapes, RCA has issued a mere 24 CDs of the Toscanini legacy in this new format (in 12 2-CD sets). Luckily, the series includes his Beethoven symphonies, which were landmarks of the time, as well as Italian orchestral music that meant a lot to him (see listings). And it also includes these 1950-54 performances of the Cherubini Requiem, as well as the Verdi Requiem and Te Deum.

Words cannot describe how wonderful this Verdi Requiem sounds, especially in comparison to the original LPs (may they rest in pieces). Only in two or three places do the massed sound of choirs, brass, strings and percussion have the "nasty" crunching sound as in the past. Otherwise, even in the "Libera me," the percussion and brass sounds wonderfully natural. And, finally, one can hear the natural Carnegie Hall ambience around the voices of the soloists, Herva Nelli, Fedora Barbieri, Giuseppe DiStefano and Cesare Siepi, who are all in fabulous voice.

As for the performance: I have been told by many Toscanini experts that his 1940 performance with Milanov and Jussi Bjorling far surpasses this one, but I once owned that recording and don't you believe it. Granted, the "Ingemisco" and "Offertorio" are swifter and tauter here than in the 1940 recording, but they sound wonderful in context. Indeed, I found myself both emotionally moved and intellectually satisfied by this Requiem as I have been by no other...not even the great Giulini and Karajan recordings. For the first time EVER, I perceived an underlying structure in the work, rather than just hearing it as a sort of suite of interesting but disconnected fragments. I also heard orchestral details that passd unnoticed in even the best digital stereo versions, i.e. sinister oboes and bassoons in the earlier sections, pizzicato strings in the "Libera me." Please, please believe me, this is a MIRACULOUS performance.

Tracks:

Don Giovanni: Non mi dir (Act II)
Don Giovanni: Non mi dir (Act II) - Master Class: Kyu Do Park
Don Giovanni: Non mi dir (Act II) (With Recit: 'Crudele...')
Fidelio: Abscheulicher! (Act II) - Master Class: Pamela Hebert
Medea: Dei tuoi figli (Act I) - Master Class:Luba Tcheresky
Medea: Dei tuoi figli (Act I)

Tracks:

Norma: Casta diva (Act I) - Master Class: Pamela Hebert
Norma: Casta diva (Act I)
Il Barbiere di Siviglia: Una voce poco fa (Act I) - Master Class: Syble Young
Il Barbiere di Siviglia: Una voce poco fa (Act I)
Rigoletto: Cortigiani, vil razza dannata (Act II) - Master Class: Sung Kil Kim
Don Carlo: Nei giardin del bello (Act II) - Master Class: Sheila Nadler

Tracks:

Werther: Qui m'aurait dit...Des cris joyeux (Act III) - Master Class: Anita Terzian
Werther: Qui m'aurait dit...Des cris joyeux (Act III)
La Boheme: Si, mi chiamano Mimi (Act I) - Master Class: Kyu Do Park
La Boheme: Si, mi chiamano Mimi (Act I)
Madama Butterfly: Che tua madre (Act II) - Master Class: Akiko Ikuo Hayashi
Madama Butterfly: Che tua madre (Act II)
Callas' Farewell To The Students

Customer Reviews:

Fantasic.......2006-09-26

This is the first time I have heard Callas speak outside of operatic performance, and even in her normal speaking voice you Listen. It is amazing to hear this passionate teacher share her love of music, and in mid-sentence come out with examples of her singing - like a higher power.
I highly recommend this to true music lovers and musicians.

Sorry, not that impressed........2006-09-21

If you are a voice major, then buy this set. It is more instructional perhaps in that sense. But for true enjoyment? It is just not for me.

Take the money you would spend on this set and buy the LA DIVINA CALLAS set. Well worth the money if you want to hear the divine Miss Callas. There are also numerous EMI classic sets out there for her opera performances that I think would be much more of an enjoyable listening experience than the Julliard recordings.

MUST have 4 Callas fans and singers!.......2005-12-11

This is a treasure recording! Totally an amazing! I'M THRILLED!!!
My favorite part is the "Cortigiani, vil razza dannata" lesson! It is interesting how Callas is teaching Baritone part and she is absolutely amazing! I cry almost everytime I listen to this track. You will learn a lot! A MUST have!

AN INVITATION INTO CALLAS' WORLD.......1999-05-17

Long acknowledged for its contribution to the teaching of singing, Callas at Juillard is indeed worth a listen. Recorded during her sessions at Juillard, Callas goes through the sung repertoire ranging from Mozart to Bellini to Verdi with both roles that she was famed for as well as roles that she had never sung. What is special about this record is that each session covering an aria is paired up with the same aria as performed previously by Callas if possible. This allows us to compare the differences that may have resulted in the gap of the performances. Callas shows us the insight she had gained as a student while she took a sabatical from the stage and takes this as an opportunity to impart her experience and knowledge to the students. Covering arias like "Non mi dir" from Don Giovanni, Norma's "Casta Diva" which was her calling card, to even the veil song for Princess Eboli in Don Carlos and even Rigoletto's aria, Callas reveals her natural instinct and understanding of roles and how they are to be sung. At a time while she was not in her vocal prime, Callas astounds when she accompanies the students demonstrating a phrase or two. Her voice still shows the beauty and tenacity that she was known for, at times matched that of her voice at its peak. Peppering the sessions with comments, she shows the students what is done and why it is done and at times, even shows her sense of humour. This recording is as precious as any can get and more so than any of her records, show Callas at her most relaxed and natural and thereby at her best. Combined with John Ardoin's book, this CD is unmatched for its value and worth as a study guide.

Average customer rating:

The single greatest recital CD from Callas

Maria Callas: Opera Arias

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | 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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000002RNU
Release Date: 1990-10-25

Customer Reviews:

The single greatest recital CD from Callas.......2005-09-27

This is Callas in her prime, and every single selection sets the standard for that aria. Her famous La mamma morta from Andrea Chenier, the centerpiece of an unforgettable scene with the dying Toms Hanks in the movie Philadelphi, comes from this recital. In eveyr respect this is a supreme recording, matched only by her mad scenes recital and perhaps her first Verdi recital--they're are all indispensable.