Giovanna D'Arco

On this CD:

1. Giovanna d'Arco, opera
Composed by Giuseppe Verdi
Performed by Carlo Bergonzi, Antonio Massaria, Rolando Panerai, Renata Tebaldi, Giulio Scarinci
Conducted by Alfredo Simonetto

Giovanna D'Arco, Music, Verdi, Tebaldi, Bergonzi, Panerai, Simonetto, Classical, Classical Music, Opera / Operetta / Oratorio, Opera/Operetta

Verdi - Giovanna d'Arco (Joan of Arc)/ Caballé · Domingo · Milnes · LSO · Levine
Average customer rating:

Great Singers, not-Great Verdi

Verdi the patriot

Good music. Libretto by baboons

ok...

Verdi: The Early Years...Still A Great Opera

Verdi - Giovanna d'Arco (Joan of Arc)/ Caballé · Domingo · Milnes · LSO · Levine
Giuseppe Verdi , James Levine , Montserrat Caballé , Plácido Domingo , London Symphony Orchestra , Ambrosian Opera Chorus , Sherrill Milnes , Robert Lloyd , and Keith Erwen
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
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
Operettas | Opera & Vocal | Styles | Music
Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music
Similar Items:

Verdi: I Vespri Siciliani

Il Corsaro

Verdi: Attila

Verdi - I Lombardi / Anderson, Leech, Pavarotti, Ramey; Levine

Verdi: Un Giorno di Regno

ASIN: B000002S1A
Release Date: 1990-05-07

Tracks:

Sinfonia
Qual V'Ha Speme?
Il Re!
Sotto Una Quercia Parvemi
V'Ha Dunque Un Loco Simile
Pondo E Letal, Martiro
Gelo, Terrore M'Invade!
Oh, Ben S'Addice Questo Torbido
Sempre All'Alba Ed Alla Sera
Paventi, Carlo, Tu Forse?
Tu Sei Bella
Pronta Sono!...Son Guerriera...
Ai Lari!...Alla Patria!
Questa Rea Che Vi Percuote
Franco Son Io, Ma In Core
So Che Per Via Di Triboli
Qui! Qui...Dove Piu S'Apre Libero Il Cielo
O Fatidica Foresta
Ho Risolto...
T'Arretri E Palpiti!...
Taci!...Le Vie Traboccano
Vieni Al Tempio

Tracks:

Dal Cielo A Noi Chi Viene
Ecco Il Luogo...Speme Al Vecchio Era Una Figlia...
Te, Dio, Lodiam
Compiuto E Il Rito!...Non Fuggir, Donzella!
No! Forme D'Angelo...L'Amaro Calice Sommessa Io Bevo
Ti Discolpa!...Imbianca E Tace!
I Franchi!...Oh Qual Mi Scuote Rumor Di Guerra?
A Lui Pensa!...Amai, Ma Un Solo Istante
Tu Che All'Eletto Saulo
Or Dal Padre Benedetta
Ecco! Ella Vola
Di Novel Prodigio Il Ciel Ne Arrise
Quale Piu Fido Amico
Un Suon Funereo
Che Mai Fu?...S'Apre Il Cielo...

Customer Reviews:

Great Singers, not-Great Verdi.......2007-05-21

Most of the reviewers here have been kind to this recording, pointing out the singing of the three pricipals and Levine's conducting. No argument on these. But most have gone a bit overboard on the quality of Verdi's composition. It is, in all truth, very small potatoes for the man who wrote OTELLO, DON CARLO and FALSTAFF. Even the usually very astute Mr. Cantrell of Canada gives this more credit that is deserved. But we all know it's a matter of individual taste as well as objective quality.

I'd suggest thrift if you want to try out this opera and go with the Opera d'Oro version with Tebaldi. She's as good as Caballe (it was a frequently performed role in her early years) and the sound is quite OK. Then, if you feel you need a starrier cast and better sound, go to this one.

Verdi the patriot.......2006-02-10

Giovanna d'Arco is an average opera compared with the rest of Verdi's works. I'm glad someone recorded it as it is rarely performed. Caballe is excellent in the title role. I think recording is the best because, as others have already noted, the sound quality is horrible in the Tebaldi versions. It's interesting to see how Verdi's music was developing at this time. The opera was a success, due largely to its themes and the Italian people's nationalistic feelings towards the Austrian presence within their own country. Verdi had used his music to inspire this movement and inspire Italian unity, which would come but not for many years later. Is it just me or does "Ai Lari!...Alla Patria!" sound vaguely similar to the main motif of the Dies Irae of his famous Requiem many years later? Perhaps he was drawing some inspiration for his later works from these early works.

Good music. Libretto by baboons.......2005-11-24

Source: Analog studio recording from 1973, digitally remastered in 1998.

Cast: Giovanna d'Arco - Montserrat Caballe; Carlo VII, Re di Francia - Placido Domingo; Giacomo d'Arco - Sherrill Milnes; Lord Talbot - Robert Lloyd; Dilil - Keith Erwen. Conductor - James Levine, with the London Symphony Orchestra and the Ambrosian Opera Chorus.

Format: Disk 1: Prologue and Act I, 71:22. Disk 2: Acts II and III, 49:28.

Documentation: Libretto in Italian, French, German and English. Brief and perfunctory history of the opera. Track listing with timings.

"Giovanna d'Arco" was Verdi's seventh opera. In the years that followed his huge success with "Nabucco," Verdi wrote to the order of impresarios and publishers--and he did it primarily for the money. Later in life, he came to loathe this period and the working conditions imposed on him. He described it as his "years in the galley." Even so, he managed to grind out more good operas than clunkers. "Giovanna d'Arco" was one of the more successful. It was produced between "I due Foscari" and "Alzira," two of the clunkers. Verdi was writing on tight schedules and setting librettos churned out by writers whom it is overpraising to call hacks. If ever a libretto was written by baboons, it was this one. I'm not sure whether the baboon-in-chief was Schiller, on whose play "Die Jungfrau von Orleans" it was loosely based, or Temistocle Solera, who cast it into Italian doggerel. There is certainly blame enough to share.

Verdi, a hard-headed and canny peasant from Busetto, could count "Giovanna" as a success as measured by that most objective of judges, the box office. Its financial success in Italy and elsewhere was due solely to Verdi's music. Even in its first run, the libretto of "Giovanna D'Arco" was a problem. It blatantly contradicted both the facts and the popular legend of the young woman who always called herself Jehanne la pucelle (Joan the Maiden).

In the opera, Giovanna encounters the despairing Charles VII of France, bucks him up and sets off to drive back English invaders. Having won great successes on the battlefield, Giovanna is rapturously acclaimed by the French. Charles, of course, has fallen for the warrior-girl. He offers his love. The English, having lost Orleans, are in disarray. Up pops Giovanna's beloved father, who has convinced himself that his daughter has sold herself to the devil to win the love of the king. In an aria, "Franco son io," that surely would have earned a seal of approval from the Vichy government, Giacomo tells the English invaders that he is a patriotic Frenchman who would die for his country and its honor, therefore he has come to betray his country, his king and his daughter to them. Later, he publicly advises his little girl to purge her soul of sin by allowing herself to be burnt at the stake. The people of France turn on Giovanna, thinking that her old Pa must surely have some inside dope. In the last act of the opera, Giovanna is a prisoner in the English camp, chained to a rock, awaiting her fate. Her father, that patriotic Frenchman, happens to be strolling around in enemy territory and he overhears her prayers. Moved by her obvious piety, he decides that he has made a mistake. He releases her. She rides off into yet another battle. She is successful but mortally wounded. She expires in the finale, to the grief of all--excepting the local troop of frustrated devils, of course--especially of the king and her dear old Dad.

