Che Vuoi?

On this CD:

1. Per Te, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

2. En Bleu, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

3. Someone was here, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

4. Come again some time, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

5. La patineuse, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

6. Fall, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

7. Pour Julie, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

8. Che Vuoi, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

9. Downstream, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

10. Porque No, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

11. Away from home, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

12. Sweet thing, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

13. Cuchulain, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

14. On her own, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

15. For Joelle, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

16. Sanaa, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

17. Nostalgia, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

18. Drive, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

19. Future past, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

20. Helpless Child, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

21. While she's away, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

22. Au fil d'Ariane, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

23. Lost Vision, for piano
Composed by Henry Krutzen
Performed by Jean-Luc Plouvier, Jean-Luc Plouvier, Jean-Luc Plouvier

Che Vuoi?, Music, Henry Krutzen, Jean-Luc Plouvier, Classical, Keyboard, Music for Keyboard, Religious / Contemp. Christian

Handel Operatic Duets ~ Amor e gelosia / Ciofi · Di Donato · Il Complesso Barocco · Curtis
Average customer rating:

Stellar Singing

From still waters to fireworks in baroque singing - Duets sung exquisitely

Supreme Handel Duets Lack Dramatic Context But Still Lovely

A feast

A sumptuous feast of Handel

Handel Operatic Duets ~ Amor e gelosia / Ciofi · Di Donato · Il Complesso Barocco · Curtis
George Frideric Handel , Patricia Ciofi , Joyce Di Donato , Alan Curtis , and Il Complesso Barocco
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski

ASIN: B0001CTKD0
Release Date: 2004-06-01

Tracks:

Caro Amico Amplesso!
Scherzano Sul Tuo Volto
Non Ti Basto, Consorte/Io T'abbraccio
Mio Diletto, Che Pensi?/Sol Per Te, Bell'idol Mio
Per Le Porte Del Tormento
Del Destin Non MI Lagno/Caro, Tu M'accendi
Amarilli?/Amarilli? Oh Dei! Che Vuoi?
Vivo Senz'alma, O Bella
Finche Prendi
Perfidi! Ite Di Poro/Se Mai Piu Saro Geloso
Macedoni Guerrieri/Se Mai Turbo Il Tuo Riposo
Sinfonia To Act 3
Gran Pena E Gelosia!
Lode Agli Dei/Se Mai Turbo Il Tuo Riposo
Alma Mia, Dolce Ristoro
Ricordati, Mio Ben
Addio, Mio Caro Bene

Amazon.com

In baroque opera, the spotlight was usually reserved for the bravura arias, designed to show off the singers' brilliant coloratura and skill in improvising ornamentation. The ensembles, on the other hand, were left to languish in the shadows. This record aims to right that wrong in a program of 17 duets drawn from 13 mostly unfamiliar Handel operas. In an attempt to create some cohesion, these primarily short selections are arranged under the heading "Love and Jealousy," with love predominating and usually prevailing. If the title sounds a bit gimmicky, never mind: the music's the thing and it is wonderful. Expressed with Handel's inimitable dramatic intensity and deeply felt inwardness, it encompasses every amorous emotion from tenderness, ardent protestation and rapturous joy to fear of loss, anguish and mournful farewell, using an infinite variety of form, texture and character. Some duets begin with a recitative; the voices separate and unite, conversing, interweaving, joining in imitation or harmony. The orchestra, a period-instrument group of soloists, provides introductions, interludes and postludes which set mood and atmosphere and contribute greatly to contrast and diversity. The performances are splendid. The two singers prove that the duet is as fertile a vehicle for virtuosic display as any aria, and they find plenty of opportunities for ornamentation in the da capos. Their voices can blend and merge as well as remain distinctly individual in timbre and color, and they succeed in creating, or at least suggesting, situations and personalities even in the shortest selections. The playing is impeccable: rhythmically crisp and pungent, texturally transparent, and very expressive. The only cavil is that the selections often follow each other without a pause, making it difficult to be sure where one ends and the next begins. --Edith Eisler

Customer Reviews:

Stellar Singing.......2007-01-04

I must admit that, before becoming a dedicated Joyce DiDonato fan, I probably wouldn't have purchased a CD of Handel duets, or any Baroque duets for that matter. Like other reviewers have observed, the duets are performed out of dramatic context. I also prefer the full opera, particularly when it comes to Handel.

