All' Italiana

1. Work(s) Sonata in D major for flute and harp
Composed by Luigi Boccherini
with Ellen Wegner

2. Variations (5) on Rossini's "Dov'è mai quel core amante" for flute solo
Composed by Saverio Mercadante

3. Sonata for flute & harp in G minor Larghetto
Composed by Gaetano Donizetti
with Ellen Wegner

4. Sonata for flute & harp in G minor Allegro
Composed by Gaetano Donizetti
with Ellen Wegner

5. Variations on Carafa's "Ombra che a me d'intorno" for flute solo
Composed by Saverio Mercadante

6. Work(s) Unspecified Allegretto in C major for harp solo
Composed by Gioachino Rossini
with Ellen Wegner

7. Sonata for harp in E flat major Andantino
Composed by Gioachino Rossini
with Ellen Wegner

8. Sonata for harp in E flat major Allegro brillante
Composed by Gioachino Rossini
with Ellen Wegner

9. Andante and Variations on "Di tanti palpiti," for violin (flute) & harp in F major, QR vi/1
Composed by Gioachino Rossini
with Ellen Wegner

10. Il Pifferaro, Op 122
Composed by Cesare Ciardi
with Ellen Wegner

11. Sarabanda & Toccata for harp
Composed by Nino Rota
with Ellen Wegner

12. Sonata for flute & harp
Composed by Nino Rota
with Ellen Wegner

Tracks:

L'amour Est Un Oiseau Rebelle (Habanera)
Mon Coeur S'ouvre A Ta Voix
Eccomi Al Fine In Babilonia
Cruda Sorte!
Hence, Iris, Hence Away
Dove Sei, Amato Bene?
Che Disse! Che Ascoltai!
Addio, Addio O Miei Sospiri
O Pretres De Baal... O Toi, Qui M'abandonne
Elle Est La! Pres De Lui!
Mura Felici
Tanti Affetti

Tracks:

Superbo Di Me Stesso
Il Segreto Per Esser Felici - London Symphony Chorus
Mi Chiami, O Norma!
Deh! Con Te, Con Te Li Prendi
Mira, O Norma
Si, Fino All'ore Estreme
Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
Non Son Tuo Figlio? - Luciano Pavarotti
Mal Reggendo - Luciano Pavarotti
E Un Anatema! - Renata Tebaldi
Nacht Und Traume, D 827
Abendlied
Traume
Jesus De Nazareth
Shenandoah
I Bought Me A Cat
The Lord's Prayer
Somewhere
At The River (Lowry)
Jeannie With The Light Brown Hair

Customer Reviews:

Marilyn Horne scintillates.......2007-05-20

This 2-CD set includes 32 separate "cuts." Thus, it provides a perspective on the broad range of works that Marilyn Horne mastered. While some pockets of work may be given somewhat short shrift (e.g., Rossini), overall this shows off her skills nicely. Born in Bradford, Pennsylvania (one of the coldest places in the nation during winter), she made her operatic debut in 1954. In liner notes copyrighted in 2003, she notes that: "Can't believe it's time for a 70th birthday celebration. . . ." And neither can I, since I recall hearing her perform at the Met (via the old Texaco opera show), and it does not seem all that long ago!

Some cuts well depict her artistry across a range of genres and composers.

The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.

"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.

From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.

Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.

"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.

From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."

Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.

And so on.

Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.

One Of The Greatest Voices of All!.......2006-01-29

I am not the only one who regards Marilyn Horne's voice as exceptional. During the seventies and eighties she was regarded by The New York Times Music Critic as possessing the greatest voice of our time. One only has to sample this "golden" collection to prove how right he was. Her "mezzo" handles Handel and Rossini like no other. Brava all the way (To say nothing about Dalila's famous aria!) And I must even mention her "Jeannie With the Light Brown Hair". This is a two CD that is a MUST for those who appreciate the glories of the human voice (To say nothing about the warmth and spirit than accompany it.)