If you manage somehow to push aside the idea that it is supposed to have something to do with the historical Joan of Arc, "Giovanna" is a highly enjoyable pot-boiler, full of crackling, good tunes and rousing, lively choruses. Even a gang of devils has its own charming little dance tune. When he wrote "Giovanna," Verdi was still adhering to traditional operatic forms and walking in the well-trodden paths of Donizetti and Bellini. Already, though, he had replaced their elaborately decorated melodies with a raw power unknown to the older masters. In his years in the galley, Verdi developed the tools of greatness but he still awaited a librettist who would provide him with characters into whom he could breathe life, a Rigoletto, a Violetta or an Azucena.

This recording, to the best of my knowledge, is the only one currently available that offers more or less modern sound. Caballe, Domingo and Milnes are all justly acclaimed singers and all are in good voice. James Levine's hard-charging conducting is appropriate for the opera. The orchestra and the chorus are excellent. These things fully justify a five-star rating.

That said, I feel obliged to point out that Caballe, with all her undoubted and splendid virtues, just isn't a Joan of Arc. There is not a thing in her lovely voice to make men imitate the action of the tiger, to stiffen the sinews, summon up the blood, to disguise fair nature with hard-favour'd rage. And Domingo--wonderful voice, tremendous singer, no doubt about it--but he's not very apt to get at the heart and soul of a character. He's an amiable, one-size-fits-all sort of guy.

Amazon has two other sets of "Giovanna d'Arco." Both offer sound quality that is inadequate. (Audiophiles would more likely say they are abominable.) Both star Regina Tebaldi, who is a Joan of Arc to the very core. Tebaldi performed the part many times in the early days of her career. Her Giovanna is all down-and-dirty, big-time Italian diva singing. Even for Tebaldi, it is impressive. Read the other Amazon reviews and you will find that even those who rate this opera highly, tend to do so with an implied ho-hum. Tebaldi shows why there were likely to be riots in the streets of Austrian-occupied Italy after a performance! On one of the recordings, Tebaldi is teamed with the young Carlo Bergonzi, who had just moved up from baritone to tenor. There is still a baritonal darkness in his voice, but all the ring and power that anyone could want. On the other set, Tebaldi's Carlo VII is the sadly under-recorded Gino Penna. Neither tenor needs to take a back seat to Domingo in sound and both offer far more impressive characterizations.

By all means purchase this fine 1973 recording, but make an inexpensive investment in Tebaldi's Giovanna as a second set to discover what the opera is all about.

ok..........2005-07-08

but the Tebaldi cd is much better if you can put up with its poor audio quality.

I usually like Levine, but he rushes a bit too much in this cd.

Verdi: The Early Years...Still A Great Opera.......2003-10-15

Giuseppe Verdi is best remembered for Aida, which is generally considered to be his masterpiece, but hardcore opera fans enjoy his Trovatore, the intimate and romantic La Traviata, and his Shakespeare-based operas Macbeth and Othello. The early Verdi operas were directly influenced by the "bel canto" style, were of an impossibly melodramatic nature and naturally were not as mature as his later works. One of these early operas was Giovanna D'Arco (Joan of Arc). The opera deals with the martyrdom of the spiritual and militant Joan of Arc, set to very bel canto techniques- lyrically slow cavatinas for the soprano and florid coloratura caballetas, as well as showcases for the heroic tenor, not to mention chorus and ensembles. This opera would not have been recorded or interesting if the vocal cast was weak. Fortunately, all the singers in this recording are in fine singing condition, they are recognized as opera "big time" stars and provide a fiery drama,

Montserrat Caballe, the lush voiced Catalan soprano, sings with grace and lyric ease in the role of Joan of Arc. Especially touching are the moments which bring out the spiritual and mystic visionary that she was and is contrasted when she engages in battle and leads her forces into vicotry. She sounds appropriately heroic and intense in those scenes which was why they had to cast Montserrat Caballe, who has a Niagra Fall voice and commanding presence. Tenor Placido Domingo does a marvelous job as Joan's love interest and the hero of the opera. Placido has no difficulty in any of the tenor arias and his acting power saves the opera from being shallow. Placido Domingo's art of acting and singing combined with the beauty of Montserrat Caballe's voice (even if she fails to be as dramatic an actress) makes this recording a must have. The othe strength is bass-baritone Sherril Milnes, whose acclaimed voice conveys appropriate drama, darkness and masculine power. This opera is a must have if you are a fan of Domingo and Caballe and if you want to get a taste of what the young Verdi was like when he composed his first operas. It's a rare jewel at a good price.

Diva:Montserrat Caballe
Average customer rating:

Sings a wide range of works well

A great Caballe cd at a bargin price!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1

A Bit disappointed

Bad sound :((((

Voice from heaven!

Diva:Montserrat Caballe
Giacomo Puccini , Gioachino Rossini , Vincenzo Bellini , Giuseppe Verdi , Arrigo Boito , Pietro Mascagni , Sir Charles Mackerras , Lamberto Gardelli , Gianandrea Gavazzeni , Riccardo Muti , James Levine , Anton Guadagno , Julius Rudel , Carlo Maria Giulini , Bruno Bartoletti , Alain Lombard , Montserrat Caballe , Alfredo Kraus , Agostino Ferrin , Julia Hamari , Stefan Elenkof , Astrid Varnay , and Jose Carreras
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
General | Boito, Arrigo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
Italian | Languages | Opera & Vocal | Styles | Music
Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music
Similar Items:

Montserrat Caballé: Ultimate Collection

Very Best of

Grandi Voci: Renata Tebaldi

Great Operatic Duets

Very Best of

ASIN: B000002S6A
Release Date: 1995-08-08

Tracks:

Madama Butterfly: Un bel di vedremo (Atto II)
TOSCA: Vissi d'arte, vissi d'amore (Atto II)
Guillaume Tell: Sombre foret (Acte II)
Il pirata: Col sorriso d'innocenza (Atto II)
I Puritani: Son vergin vezzosa (Atto I)
Giovanna d'Arco: O fatidica foresta (Atto I)
Macbeth: Una macchiae qui tutt'ora (Atto IV)
Mefistofele: L'altra notte in fondo al mare (Atto III)
Don Carlo: Non pianger, mia compagna (Atto II)
Aida: Qui Radames verra . . . O patria mia (Atto III)
Manon Lescaut: In quelle trine morbide (Atto II)
La Boh: Donde lieta usci (Atto II)
Cavalleria Rusticana: Voi lo sapete, o mamma
Turandot: Signore, ascolta! (Atto I)
Turandot: In questa reggia (Atto II)
La rondine: Chi il bel sogno di Doretta (Atto I)

Customer Reviews:

Sings a wide range of works well.......2007-04-29

On this CD, Montserrat Caballe sings a wide range of arias. She runs the gamut from the bel canto works of Rossini and Bellini to the verismo works of Puccini and Mascagni, with Verdi in between. Overall, this is a nice introduction to her work. While I would not rate her among the very greatest of sopranos, she certainly ranks high in the pantheon of sopranos from the 20th century.

A brief sampling of her work on this CD. From Puccini's "Madam Butterfly," the CD begins with "Un bel di vedremo." She sings smoothly with a nice sound to her voice. Normally, when she increases the volume of her singing, the sound of her voice is still good. There are some occasional unpleasant sounds, but nothing notable. This is a nice dramatic rendering of an iconic aria. She hits the higher notes well.