Not 100% satisfied with the selections, but what artistry!.......2004-11-03

Decca's release of this career-spanning Marilyn Horne recital contains many "golden" nuggets, but isn't the absolute best representation of her artistry, in my opinion.

There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.

In summary:

The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!

From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.

Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.

The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.

After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.

The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!

Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.

The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.

All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.

Vive Madame Horne !.......2004-01-09

Je suis soufflée, et tout bonnement reconnaissante à Decca pour avoir sorti cette compil qui rend si bien honneur à une des mes interprètes préférées. Voix de velours, aisance dans le grave et médium unique au Monde, Marilyn a été, dans toutes ses incarnations, un pur produit américain, certes, mais quel produit ! Bien évidemment son timbre si particulier, que d'aucuns ont défini androgyne, peut plaire ou non... Ce qui compte c'est l'apport émotionnel qu'elle donne à tout ce qu'elle chante, et sans que cela n'enlève rien à la pure beauté de sa voix à la technique sans faille. Merci Mme Horne, pour nous avoir livré une des plus mémorables leçons de chant de l'histoire, et joyeux 70ème anniversaire (car il n'est pas déplacé que de dire votre âge, étant donné la vitalité qui vous caractérise depuis toujours).

The Spectacular Voice of Marilyn Horne: Rossini / Horne

Average customer rating:

The greatest coloratura along with Sutherland
"Spectacular" Is Right!
stupendous in every way
ROSSINI SINGING WITHOUT EQUAL IN THE TWENTIETH CENTURY!

The Spectacular Voice of Marilyn Horne: Rossini / Horne

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Just for the Record: The Golden Voice
Marilyn Horne: Arias & Scenes
Ewa Podles - Rossini Arias for Contralto
La Stupenda ~ The Supreme Voice of Joan Sutherland
Great Duets & Trios / Sutherland, Horne, Pavarotti

ASIN: B000006P4X
Release Date: 1998-05-12

Tracks:

Semiramide: Bel raggio lusinghier
L'Italiana in Algeri: Cruda sorta!
Tancredi: Di tanti palpiti
La Cenerentola: Nacqui all'affanno ... Non piu mesta
La Donna Del Lago: Mura felici
La Donna Del Lago: Tanti affetti
L'Assedio di Corinto: L'ora fatal s'appressa ... Giusto ciel!
L'Assedio di Corinto: Avanziam ... Non temer, d'un basso affetto ... I destini tradir ogni speme! ... Signor, che tutto puoi ... Sei tu che stendi, o Dio

Customer Reviews:

The greatest coloratura along with Sutherland.......2003-07-21

This is Rossini singing in the finest. Horne has no peers in coloratura. She even give Sutherland a run for her money.
Attention, Horne fans, the historic Rossini's Semiramide with Horne/Sutherland is finally available. Do a search for
Horne, Semiramide and you'll get Rossini's neglected masterpiece containing the most difficult music ever written for the human voice. Coupled with Sutherland, the duets make their Norma duets seem like nothing.
I recommend this Rossini cd highly. And I also recommend the Semiramide. I love Rossini!

"Spectacular" Is Right!.......2003-07-02

This CD contains some of the most virtuosic singing I've ever heard. Marilyn Horne is rightly considered one of the great bel canto (and in particular, Rossini) singers of all time. Her mezzo-soprano is a rich and glorious instrument, and there seems to be NOTHING that it can't do; she even sings several soprano arias on this disc. Malcolm's aria from LA DONNA DEL LAGO is masterfully done, and the two selections from L'ASSEDIO DI CORINTO (one for soprano, the other for mezzo) are absolutely superb, almost Callas-like in their intensity. This CD represents a great mezzo in her prime. It should be in the collection of every Rossini-lover.