Rossini's "William Tell" isn't much performed these days. But Caballe's version of "Sombre foret" suggests that some good operatic music is not played often enough. This is well sung; Caballe shows good vocal agility at the close.

"Son vergin vezzosa," from Bellini's "I Puritani," shows off her agile vocal technique. Early on, she floats a nice piano high note. In terms of technique, it is disappointing that the trills are not evident. In the end, this is a good version of this work, but not at the level of Jo, or Sills, or Sutherland. Outside of trills, ornamentation is good, but that is like saying that outside of its lack of speed, a sports car is a lot of fun to drive. Still, other ornamentation is well done, including appoggiaturas. The Wikipedia says (under ornamentation): "In music, ornaments are musical flourishes that are not necessary to the overall melodic (or harmonic) line, but serve to decorate or "ornament" that line. Many ornaments are performed as "fast notes" around a central note. . . . From the Italian word appoggiare, "to lean upon". . . . The long appoggiatura is important melodically and often suspend the principal note by taking away the time-value of the appoggiatura prefixed to it (generally half the time value of the note, though in triple time, for example, it might receive two thirds of the time). The added note (the unessential note) is one degree higher or lower than the principal note; and, if lower, it may or may not be chromatically raised (see mordent)." I'm not sure, as a musical nonexpert, that I fully understand the technicalities here, but Caballe does seem to exhibit nice ornamentation as per the above.

From "La Boheme," we have "Donde liata usci," very nicely done. This is prettily sung, for the most part, with only a rare unpleasant sound intruding. Finally, from "Turandot," "Signore ascolta." This is a smoothly sung version. From this CD, it is clear that Caballe can sing Puccini very well indeed. There is a nice piano high note at the close.

So, Caballe is clearly an excellent soprano although not, in my judgment, among the "all time greats."

A great Caballe cd at a bargin price!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1.......2005-12-23

I love this cd.I've been playing it often for three years.Included here are a selection of arias from Caballe's greatest complete recordings,as well as a few selections from her solo puccini arias cd.This is a great starter cd for someone who is curious about Caballe's art.All the selections on Diva,effortlessly demonstrate the supreme beauty of the Caballe sound.On this cd are definitive selections from Don Carlo,Macbeth,Tosca,and many more.Most of these arias she sings here are the most beautiful editions in recorded history.In Un macchia e qui tutta'ora from Macbeth she even sings like a dramatic soprano with extraordinary power,I feared for her vocal chords,and yes the beautiful sound was still there.She even ended the Macbeth aria with an ultra high pianissimo,high d flat.All the tracks are first rate.Great picture of Caballe on the cover too.

This is one of the first caballe cds I bought,and I still feel it makes a nice demonstration of the legendary caballe sound.This cd is full of examples of why caballe is considered by many to have the most beautiful voice in opera history.The selection from don carlos has a ends with a stunningly beautiful pianissimo,on non pianger,mia compagna.And her signore ascolta,is the most beautiful ever recorded ending with a 15 second high piannissimo,that has to be heard to be believed!

A Bit disappointed.......2003-10-15

I liked Caballe the minute I heard the two Liu arias in a Decca release. I found her voice sweet and her floating notes exceptional, yet I'm a little bit disappointed with this CD. I've bought this CD at least a month ago and have only listened to it once.

What I find distracting in this CD is the sloppiness in which she sung the arias. Upon listening to it, I keep wondering why she can't sound as wonderful as she did on that Decca CD that I heard her in. Part of the reason I guess is that I find other sopranos to sing some of this repertoire much better than Caballe. Apart from the aria in Turandot, I find Tebaldi to be a better puccinian, while I like a true coloratura or a dramatic in the other roles. Even her one Liu aria in this CD is not as good as the one I've owned, again sloppiness.

The high notes are another problem. She sounds excellent when she floats them, but when she sung them in full voice they sounded more like screams. I just couldn't get over these two humps in which a soprano of her caliber should not have done.

Better luck next time I guess.

Bad sound :((((.......2001-03-07

The selection is very good, i just love her L'altra notte in fondo al mare but.... there's a noise, in my cd player i can't hear it, but when i hear it out loud it's unbearable! Barely can hear the orchestra.Montserrat is one of the best sopranos EVER in my opinion, but i would have saved my money to other cd

Voice from heaven!.......2000-12-22

This is a wonderful collection of arias and a marvellous introduction to the World of Montserrat Caballe, indisputably among the most beautiful soprano voices I've ever heard! Amazing legatos, perfect endings and unbelievable pianissimos(listen to "o patria mia"). One does usually not expect high powerful notes from Montserrat Caballe. I must however say that this is not always the case. A lot of times this woman surprises me and produces some trully enchanting high notes! Even though she is not my most favourite Puccinian soprano (it's Renata Tebaldi), her arias in these operas are ravishing! Just listen to her "signore Ascolta".On the other hand, I adore her and find her really unforgettable when it comes to Donizetti, Bellini and sometimes Verdi. Especially some of her recordings of their operas are a must for every true opera fan. (for example her Lucrezia Borgia, her Norma and her Aida). Even if an aria is a bit boring, she manages to enrich it with her personal touch that makes the aria unforgettable!The touch that only the melting, creamy voice of Montserrat has.If you want to find out why Montserrat Caballe is one of the greatest sopranos of the world, here's the proof.

Average customer rating:

Best Giovanna so far...
Thrilling singers! Good music. Libretto by baboons
PERFECT VERDIAN SINGING!

Giovanna d'Arco
Verdi , Tebaldi , Bergonzi , Panerai , and Simonetto
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
Similar Items:

Verdi: Stiffelio
Puccini: Tosca

ASIN: B0002IQN2Y
Release Date: 2004-08-03

Album Description

Although "Giovanna d'Arco ("Joan of Arc") was quite successful in its day, it has not fared well outside of Italy in modern times, due to objections and controversy concerning both its text and music. It remains one of Verdi's least-heard operas. Nevertheless, in the hands of exceptional artists, "Giovanna d'Arco" can make a vivid impression even today, and never in recent times has it been more aptly performed than with the title role sung by Italian soprano Renata Tebaldi, who made something of a specialty of this opera and was generally conceded to own the part. Live performance, Milan, March 26, 1951.

Customer Reviews:

Best Giovanna so far..........2006-01-30

Easy to see why the young Tebaldi "owned" this role; she brings an "oomph" to this role that I have not experienced in recorded performances since. Sound is actually OK, once the ear adjusts, and is well worth putting up with for such an impassioned performance. Libretto would have been helpful, but it's about par for this reissuer.

Thrilling singers! Good music. Libretto by baboons.......2005-04-25

Source: RAI broadcast from 1951.

Sound: So-so at best, well below the standard usually achieved in the 1950s and certainly not as good as early electrical recordings from the 1930s. The effect is very much that of listening to a broadcast on a vacuum tube AM radio ... in a 1951 Ford.

Documentation: Wretched as only Od'O can make it. No libretto. Cast list. Short summary of the plot by act. Track list showing only the names of the pieces. No timings. Little on the cast and nothing on the circumstances of the recording.

Format: Disk 1, Act I and part of Act II, 65 minutes. Disk 2, conclusion of Act II and Act III, 44 minutes.

If you can accept the sound reproduction, this is a terrific performance. Don't worry about orchestral detail, just listen to the glorious voices. "Giovanna D'Arco" was a favorite of the young Renata Tebaldi, who performed it many times. This recording lets you know why. This is down-and-dirty, all-out, big-time Italian diva singing, and even for Tebaldi it is impressive. Tebaldi is teamed with a young Carlo Bergonzi, who had just moved up from baritone to tenor. There is still a baritonal darkness in his voice, but all the ring and power that anyone could want. No tenor now singing could begin to compete with him in this opera. (If Bergonzi had been born a German, what a Tristan or Tannhaeuser he would have become!) Rolando Panerai was aging at the time of this recording, but he brings sonority and authority to the role of Giovanna's lunatic father.

This is an opera from what Verdi described as his years in the galley. It was produced between "I due Foscari" and "Alzira." Verdi was writing for money on tight schedules and setting librettos by writers it is overpraising to call hacks. If ever a libretto was written by a baboon, it was this one. I'm not sure whether the baboon-in-chief was Schiller, on whose play "Die Jungfrau von Orleans" it was based, or Solera, who cast it into Italian doggerel. There is certainly blame enough for both to share.

Even in its first run, the libretto of "Giovanna D'Arco" was a problem because it contradicted both the facts and the popular legend of the young woman who always called herself Jehanne la pucelle (Joan the Maiden). In the opera, Giovanna encounters the despairing Charles VII of France, bucks him up and sets off to drive back the English invaders. Having won great successes on the battlefield, Giovanna is rapturously acclaimed by the French. Charles, of course, has fallen for the warrior-girl. He offers his love and is rebuffed. He departs, convinced that only a saint could have turned him down. Up pops Giovanna's beloved father, a patriotic Frenchman who doesn't want France liberated by someone in pawn to the black arts, as he considers his daughter to be. He publicly advises his little girl to purge herself of sin by allowing herself to be burnt at the stake. The crowd turns on Giovanna, thinking that her old Pa must have some inside dope. In the last act of the opera, Giovanna is a prisoner and chained to a rock to await her fate. Her father passes by and hears her prayers. Moved by her piety, he decides that he has made a mistake, after all. He releases her so that she may ride off into yet another battle. She is successful but mortally wounded. She expires in the finale, to the grief of all, especially of the king and dear old Dad.

If you manage somehow to push the fact that it has to do with Joan of Arc out of your mind, "Giovanna D'Arco" is full of good tunes and rousing choruses. Verdi was still adhering to traditional forms and walking in the well-trodden path of Donizetti and Bellini, but he had already replaced their decorated melodies with a sheer strength unknown to the older masters. In his years in the galley, Verdi developed all the tools of greatness but he still awaited a librettist who would provide him with a character into whom he could breathe life, a Rigoletto, Violetta or Azucena.

Ignore the story--please! Forget the sound. Get this one for the thrilling voices of incomparable singers.

Five stars.

PERFECT VERDIAN SINGING!.......2004-08-07

A GREAT new release by Opera d'oro! Giovanna D'Arco is not one of Verdi's most popular opera but listening to this set makes me wonder why. The music is so beautiful and the characters so heroic.

Opera fans and critics regard this particular recording as historical. Firstly, it shows the quality of the young Renata Tebaldi and sets the record straight. In the early 50s she could sing almost anything! Many think of her as a great verisimo diva but listening to Tebaldi here we realise she could have specialised in a different repertoire as well. Early Verdi never sounded so powerful and beautiful. Although Caballe's later Giovanna is perfectly sung, she doesn't have the fierce sound Joan D'Arc requires. Just listen to what Tebaldi does: in the "Sempre all'llba" she sounds like an angel but in "Pronta sono!" she changes and becomes a mighty warrior, exactly what the role requires. Tebaldi definitely benefited from her experience with this role on stage; a role she performed early in her carreer and became her own.

But the perfection does not end with Renata. Carlo Bergonzi, the best post-war (Verdi) tenor is heard here just after his conversion from baritone to tenor. His vocal beauty and perfection is equalled only by Gigli's. The first act duets with Tebaldi are simply ecstatic. This is what Verdi is all about! Panerai's Giacomo is a marvel to listen to though he cannot make me forget the two main principals. Finally, I certainly prefer Simonetto's slower conducting than Levine's later fast and loud one. Unfortunately the sound quality not ideal (I couldn't care less) but compared to the previous releases, the improvement is substantial. I can't remember the last time I heard such an all-around great Verdi recording. DON'T MISS THIS!!!

Cecilia Bartoli - Rossini recital ~ 19 songs & Cantata: Giovanna d'Arco

Average customer rating:

A young Bartoli sings rarely heard Rossini songs beatifully - a treasure of a disk
Rossini really could write; Bartoli really can sing

Cecilia Bartoli - Rossini recital ~ 19 songs & Cantata: Giovanna d'Arco

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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

General | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Cecilia Bartoli - Rossini Arias / Patanè
Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini)
Cecilia Bartoli - Mozart Portraits
Cecilia Bartoli - Mozart Arias
Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs

ASIN: B0000041YF
Release Date: 1990-12-21

Tracks:

La Pastorella
Belta Crudele
Il Trovatore
La Regata Veneziana
Mi Lagnero Tacendo
Il Risentimento
La Grande Coquette
Ariette A Lancienne
L'orpheline Du Tyrol
La Legende De Marguerita
Nizza
L'ame Delaissee
Canzonetta Spagnuola
Giovanni D'arco

Customer Reviews:

A young Bartoli sings rarely heard Rossini songs beatifully - a treasure of a disk.......2006-01-03

This is a treasure of a disk that you should purchase right now. You will not only enjoy it deeply many times, but thank me for pointing you to beautiful music that is not often perfromed and sung by a voice that is absolutely perfect for the music. Let me provide a bit of background.

Gioacchino Rossini was born to a family of musicians in 1792. He began writing music at 15 and by 1829 he had written nearly 40 operas and had been the toast of society. He had early success in 1813 with "Tancredi" and in 1816 with "The Barber of Seville" (under the title of "Almaviva"). And while he wrote some songs and sacred works along the way, he won the world over with his operas and concluded with "Guillaume Tell" (William Tell) in 1829. Thereafter, he wrote sacred works and small works for his own delight that he shared with his friends at soirées in his home (they were regular and sought after events between 1857 until his death in 1868). He wrote hundreds of these pieces and would play the piano (he called himself a pianist of the fourth class) for the singers. Rossini referred to these short songs, pieces for small ensembles, and solo pieces as his "Sins of Old Age" ("Péchés de viellesse"), however he never printed them and, in fact, many of have yet to be printed (but should be).

This disk was recorded in 1990 just before Bartoli's twenty-fourth birthday. Her voice is so beautiful and flexible with many rich colors that each piece sounds like a jewel. Yes, she is a very young singer and her voice has become even richer as she has matured, but this is a glorious disk and something you will want to listen to repeatedly. Some of the songs are short, others are a bit longer, and there is the big finish with the full cantata "Giovanna d'Arco" ("Joan of Arc") from 1832 (but first publicly performed in 1859). It was composed as a gift for Olympe Pellisier, who became his second wife in 1847.

Enjoy!

Rossini really could write; Bartoli really can sing.......2005-08-31

I was surprised that no one had commented on this fine recording before. It's been around for quite a while, I've owned it for ten years and it is still one of my favorite Rossini recordings.
Cecilia Bartoli made her mark early as an interpreter of Rossini's work and this album gives ample evidence that the buzz surrounding her early career was more than just hype. While she is known as today's pre-eminent mezzo-soprano, she was a virtual unknown when she recorded this.
Her technique and voice type are perfect for these songs but it is her obvious love for, and command of, the Rossini repetoire which set this CD apart from most.
The three installments of "La regatta Veneziana" may be the best on record, but buy this for "Giovanna D'Arco." This is masterful work, particularly from such a relatively young and, at the time, inexperienced singer.
While Cecilia' maturity and confidence in her abilities have, of late, made her performances sometimes seem almost effortless, the exuberance of a young Cecilia makes this set irresistable.