stupendous in every way.......1999-12-17

This is an incredible CD filled with wondrous singing. The art of belcanto is not just beautiful singing, and an uncanny ability to sing a million notes a second, it is giving meaning to all that technique. That is exactly what Marilyn Horne does! She breathes life and direction into the music reflecting the purpose behind the character's words, and the intention behind the composer's music. To some her presentation is too "Farward", too "hard-driven." And to others not like some wonderful diva from the past ( Superviva ). Their techniques in this music are not the same. Superviva was dazzling, but not that accurate. Horne is dazzling, and accurate! She is not the frail heroine when singing female contralto, but she is not overbearing either. As for the contralto "male" leads, well, there are none to compare, and none with her gusto. Bartoli is ravishing, but not heavy enough in sound, Lamore is wondrous, but far too feminine. Ewa Podls may have a dark musky sound ( often nearly laboured, and mushy ), but more is required to give a special gusto, a machismo, if you will, to these roles. Horne does that in spades! Though her voice is not necessarily that large a voice ( strong at the bottom and top, gentler in the middle ), and one suited well to Verdi she is not ( even at her own admission ), she has a way of making everything Rossini wrote seem fresh, new, and exciting. I must mention her singing from the catacomb scene from L'Assedio di Corinto ( Act 3, scene 1 ). If one follows the score, one soon learns Horne is not only singing the difficult music written in the Paris rewriting of the opera, but a whole scene ( the same scene actually ) found in the opera Moametto II, the aria for the character of Calbo, as well. I say a special treat for anyone, for in performance one would never hear the wealth of music one will hear here. For a good sampling of Horne's art this is a must buy, for a good introduction to the wonders of Rossini ( and more than just the Barber of Seville ), this CD is a wonderfully exciting introduction to both.

ROSSINI SINGING WITHOUT EQUAL IN THE TWENTIETH CENTURY!.......1999-11-30

If one must only one recording of Marilyn Horne, this is it. But this recording has an even greater importance in that it showcases a type of Rossini singing that has been heard from no one else in the twentieth century. Horne was a rare bird indeed ------ a mezzo soprano (sometimes even contralto) capable of executing the most astonishing technical and florid feats that would have defeated even a high coloratura soprano, save for Joan Sutherland. In fact, Horne had the equal technical proficiency of Sutherland, but in a lower range, which made them so cherishable as a team in such operas as "Norma" and "Semiramide". But Horne's gifts were so spectacular that a permanent role as Sutherland's "sidekick" would have been completely unsuitable for her. Rossini operas not heard in over a hundred years were revived for her all over the world ----- for hers was the only voice capable of executing the demands of such music. Truly, Marilyn Horne is as significant in the bel canto revival as Maria Callas, Joan Sutherland, and Montserrat Caballe (with whom she also sang on many occasions). Virtually every selection heard on this CD is an exemplary example of Horne's artistry. All of them contain vocal fireworks that flare like Roman candles, and many of them are NEVER going to be performed like this again, if they are ever done again at all, which at this time seems somewhat doubtful. Certainly we are blessed by the presence of present Rossini mezzos like Cecilia Bartoli and Jennifer Larmore ----- great singers both ------but it seems unlikely that either will ever scale the heights of Mount Rossini that Marilyn Horne did. She was truly one of a kind. For anyone who treasures spectacular and vivid examples of singing not heard in well over a century, this CD is an absolute must. I cannot run out of superlatives for this one.

Ewa Podles - Rossini Arias for Contralto

Average customer rating:

Great music and a magnificent voice
No counter-tenors allowed!!
Probablemente la mejor voz femenina rossiniana del momento
A live performance from an engaging singer
Contralto GODESS!