Average customer rating:

Tebaldi at her best!
Tebaldi the Great
A legacy for the ages!
Best Collection
Modified rapture

La Tebaldi

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Italian | Languages | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

The Best of Tebaldi
Grandi Voci: Renata Tebaldi
Verdi: Il Trovatore
Renata Tebaldi: Aria & Scenes
Very Best of

ASIN: B0000041Y8
Release Date: 1991-08-09

Tracks:

Madama Butterfly: Un bel dvedremo
La Boheme: Si, mi chiamano Mimi
TOSCA: Vissi d'arte
Mefistofele: L'altra notte
Aida: Ritorna vincitor
Otello: Mia madre aveva...Piangea cantando...Ave Maria - Verdi
Il Trovatore: Siam giunti...D'amor sull'ali rosee
Verdi: Pace, pace, mio Dio!
Guglielmo Tell: S'allontanano alfine!...Selva opaca
Adriana Lecouvreur: Ecco, respiro appena...Io son l'umile ancella
Cecilia: Grazie sorelle

Tracks:

Gianni Schicchi: O mio babbino caro
Suor Angelica: Senza mamma, o bimbo
Andrea Chenier: La mamma morta
La Wally: Ebben?... Ne andro lontana
Don Carlo: Tu che la vanit
Un Ballo in Maschera: Ecco l'orrido campo...Ma dall'arido stelo divulsa
Un Ballo in Maschera: Morro, ma prima in grazia
Giovanna d'Arco: Oh ben s'addice...Sempre all'alba
Turandot: In questa reggia
La Gioconda: Suicidio!
La rondine: Sogno di Doretta
Cavalleria Rusticana: Voi lo sapete
L'arlesiana: Esser madre e un inferno

Customer Reviews:

Tebaldi at her best!.......2007-04-07

I'd highly recommend these CDs!They have a little of everything. They'd make an excellent addition to anyone's opera collection. Her voice is etherial!

Tebaldi the Great.......2007-02-19

Renata Tebaldi is one of the glorious voices of the past half century. Recordings here come from the 1950s and 1960s. She had a sumptuous spinto voice, clearly manifest on this 2 CD set. Here are some of her "greatest hits." As would be expected, the repertoire of Puccini and Verdi is heavily represented here.

She "leads off" with "Un bel di" from Puccini's "Madame Butterfly." Her voice brings life to this aria; her characterization is right on. At the point, where the volume of her voice increases, the sound remains lush; there is no bleating or ugliness in her singing.

There follow two more classic Puccini arias that Tebaldi does justice to. "Si, mi chiamano Mimi" from "La Boheme" is a wonderful version of this work. She captures the poignancy in Mimi's character. Her work here can probably justly be termed "iconic." In short, this is a ravishing turn by "La Tebaldi." So, too, is her take of "Vissi d'arte" from "Tosca." One can understand the enthusiasm of her claque at La Scala as one listens to her singing. Her rich voice fits these roles nicely; her characterization is well rendered. Her version of "Ritorna vincitor" from Verdi's "Aida" is also well done. Her voice richly captures the character and fits the music well.

Verdi and Puccini are not the only composers represented on this 2 CD set. Also recorded are her singing Boito ("Mefistofele"), Rossini ("William Tell"), Cilea ("Adriana Lecouvreur"), Giordano ("Andrea Chenier"), Catalani ("La Wally"), and so on. Once more, the selection of music in this set well represents her body of work.

All in all, a satisfying selection of "the greatest hits" of Renata Tebaldi. The "liner notes" conclude by referring to her as possessing "a perfect voice of bewitching beauty." I'm not sure that anyone can achieve perfection (the statement has a bit of hyperbole); nonetheless, her voice is ravishing as already noted. Those interested in her recorded oeuvre would be well rewarded by acquiring this work. The CDs serve well to introduce "La Tebaldi" to those who may not have heard her before. Such listeners will be richly rewarded by that introduction.

A legacy for the ages!.......2001-02-23

Perhaps the greatest spinto and certainly among the greatest sopranos of all times, with an extremely powerful, amazingly beautiful instrument, Renata Tebaldi on this set heard in some of her best moments! I will not repeat comments on her beautiful voice since it often overshadows the pathos with which she performed each role. To me, she knew exactly where to draw the line between acting and singing. Not too much to become annoying, not too little to become boring. This compilation also shows how versatile this soprano was, with repertoire ranging from Puccini and Verdi to Rossini and even Wagner (though no Wagner aria is heard on this particular double cd). In her early years she also performed Mozart roles!

Her Puccini arias will make the most demanding listener cry. Her verdian heroines, enriched with her personal touch, are of exceptional value. Her Desdemona (Otello), Donna Leonora (Forza del destino) and Aida stand perhaps out. Her many verisimo roles sooo moving, full of sorrow and pain, exactly how they are supposed to sound. Just listen to "La mamma morta"! An unsurpassed shocking experience! A previous reviewer (F.W.Barton) correctly mentioned that not all moments are from her complete studio recordings, so this is a unique chance to enjoy alternative Tebaldi performances. Strongly recommended!!!!

Best Collection.......2001-01-11

If you love the warmth and power of Renata Tebaldi then this collection is for you. This has Two CD's of her best works. My favorites are her "o mio babbino caro" her tosca which isnt as dramatic as callas but has a vocal warmth in that aria that makes her voice so perfect for the aria. Another soothing aria would be her Un del di from Butterfly what sweetness and amazing finish to that aria!!! Her amazing power was noticed in La mamma morta and In questa reggia ( which was sooo good that it made me wonder WHY DIDNT SHE SING THIS ROLE ON STAGE) oh and of course her Suicido was also very well done.....Renata Tebaldi was without a doubt one of the best of the century...and this collection proves it.

Modified rapture.......2000-04-24

I bought this collection of Tebaldi's Decca recordings with the hope to experience some great singing. However, I can't help feeling a bit disappointed in the end. There are some thrilling performances here, for example, the dark, passionate renditions of the arias from La Gioconda and L'arlesiana, but overall, the achievements are rather uneven. Tebaldi certainly possesses a most beautiful and powerful voice, something to take bath in. Yet, she evinces little of the psychological insights, intense pathos and interpretive individuality of Claudia Muzio, Meta Seinemeyer, Maria Callas and Leonie Rysanek. Compare her performance of 'Ma dall'arido Stelo divulsa' from Verdi's 'Un Ballo in Maschera' with that by Leonie Rysanek (On RCA Living Stereo): The aria is magnificently vocalised by Tebaldi, but it is Rysanek who effectively combine vocal opulence with dramatic insights, evincing Amelia's exteme desperations. Perhaps Tebaldi was constrained by the restrictions and protocols of recording studios and unable to realise her full dramatic potentials --- in this case she is best heard on live recordings where we could experience her in full flight. Furthermore, the 1964 Come back album items on the second disc demonstrate a voice that has lost much of its pristine freshness and youthfulness, even though there are exciting things to hear. Still, the beauty of the voice and the sincerity of utterances are there for us to experience. For ardent Tebaldi fans, this is definitely a must, but for those looking for truly great singing and acting, you might want to look elsewhere for Tebaldi's live recordings and Maria Callas, etc.

Verdi: Complete Preludes, Overtures and Ballet Music

Average customer rating:

Verdi: Complete Preludes, Overtures and Ballet Music

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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
ASIN: B000BLI35W
Release Date: 2005-11-22

Tracks:

Overture To Oberto, conte Di San Bonifacio
Overture To Un Giorno Di Regno
Overture To Nabucco
Prelude to Ernani
Prelude To I Due Foscari
Overture To Giovanna D'arco
Overture To Alzira
Prelude To Attila
Prelude To Macbeth
Ballo I
Ballo II
Ballo III
Prelude to I Masnadieri
Prelude To Il Corsaro
Overture To La Battaglia Di Legnano

Tracks:

Prelude To Jerusalem
1. Pas De Quatre
2. Pas De Deux
3. Pas Solo
4. Pas D'ensemble
Overture To Luisa Miller
Overture To Stiffelio
Prelude To Rigoletto
1. Pas De Bohemiens
2. Seviliana
3. La bohemienne
4. Galop

Tracks:

Prelude To La Traviata, Act I
Prelude To La Traviata, Act III
Overture To Les Vepres Siciliennes
I. L'Hiver
II. Le Printemps
III. L'Ete
IV. L'Automne
Prelude To Simon Boccanegra
Prelude To Un Ballo In Maschera

Tracks:

Prelude To La Forza Del Destino
Prelude To Don Carlo, Act II
I. Andante/Tempo Di Valzer/Allegro Vivo
II. Finale. Prestissimo
Overture To La Forza Del Destino
Prelude To Aida
I. Danza Sacra Delle Sacerdotesse, Act I
II. Danza Di Piccoli Schiavi Mori, Act II
Ballet Music From Aida, Act II
Overture To Aida
Ballet Music From Otello, Act III

Average customer rating:

Verdi: Giovanna d'Arco

Manufacturer: Legato Classics
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
ASIN: B0000019X1
Release Date: 1995-05-25

Tracks:

Sinf - Orch Of The Teatro Di San Carlos, Naples/Gabriele Santini
Prologue, Scene 1: Qual V'ha Speme? - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Prologue, Scene 1: II Re...Nel Suo Bel Volto Qua Dolor! - Luciano Della Pergola/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Gino Penno
Prologue, Scene 1: Teste Prostrato A Terra - Gino Penno/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Prologue, Scene 1: Sotto Una Quercia Parvemi - Gino Penno/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Prologue, Scene 1: V'ha Dunque Un Loco Simile - Gino Penno/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Prologue, Scene 1: Dov'e La Pia...Pondo E Letal, Martiro - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Prologue, Scene 2: Gelo, Terror M'Invade - Ugo Savarese
Prologue, Scene 2: Oh Ben S'Addice...Sempre All'alba - Renata Tebaldi
Prologue, Scene 2: Paventi, Carlo, Fu Forse? - Gino Penno
Prologue, Scene 2: Tu Sei Bella, Tu Sei Bella - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Prologue, Scene 2: Pronta Sono!...Ah! Son Guerriera - Renata Tebaldi/Gino Penno/Ugo Savarese
Act 1, Scene 1: Ai Lari! Alla Patria! - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Act 1, Scene 1: Questa Rea Che Vi Percuote...Franco Son Io - Ugo Savarese/Iginio Ricco/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Act 1, Scene 1: Vien! Di Guerra...So Che Per Via Di Triboli - Iginio Riccco/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Ugo Savarese
Act 1, Scene 2: Qui! Qui! Dove Piu S'Apre...O Fatidica Foresta - Ugo Savarese
Act 1, Scene 2: Ho Risolto...Dunque, O Cruda, E Gloria E Trono - Renata Tebaldi/Gino Penno
Act 1, Scene 2: T'Arretro E Palpiti!...E Puro L'Aere, L'Impido Il Cielo - Gino Penno/Renata Tebaldi
Act 1, Scene 2: Le Vie Traboccano - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Luciano Della Pergola/Renata Tebaldi...
Act 1, Scene 2: Viene Al Tempio E Ti Consola - Gino Penno/Renata Tebaldi/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Act II, Part 1: Dal Cielo A Noi Chi Viene - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Act II, Part 1: Ecco Il Luogo...Speme A Vecchio - Ugo Savarese
Act II, Part 1: Te, Dia, Lodiam - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Act II, Part 1: Compiuto E Il Rito!...Non Fuggir, Donzella - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Luciano Della Pergola/Renata Tebaldi...

Tracks:

Act II, Part2: M'Odi, O Re. Compaire Il Ciel M'Ha Stretto - Ugo Savarese/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Gino Penno
Act II, Part2: No! Forme D'Angelo - Gino Penno/Ugo Savarese/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Renata Tebaldi
Act II, Part2: Ti Discolpa! - Gino Penno/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Ugo Savarese/Renata Tebaldi
Act III: I Franchi!...Oh Qual Mi Scuote Rumor Di Guerra - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Renata Tebaldi/Ugo Savarese
Act III: O Dio Clemente...Amai, Ma Un Solo Rumor Di Gyerra - Renata Tebaldi/Ugo Savarese
Act III: Tu Che All'eletto Saulo - Renata Tebaldi/Ugo Savarese
Act III: Di Novel Prodigio - Gino Penno/Ugo Savarese/Luciano Della Pergola
Act III: Qual Piu Fido Amico - Gino Penno
Act III: Un Suon Funereo - Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini/Gino Penno/Ugo Savarese
Act III: Che Mai Fu? Dove Son? - Renatta Tebaldi/Gino Penno/Ugo Savarese
Act III: S'Apre Il Ciel, Discende La Pia - Renata Tebaldi/Ugo Savarese/Gino Penno/Chor Of The Teatro Di San Carlos, Naples/Gabriele Santini
Adriana Lecouvreur (Exceprts): Del Sultano Amurate...Io Son L'Umille Ancella - Renata Tebaldi/Guisppe Taddei/Augusto Romani/Piero De Palma
Adriana Lecouvreur (Exceprts): Guiso Cielo! Che Feci In Tal Giorno - Renata Tebaldi
Adriana Lecouvreur (Exceprts): Salvatemi! Salvatemi!...Scostatevi, Profani! - Renata Tebaldi/Gianni Poggi
La Traviata (Exceprts): E Strano...Ah, Fors'e Lui - Renata Tebaldi
La Traviata (Exceprts): Follie!...Sempre Libera - Renata Tebaldi/Giuseppe Campora
La Traviata (Exceprts): Pero L'Attendo...Amami, Alfredo - Giuseppe Campora/Renata Tebaldi
La Traviata (Exceprts): Invitato A Qui Seguirmi - Renata Tebaldi/Giuseppe Campora
La Traviata (Exceprts): Alfredo, Alfredo, Di Questo Core - Renata Tebaldi/Giuseppe Campora/Giuseppe Taddei/Gerardo Gaudioso/Chor Of The Teatro Di San Carlos...
La Traviata (Exceprts): Teneste La Promessa...Addio Del Passato - Renata Tebaldi
La Traviata (Exceprts): Ma Se Tornado...Ah! Gran Dio! Morir Si Giovine - Renata Tebaldi
La Traviata (Exceprts): Se Una Pudica Vergine - Renata Tebaldi/Giuseppe Campora/Giuseppe Taddei/Anna De Santis/Antonio Picillo

Average customer rating:

Rarities by Rossini and Verdi

Manufacturer: Cbc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000003WU1
Release Date: 2001-07-01

Tracks:

Giovanna D'Arco: Sinf
Ernani: Congiura
Giunone: Cantata
Macbeth: Scottish Exiles' Chor: 'Patria Oppressa!'
Ermione: Sinf (With Chor)
Alzira: Prologo: No.1 Intro
Alzira: Prologo: No.2 Scena Zamoro E Finale Primo
Mose In Egitto: Scena, Chor & Preghiera: 'Dal Tuo Stellato Soglio'
Nabucco: Chor Of The Enslaved Hebrews: 'Va, Pensiero, Sull'ali Dorate'
Inno Delle Nazioni