Ewa Podles - Rossini Arias for Contralto
Gioachino Rossini , Hungarian State Opera Orchestra and Chorus , Pier Giorgio Morandi , and Ewa Podles
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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The Spectacular Voice of Marilyn Horne: Rossini / Horne

ASIN: B00000149V
Release Date: 1996-11-05

Tracks:

The Italian Girl In Algiers: Cavatina - Cruda Sorte! Amor Tiranno! - (Isabella) - From Act I
The Italian Girl In Algiers: Recitativo e rondo - Amici, in ogni evento m'affido a voi...(Isabella) - From Act II
Semiramide: Recitativo e cavatina - Eccomi alfine in Babilonia Ah! quel (Arsace) - From Act I
Trancredi: Recitative e cavatina - Oh patria...Di tanti palpiti (Tancredi) - From Act I
Maometto II: Non temer; d'un basso affetto (Calbo) - From Act II
The Lady Of The Lake: Elena! oh tu, che chiamo (Malcolm) - From Act I
The Barber Of Seville: Una voce poco fa (Rosina) - From Act I
Cinderella: Nacqui all'affanno (Cenerentola) - From Act II

Amazon.com

One generally looks to the Naxos label for inexpensive recordings of the standards by minor European orchestras, and for competent performances of rarities--usually by forces that do not spring to mind as natural fodder for recording stardom--that the bigger labels are afraid to touch. So this remarkable album came as a complete surprise, because the Polish mezzo-soprano Ewa Podles is real star material. The sound has a contralto quality; the range is astounding, the flexibility of the voice incredible. This album has been a best-seller for Naxos, and rightly so. The chorus, orchestra, and conductor are adequate; buy this one for Podles, and for Podles (and Rossini) alone. -- Sarah Bryan Miller

Customer Reviews:

Great music and a magnificent voice.......2006-02-28

The Polish-born Mezzo-soprano is truly magnificent on this CD. Her voice is amazing and one-of-a-kind: it is full, rich and strong with an unbelievable range and a nice coloratura. She maintains full strength throughout her range and her voice never wavers and is never weak or shrill. If you like the beautiful melodies of Rossini and the sound of a great Mezzo-soprano, you'll like this CD.

No counter-tenors allowed!!.......2004-10-14

This is an amazing, surprising and refreshing way of looking/hearing Rossini. After years of hearing most mezzo-sopran and alt roles conquered just by force of numbers by counter-tenors and Cecilia Bartoli (don't get me wrong,she's really good, but have you ever asked yourself why she doesn't perform usually on big stages but on small ones or on studios? Her voice, though wonderful for coloratura, is small for a big audience), I have come to adore, simply adore, this polish singer. Her way of singing, her voice's colour, her strength and her ability to sing the most damned roles written for a low voice....including coloratura (just hear her in "Dovver, iustizia, amor..." from Handel's Ariodante) make her a wholesome alto. Which makes me hope for a better day for alto and mezzo-sopran voices. I must confess I don't like counter-tenors a bit, they sound too un-natural.

Probablemente la mejor voz femenina rossiniana del momento.......2004-06-19

Para los fans de Rossini y de las voces con personalidad sera imprescindible comprar este soberbio recital de la contralto polaca EWA PODLES, que hace un amplio recorrido por las paginas mas celebres del repertorio de Rossini para su cuerda con unos resultados absolutamente sobresalientes, ya que posee una voz extraordinaria en todos los registros. Ademas, tanto la orquesta como el coro rinden a buen nivel al mando de un rossiniano como es el Maestro MORANDI, lo cual redondea un fantastico disco.
De compra obligada.

A live performance from an engaging singer.......2001-12-03

There are precious few opportunities to hear this fantastic singer either live or on recording, which is a pity given her unique sound and impeccably-schooled voice.

One of the hallmarks of a great singer is a unique vocal quality. Such is true of Madame Podles. With the top voice of a dramatic soprano, a middle that sometimes resembles a counter-tenor sound, and a bottom voice that is almost baritonal, her sound may recall another singer's voice here and there, but ultimately, it is one-of-a-kind.

Ms. Podles has the perfect vocal qualities necessary to sing Rossini -- an incredible range, enormous flexibility, and subtle vocal coloration. On top of that, she has a unique vocal color and phrases beautifully.

The only possible quibble I can find with this recording is that a couple of the characterizations are a bit on the heavy side -- particularly Rosina. Although the notes are in place (and very impressive) and the coloratura impeccable, this Rosina sounds a bit older, perhaps more serious, than Rossini seems to require. In a later reading of the same aria, in a live 1998 concert in Poland (Rossini Gala recorded on DUX), her Rosina bubbles with youthful energy.

In general, that recording shows her in more brilliant voice, though both discs are impressive. Although several arias are common to the two, each has arias that the other lacks. Both are welcome additions to any vocal library, though if only one is possible, I'd recommend the 1998 recording over this one.

Contralto GODESS!.......2001-09-08

In the world of rare voices and trouser roles, Ewa Podles is quite possibly the MOST underappreciated singer in our generation. Her coloratura is near faultless, and her range of color and tone are something to be reckoned with. Having a range significantly larger than many low voices, she tends to create witty and daring cadenzas and ornaments that must make the golden singers of the past jealous. The only thing that kept this album from being a 5 is that, at times the sound quality is slightly less than perfection and that I prefer her baroque interpretations to the Rossini. Still an amazing album and an unbeatable price!

Average customer rating:

Kasarova and the Amazing Multi-Colored Dream Voice
Very good
Kasarova Is the Current "Gold Standard" of Living Mezzos
Very unique and enjoyable voice

Vesselina Kasarova - A Portrait
George Frideric Handel , Christoph Willibald Gluck , Wolfgang Amadeus Mozart , Gioachino Rossini , Gaetano Donizetti , Vincenzo Bellini , Munich Radio Orchestra , Friedrich Haider , Vesselina Kasarova , Bavarian Radio Chorus , Tim Hennis , Isolde Mitternacht-Geibendorfer , Barbara Muller , Dankwart Siegele , Leonid Savitzky , and Andreas Schulist
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ASIN: B000003G3T
Release Date: 1996-11-12

Tracks:

Rinaldo: Or la tromba in suon festante
Orfeo ed Euridice: Che farnza Euridice?
Le nozze di Figaro: Voi che sapete che cosa mor
Don Giovanni: Batti, batti, o bel Masetto
La Cenerentola: Nacqui all'affanno e al pianto
Il Barbiere di Siviglia: Una voce poco fa
L'Italiana in Algeri: Pronti abbiamo e ferri e mani...Amici in ogni evento...Pensaalla patria
Anna Bolena: Sposa a Percy...Per questa fiamma indomita...Ah! Pensate che rivolti
La Favorita: Fia dunque vero...O mio Fernando!
I Capuleti e i Montecchi: Se Romeo t'uccise un figlio...La tremenda ultrice spada

Amazon.com

The title "A Portrait" would suggest some sort of a cohesive look at this talented Bulgarian mezzo-soprano. But she is so astonishingly versatile, one wonders if there are at least two singers at work here. Her more athletic coloratura moments in the Rossini and Donizetti arias would suggest some sort of slavic Cecila Bartoli while her more soulful, lyrical moments in Gluck's Orfeo would suggest a heavier voice like Kathleen Ferrier. Could it be that she has it all--or at least as much as one could hope for in a single singer? --David Patrick Stearns

Customer Reviews:

Kasarova and the Amazing Multi-Colored Dream Voice.......2006-04-06

This was my introduction to Vesselina Kasarova CD. I first saw her in a clip of Il Barbiere di Siviglia (singing Una voce poco fa) on Classic Arts Showcase program one night and was amazed at how beautifully she sings the coloratura piece while doing complicated acting manuevers on stage.

The really great thing about Kasarova is how she communicates the essence of each aria with her voice. She doesn't sing 'Konzertzant'. Her instrument, for some reason, doesn't sound as big on recording as it does live (where it is quite plenty big, very lusterous and agile), and she uses many vocal colors to bring out the different character of her roles (a lot of time in the same aria to show the change of emotion). It is unconventional, but it works really well in the story telling.