Average customer rating:

Tullio Serafin conducts Verdi

Manufacturer: Testament UK
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

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

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
ASIN: B00000DLYR
Release Date: 1998-11-10

Tracks:

Requiem Aeternam
Kyrie Eleison
Dies Irae
Tuba Mirum
Liber Scriptus
Quid Sum Miser
Rex Tremendae
Recordare
Ingemisco
Confutatis
Lacrymosa
Domine Jesu Christe
Hostias
IV. Sanctus
V. Agnus Dei

Tracks:

VI. Lux Aeterna
Libera Me
Dies Irae
Requiem Aeternam
Overture
Overture
Va, Pensiero Sull' Ali Dorate
Gerusalem! Gerusalem!
O Signore, Del Tetto Natio
Noi Fratelli In Tal Momento
Vedi! Le Fosche Notturne
Or Co' Dadi
Fuoco Di Gioia

Amazon.com

The main virtues of Serafin's 1959 Verdi Requiem lie in the splendid choral singing (the soft passages will make the hairs on your back stand up) and Boris Christoff's refulgent dispatch of the bass solos. While the veteran conductor's idiomatic command and sensitivity to ensemble values are never in question, one misses the urgent continuity and natural orchestral balance (let alone the stellar vocal quartet) distinguishing his famous 1939 HMV version. Moreover, loud passages sound oversaturated and distorted, indicating that the master tapes have eroded with time. Also new to CD is a 1955 collection of Verdi choruses generously filling out the second disc, stylishly rendered but opaquely reproduced in boxy mono. Christoff's fans, to be sure, will want to acquire this set, but those wishing a first-class Verdi Requiem from stereo's golden age will get more sonic and musical fulfillment from Giulini (EMI) or Solti (London). --Jed Distler

Viva Verdi! A 100th Anniversary Celebration

Average customer rating:

Not bad at all ... for what it is
An honor roll of Verdi recordings
Una compra obligada para todos los verdianos
An excellent little compilation
An incredible celebration! Viva Verdi!

Viva Verdi! A 100th Anniversary Celebration
Giuseppe Verdi , Hungarian State Opera Orchestra , New Philharmonia Orchestra , National Philharmonic Orchestra , Wiener Philharmoniker , Orchestra del Teatro all Scala , Munich Bavarian State Orchestra , Los Angeles Philharmonic Orchestra , Neville Marriner , Lamberto Gardelli , Nello Santi , Fabio Luisi , Claudio Abbado , Peter Maag , Carlo Maria Giulini , Tullio Serafin , Carlos Kleiber , Francesco Molinari-Pradelli , Herbert von Karajan , Plácido Domingo , Carlo Bergonzi , Fiorenza Cossotto , Lajos Miller , Sylvia Sass , Jose Carreras , Montserrat Aparici , Sherrill Milnes , Giovanni Foiani , Shirley Verrett , Ruggero Raimondi , Montserrat Caballe , Alexander Oliver , Luciano Pavarotti , Matteo Manuguerra , Thomas Moser , Maria Venuti , Piero Cappuccilli , Anthony Michaels-Moore , and Roberto Scandiuzzi
Manufacturer: Decca
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

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

The Decca Records Store | Specialty Stores | Music
ASIN: B00004ZB9N
Release Date: 2000-11-14

Tracks:

Oberto: Sinfonia - Academy Of St. Martin In The Fields
Un giorno di regno: Scena e cavatina: Ah non m'hanno ingannata!...Grave a core innamorato (Marchesa) - Fiorenza Cossotto
Nabucco: Coro: Va, pensiero, sull'ali dorate - Wiener Staatsopernchor
I lombardi: Scena E Cavatina: La Mia Letizia Infondere... Come Poteva Un Angelo (Oronte, Sofia) - Placido Domingo
Ernani: Duetto: Da qual di che t'ho veduta (Don Carlo, Elvira) - Lajos Miller
I due Foscari: Atto II, preludio - Scena: Notte! perpetua notte (Jacopo) - Jose Carreras
Giovanna d'Arco: Sotto una quercia parvemi (Carlo VII) - Carlo Bergonzi
Alzira: Scena a cavatina: Riposa. Tutte, in suo dolor vegliante...Da Gusman (Alzira, Chorus, Zuma) - Marina Mescheriakova
Attila: E' gettata la mia sorte (Ezio) - Sherrill Milnes
Macbeth: Scena e cavatina: Vieni! t'affretta!...Or tutti sorgette (Lady Macbeth) - Giovanni Foiani
I masnadieri: Racconto: Un ignoto (Massimiliano) - Ruggero Raimondi
Jerusalem: Je veux encore entendre ta voix - Marcello Giordani
Il corsaro: Cavatina: Ne sulla terra creatura alcuna (Gulnara) - Alexander Oliver
la battaglia di Lagnano: Coro: Viva Italia! - Chor und Synphonieorchester des ORF
Luisa Miller: Quando le sere al placido (Rodolfo) - Luciano Pavarotti
Stiffelio: Scena finale: Stiffelio! - Eccomi! - Sylvia Sass

Tracks:

Rigoletto: Quartetto: Bella figlia dell'amore - Piero Cappuccilli
Il Trovatore: Stride la vampa! (Azucena) - Fiorenza Cossotto
La Traviata: Atto I, preludio - Bayerisches Staatsorchester
La Traviata: Brindisi: Libiamo ne' lieti calici (Alfredo, Violetta) - Placido Domingo
La Traviata: Scena ed aria: Finale (Violetta): E' strano!...Ah, fors'e lui - Bayerisches Staatsorchester
La Traviata: Follie! Delirio vano e questo!...Sempre libera - Ileana Cotrubas
Les Vepres sicilliennes: Giorno di pianto (Arrigo) - Carlo Bergonzi
Simon Boccanegra: Atto I, preludio - Orchestra Del Teatro Alla Scala
Aroldo: Scena e quartetto finale (excerpt): Allore che gl'anni - Neil Shicoff
Un ballo maschera: Di' tu se fedele (Riccardo) - Luciano Pavarotti
La forza del destino: Pace, pace mio Dio (Leonora) - Renata Tebaldi
Don Carlos: Dio, che nell'alma infondere (Don Carlos, Posa) - Dietrich Fischer-Dieskau
Aida: Se quel guerrier io fossil...Celeste Aida (Radames) - Jon Vickers
Aida: Qui Radames verra...O patria mia (Aida) - Leontyne Price
Otello: Ave Maria (Desdemona) - Renata Tebaldi
Falstaff: Facciamo il parentado...Tutto nel mondo e burla - Renato Bruson
Requiem: Requiem aeternam, Kyrie - Luciano Pavarotti

Amazon.com

It's rare for sampler albums to demonstrate originality, but Decca's Giuseppe Verdi compilation honoring the 100th anniversary of the composer's death in 1901 goes beyond putting a smorgasbord of Verdiana on your plate. Its lavishly illustrated 100-page book includes a potted bio of the composer and sections on each of his operas, along with Universal's complete Verdi catalog (but no texts or translations). The discs contain samples from each opera, arranged in chronological order, featuring most of the top singers of the past 40 years. They're all here, from the Three Tenors to their betters, like Jon Vickers, whose powerfully sung "Celeste Aida" is a demonstration of individuality at the service of character portrayal, and Carlo Bergonzi, whose two selections (arias from Giovanna del Arco and Les Vêspres siciliennes) are magnificent demonstrations of the true Verdi style. And this is not just another Great Hits compilation, for many of the operas are represented by rarely heard arias and ensemble pieces. The result: a neat introduction to Verdi's glorious music for neophytes and a nice supplement for Verdians, who will discover new aspects to the Bard of romantic opera. --Dan Davis