Her coloratura is amazing. It is fast and fluidly effortless sounding... and she sings all the notes!! A true Rossinian mezzo with great extension at the top. She also incorporates the ornaments into the music so well it gives the piece a character rather than standing out at odd with the music. Kasarova is so subtle in her interpretations that each time I replay an aria I catch some nuances I missed before.

Her 'Che faro senza Euridice' may sound 'simple' on the first try, but it is quite understatedly wistful and gives the picture of a devastatingly drained Orfeo who has lost all hope. It gets better the more closely you listen to it. Her 'Voi che sapete' is of a Cherubino who is young and enthusiastically in love.

She uses wider vibrato in her bel canto pieces which fit the music well. Her Rosina has a split personality demarcated at 'ma', a note that turns an perky love-struck young thing into a potentially vengeful witch in such dramatic way that I can visualize her eyes narrowing and her fangs growing just by hearing it. Her renditions of 'o mio Fernando' and 'Se Romeo t'uccise un figlio' are unforgetable. Kasarova gives you all she has and it is wonderful.

Very good.......2004-03-19

I find this collection interesting, but not necessarily to the singers advantage. She sings what she sings well, but there is an "overblown" quality from time to time. Sona la tromba (the first selection) has a rough edge to it. I like this singer very much in other things I have her in. This is a good CD, but I think it would have served her more to choose some other selections. Her Verdi is excellent, but we are not treated to it. Her Orfeo lacks that really rich lower register that would make it tell. Still, a great buy and a great collection.

Kasarova Is the Current "Gold Standard" of Living Mezzos.......2003-11-14

When this CD was first released, I happened to hear the track with "Una voce poco fa" played on a classical-music radio station. For over 50 years I had been a devoted "fan" of instrumental classical music, but, in just 3 minutes, Kasarova's performance expanded and altered my mind and heart. When I attempted to purchase an audio tape of her singing, I discovered none was for sale anywhere. My solution? Buy the CD--and THEN buy a CD player. Five or six years later, I own over 1800 CDs, about 2/3 of them operatic music. My preferences are now mainly for bel canto singers who are mezzos or contraltos. Rossini, Handel, and Bellini are my favorite composers. Why? Chiefly because of my chance encounter with Ms. Kasarova's wonderfully flexible, rich, warm voice. She caused me to get season tickets to the Met for the past four years (where I was finally able to hear/see her in THE BARBER OF SEVILLE--the best of the four performances I've attended). For purposes of easy comparison, I have "imported" tracks from this CD onto my computer's hard drive along with those of several dozen other mezzos singing the same arias. After many hours of back-to-back listening, in almost all cases I greatly prefer the versions of Kasarova. This CD is an excellent "starter" purchase for any beginners who wish to explore what opera has to offer. For "experienced" listeners, it is a must-have!

Very unique and enjoyable voice.......2000-07-22

Although Kasarova still has a bit to learn about singing, she is clearly on her way to becoming a great interpreter of the mezzo-soprano repertoire. There were a few pieces that I certainly do not long to hear repeated, but for the most part, the album is enjoyable.

My favourite selections were the coloratura pieces. "Una voce poco fa" has been sung to DEATH already, but Kasarova adds something new to it, especially in the lower register. It's nice to hear this piece performed by a true mezzo. The "Voi che sapete" was also very nicely done (it fell wonderfully in her passagio), although "Batti, batti" was not memorable (it felt somewhat monotonous---maybe because Kasarova was beginning to tire with the high tessitura). I especially enjoyed her rendition of O mio Fernando---I would like to hear her sing "Stride la Vampa" (Trovatore) in the future.

The only piece that really didn't thrill me was the Orfeo "Che faro." This piece was written for a good rich contralto, and Kasarova's tone simply wasn't appropriate to carry this aria affectively (she really sounds like she's straining the low notes, which can't really be disguised because they occur so many times).