Customer Reviews:

Not bad at all ... for what it is.......2007-05-03

This two-CD set purports to celebrate the hundredth anniversary of Giuseppe Verdi's death by highlighting the whole arc of his operatic career (including his Requiem) in thirty-three tracks. This is, of course, plainly an impossible task. In general, each opera gets a single selection taken from complete performances that happened to be issued by Decca, Phillips or Deutsche Grammaphon. Since none of the three organizations had recorded either "I vespri Siciliani" or "Giovanna D'Arco," appropriate tenor arias were taken from a concert selection by Carlo Bergonzi. As the previous reviewer, Mr. Listener, pointed out, exceptions were made for "La Traviata" with four selections (all from the same recording) and "Aida" with two (ditto). In addition to those, the much more obscure "Stefellio" sneaked in the back door with a second selection from the re-written and re-named "Aroldo." The same can be said for "I Lombardi alla prima Crociata," subsequently Frenchfied as "Jerusalem."

Ten operas, "Oberto," "I Lombardi," "Ernani," "Alzira," "Macbeth," "Jerusalem," "Simon Bocanegra," "Aroldo," "Un ballo in maschera," and "Falstaff," were recorded digitally, the most recent being "Alzira" from 1999. The remaining selections were taken from digitally re-mastered analogue recordings. The oldest of them, by far, is the fabulous 1955 Tebaldi recording of "La forza del destino." Each of these recordings was made with the leading-edge technology of its day. None has lost anything in this re-issue. Their sound should be more than satisfactory to anyone except the most narrow-minded audio purist.

Among the singers, Bergonzi, Caballe, Carreras, Cortrubas, Cosotto, Domingo, Horne, Ricciarelli, Sutherland, Tebaldi and Vickers are certainly on the A-list. The others, for the most part, are also good. The conductors are uniformly strong, although none of the others was as perfectly suited to this music as the venerable Tullio Serafin, heard here only in "Il trovatore."

The set comes with the two CDs tucked away in pockets on the front and back boards of a small, bound book. The book consista of 103 pages of historical commentary, illustrations of Verdi, his wife, his collaborators, premiere productions of the operas and, just by chance, advertisements touting opera recordings from Decca, Phillips and Deutsche Grammophon.

All the original recordings were good, but only the "Otello," "Aida" and "Forza" would have any great number of fans regarding them as the best of the best, although the curiously underrated and largely forgotten "Trovatore" under Serafin is very, very good, too. As a matter of purely personal taste, I would rank only the "Forza" as without peer.

No collection that ignores the catalogues of EMI and RCA--or even the old, rough and ready CETRA, can possibly be regarded as definitive. Nevertheless, on the whole, this is a respectable attempt at its self-imposed impossible task. As I write, "Viva Verdi!" is available from various Amazon sellers at prices ranging from $8.70 to $18.68. If you are interested in a Verdi sampler, this one is a bargain.

Four sampled stars.

An honor roll of Verdi recordings.......2005-10-28

This is a commercial sampler whose 100-page book is basically a promo for the Verdi operas made by Decca, Philips, and DG. Usually such products offer insubstantial snippets, and in a sense that's true here. Verdi's operatic output from Oberto to Falstaff is given one exceprt each except for La Traviata (4) and Aida (2). The Requiem also gets a piece of the action.

The second CD, beginning with the quartet from Rigoletto, carries us into completely familiar territory. And the book is only interesting as a reminder of an honor roll of recordings that Verdi has received. It was admirable for Philips to record so much early music with great singers like Carreras and Caballe in their absolute prime.

It's the exposure of these thrilling voices that ties this collection together. Every snippet is in good osund and displays some kind of vocal excellence, often in operas like Jerusalemma or Giovanna d'Arco that few of us are likely to buy. Azira, I Due Foscari, Atila? Without this sampler these would still just be names on a page to me. Now I have a vivid, living memory of them, which is all a composer could ask for.

Una compra obligada para todos los verdianos.......2005-02-09

Este doble cd acompañado de un libro de mas de 100 paginas con comentarios sobre Verdi, sus óperas una a una, y un catalogo de discografia verdiana recomendable incluye 33 fragmentos musicales de TODAS las operas de Verdi, ademas de uno de su Requiem.
Mas alla de los fragmentos de las obras realmente conocidas (todos aqui presentes en versiones de primera clase, con solistas como Domingo, Carreras, Tebaldi, Verrett, Millnes...) el principal punto de interes de este disco radica en encontrar autenticas rarezas, como una amplia escena (12') de "Alzira" a cargo de la prometedora Marina Mescheriakova, o el poder comparar el 'La mia letizia infondere' (de I Lombardi) con el 'Je veux encore entendere' (de Jerusalem, la revision francesa de I Lombardi). En la primera encontramos a un Placido Domingo pletorico y en la segunda (mas aguda) a un Marcello Giordani sin miedo al agudo. Dos operas (Alzira y Jerusalem) nunca antes grabadas en estudio.
Una fiesta verdiana obligada, tanto para los aficcionados que quieran iniciarse como para aquellos que ya son iniciados y quieren disfrutar una vez mas con Verdi en estado puro. ¡VIVA VERDI!

An excellent little compilation.......2003-05-29

This is a great little set, better in its breadth than its depth. I came to appreciate this collection when I was putting together a score for a show entitled: "Eat your greens; The complete operas of Verdi performed in 20 minutes by a cast of vegetables" Let me assure you, when you're trying to get every Verdi opera down to 20 or so seconds and score it with a pithy arrangement of a passage, you're going to need someone to narrow it down to about one number per opera for the bulk of the shows. If I wasn't able to reference this, I would have had to look much harder and spent a lot more money to get things like the complete Oberto, Conte di San Bonifacio and Alzira. This collection provided me with stellar recordings of the cream of each Verdi opera, all well recorded by major artists. In addition to this admittedly obscure usage, the collection provides a splendid overview of Verdi's truly massive career, from his early beginnings, where he nearly out-Rossinis Rossini (if that were possible) to his colossal Requiem, Falstaff, and Otello, which are arguably Wagnerian in scope and ambition. Short of a college course, and the Budden book, I can't think of any better way to internalize his acheivement than to listen to this superbly compiled and elegantly packaged delight. I recommend it highly.

An incredible celebration! Viva Verdi!.......2000-12-05

This album which is celebrating Verdi's works, is wonderful. I could say these cds present the best singers of our times singing Verdi's operas. I also noticed that here we can hear many less known works. In fact, almost all the Verdi's operas are contained in this magnificent album. As the title says: " a great celebration"

Music Review:

Music Review

music review

Recommended Music:

Auraplex [Import]

La Gamme / Sonate a La Maresienne

Italian Orchestral Music

Music: If You're Feeling Sinister

Kansas City: A Robert Altman Film - Original Motion Picture Soundtrack [Soundtrack]

Keep It Gritty [Explicit Lyrics]

Lonesome Day [CD-single] [Enhanced] [Import]

komposi002

Lotus

link-web.net Track Listings: 4 Wind Quintets

Live in Montana [Live]

Il Giardino Dei Semplici [Import] [Original recording remastered]

Harvest

Jessye Norman - Christmastide

Best of The Blues Brothers