Tracks:

L'Italiana in Algeri: Cruda Sorte! Amor tiranno
L'Italiana in Algeri: Pronti abbiamo...Amici in ogni evento...Pensa alla patria
La Donna Del Lago: Mura felici
Tancredi: Oh! patria!...Di tanti palpiti
Otello: Assisa a pie' d'un salice
Stabat Mater: Fac ut portem
La pietra del paragone: Se l'Itale Contrade...Se per voi, le care, io torno
La Cenerentola: Nacqui all'affano...Non piu' mesta

Customer Reviews:

Rare Skill and Sensitivity in one so young.......2000-11-01

At an age when most mezzos are doing local theatre, studying, and dreaming of perhaps one day doing Tancredi or La Cenerentola, 22-year-old Cecilia Bartoli recorded this collection and, in doing so, served notice that for the forseeable future, one could not mention late 20th-century mezzo-sopranos without including her name near the very top of the list. This is no mere album of pretty songs done by a competent singer but some of the most beautifully and skillfully-rendered Rossini in recent memory. Not since Jackie Horne in her prime have some of these songs received such engaging treatment. And, some, like "Cruda sorte! Amor tiranno" from "La Italiana in Algeri", are now Cecilia's, alone. Here's a tip; leave the incredulity at her tender age behind and just listen. You'll be treated to some of the finest Rossini you're ever likely to hear.

Pure Fun!.......2000-07-06

You can't criticize a perfect blend. Of course everyone knows about Bartoli's weaknesses, BUT her voice was made to sing the lively & lilting, tuneful & titillating music of dear Rossini. This album is pure fun! Don't analyze it, just let yourself lift off! Ciao!

Cecilia is a wonderful singer!.......1999-09-24

This album recorded 1989. She is 23-year-old in those time, but she sung well these Rossini's Aria. I think she will be wonderful singer in the 21st Century. She has a wonderful voice and techinique. Some people says she is not good compared with the singers in the good old days. But I don't mind the things they said. They must envy her sucess.

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

Nancy Eckert

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

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

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

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

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

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

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

Average customer rating:

Excellent

Marilyn Horne Recital

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The God Delusion

ASIN: B000174LXY
Release Date: 2004-04-13

Tracks:

Eccomi Alfine In Babilonia... Ah! Quel Giorno Ognor Rammento
O Pretres De Baal... O Toi Qui M'Abandonne
Parto, Parto, Ma Tu, Ben Mio
Nobles Seigneurs, Salut!
Cruda Sorte! AmorTiranno!
Deciso E Dunque... Le Richezze Ed Il Grado
nacqui All'Affanno E Al Pianto... Non Piu Mesta Accanto Al Fuoco

Customer Reviews:

Excellent.......2004-09-07

Firstly, much of this music has been released in other formats, and on other recordings. However, these sellections were recorded earlier in Horne's career, and one of them was recorded only this one time, "Noble Seigneur" from Les Hugenots. As with all Horne's recordings, the musicianship is exact and incredible, the colorature is sparkling and vibrant, and well, the diction is wonderful. There is very little to say about this recording. It is simply wonderful, and it is a perfect reflection of what we are used to hearing from this great artist. It shows just how well developed artistically she was, even from the beginning.

Average customer rating:

A GOOD VERSION OF A GREAT OPERA

Rossini: L'Italiana in Algeri

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Rossini: L'Assedio di Corinto

ASIN: B00000E3DI
Release Date: 1989-05-23

Customer Reviews:

A GOOD VERSION OF A GREAT OPERA.......2004-03-09

This recording has been around for a while, and, in fact, was the first stereo version of this opera to be recorded. It's very well presented here, with first class playing by the Maggio Fiorentina under the peppy direction of Silvio Varviso. The cast is a good one, with tenor Luigi Alva negotiating the difficult tenor role of Lindoro with relative ease. Fernando Corena is a first class basso buffa, and he presents a blustery and fun portrait of Mustafa. His singing is excellent, if his coloratura passagework is not. Rolando Panerai is a lyrical and flowing Taddeo, possibly the best sung account of this role on records. This very fine supporting cast is centered around the Isabella of Teresa Berganza, certainly one of the greatest Rossini mezzos of the post World War II period. Berganza's voice is lovely, and very youthful. She negotiates the Rossini coloratura with mastery, but in the final analysis she is somewhat bland and colorless. She lacks the bravura steamroller style of Marilyn Horne style of Marilyn Horne (who in turn lacked the charm of Berganza!), who herself made a memorable recording of this opera many years later. As far as "Italiana" itself is concerned, this is a perfectly acceptable presentation of the opera, and one which still stands up reasonably well against subsequent competition. To my ears, the best recording of this wonderful opera remains the old mono EMI version with Gulietta Simionato from La Scala, under the baton of Carlo Maria Guilini. Simionato did not have anywhere near the fluency for this music that Berganza or Horne had, but she certainly had style and character, and she made every comical moment count. Guilini, very simply, reincarnates the very spirit of Rossini. But in the absence of this classic version, the London/Berganza account is certainly a valid substitute ---- and of course, there's always Marilyn Horne's spectacular account on RCA ---- though as a performance, I prefer this one.

Average customer rating:

Four Famous Mezzos of the Past

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

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The Spectacular Voice of Marilyn Horne: Rossini / Horne

ASIN: B00000HYVW
Release Date: 1999-03-23

Average customer rating:

Better than Horne
The ice does crack...
Absolutely worth while!

Agnes Baltsa sings Rossini

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002717
Release Date: 1991-07-16

Tracks:

L'Italiana In Algeri 'Cruda sorte! Amor tiranno!'
Il Barbiere di Siviglia 'Una voce poco fa'
Maometto II 'Non temer: d'un basso affetto'
L'Italiana In Algeri 'Amici, in ogni evento' - 'Pensa alla patria'
Tancredi 'O Patria!' - 'Tu che accendi' - 'Di tanti palpiti'
La Cenerentola 'Nacqui all'affanno e al pianto'
Semiramide 'Bel raggio lusinghier'
La donna del lago 'Tanti affetti in tal momento'

Customer Reviews:

Better than Horne.......2006-07-06

Agnes Baltsa has such a great voice. The reviewer who gave two stars proclaimed that one would be better off with Horne.... Marilyn Horne in her younger years was absolutely wonderful, but that did not last. She makes some of the ugliest sounds in opera. Also, if you want to talk about evident breaks in a voice, Horne is a prime example. Anyway, Baltsa is an amazing mezzo, with a great upper extension.... you will be pleased

The ice does crack..........2002-10-04

I bought this CD with an aural image of the young Baltsa in Mozart and Rossini in my mind. It turns out that was the wrong thing to do. Baltsa never had a full integration of her lower and higher registers, and the breaks between the two are especially noticable here. It becomes especially apparent in coloratura runs that circle around this area of her voice. The singing tends to be effortful, and she really has no business singing "Bel raggio lusinghier" when she ducks all the high notes and omits a decent cadenza. Coloratura, contrary to my expectations, too often sounds laboured. Occasionally though, you get a glimpse of Bltsa the great Rossinian, with some intelligent musical insights and rythmic touches. On the whole however, you're far better off with Podles, Horne, Kasarova and Larmore, all of whom have produced Rossini discs of far greater distinction...

Absolutely worth while!.......2001-05-05

The first time I heard this CD, I could not help wondering when I would hear Baltsa produce some dreadful sound on it. In other words, I felt she was walking on very thin ice. Well, she did not produce any horrible sounds so I managed to listen to the CD more relaxed the second time and have since then played this disc over and over again. Eventhough some people may feel that Rossini should be sung with more 'finesse', if that is the right word, Baltsa approaches each aria on this CD well-thought, intelligently and - most important - without making a showcase of the arias, as so many singers do with Rossini. The Maometto aria is a pure gem! But I guess as is always the case with Baltsa, you either like her, or you don't, there's no inbetween.

Track Listings:

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