In the case of this CD, who cares? This is literally some of the loveliest Baroque ensemble singing I have ever heard. The pairing of Joyce DiDonato with Patrizia Ciofi was a stroke of brilliance. Their voices match perfectly. Their intonation is spot on, all the time. Their ornamentations, particularly the da capo ornamentations, are intelligently selected and brilliantly executed. The balance is just right between the singers and the chamber musicians.

I have a big thanks to give to Virgin Veritas and these two wonderful artists for this CD. It will get lots of play in my home.

Highly recommended.

From still waters to fireworks in baroque singing - Duets sung exquisitely.......2005-11-28

Handel was a master of his medium - his music paints with elegance and soul-stirring emotion upon the canvas of the human heart. His duets often exhibit particular indebtedness to Steffani (truly a genius of duet writing), and they are gorgeous duets indeed!

I note that some other reviewers quibble with a) duets only on this recording; and b) a sense of disjointedness.

Addressing both of those issues, let's admit that any recital disc is going to give some disjointedness in the absolute and literal sense. To take a portion of an opera out of its setting and perform it separately is a sort of amputation, be it an album of arias OR an album of duets. Should singers then avoid putting out solo recordings of Handel arias? I find no reason to come to THAT conclusion - and for the same reason, I have no quarrel at all with the recording of an album of Handel duets.

Of course, to enjoy Handel to the fullest degree, do get full recordings as well... but even in Handel's time, singers would pull specific bits of their roles out of context, perform them separately... so it's a time-honoured practice! Let us simply enjoy the high standard of the music without worrying about context in any recording of arias, duets, trios, or operatic scenes.

Handel's duets vary so much in their shape, melodies, harmonies, rhythms - there's plenty of variety. It comes down to a question of the singers involved having suitable voices, singing appropriately for the style, the playing of the orchestra, and the particular variety of duets chosen.

On all points, this album scores highly! Both Ms Ciofi and Ms Di Donato have beautiful voices, clearly trained in baroque singing, and they have equally clearly put in a lot of work to achieve a lovely blend and similar approach within these duets. What a joy to hear gifted singers perform these duets with such intelligence, emotional involvement and lovely, lovely tone!

This recording is a favourite of mine - not just because I perform many of the duets on this CD with another soprano, but because I am genuinely delighted to hear appropriately performed Handel singing in a duet album. I've found fault with some other duet albums because I consider them under-rehearsed, insufficiently blended, and inappropriately embellished - but this album shows none of those faults, and I am very happy to recommend it highly and without reservation. Beautiful singing, beautiful works - you can scarcely wish for more!

Supreme Handel Duets Lack Dramatic Context But Still Lovely.......2005-01-08

I was fortunate to see and hear Renée Fleming and the astounding David Daniels sing "Io t'abbraccio" together in the magnificent Stephen Wadsworth production of Handel's "Rodelinda" at the Metropolitan Opera last week. There is nothing here that can match the ethereal quality and overwhelming melancholy of that duet performance, but sometimes this recording comes pretty close under the masterful baton of Alan Curtis. Soprano Patrizia Ciofi and mezzo-soprano Joyce Di Donato blend quite well together with Ciofi's often fiery coloratura floating easily over the verses and Di Donato's contrasting darker, fuller tone.

It's a nice idea to make a disc of just Handel duets but also a bit risky since they usually represent the major dramatic highpoints of his operas, mostly coming at the end of an act or of the entire opera. Given that fact, one would think there would be plenty of exhausting dramatic fireworks by providing one duet after another. In fact, the higher profile duets, such as the aforementioned "Io t'abbraccio" and the equally famous "Scherzano sul tup volto" from "Rinaldo", feel a bit lackluster probably because their gorgeous music crowns the end of scenes full of tension and drama. The joy in hearing two characters sing together, especially after hearing each of them express their individual sentiments, acts as a catharsis. But here the duets become lovely moments partially robbed of their dramatic impact because the organic synthesis of character and music is lost. Certainly it's not easy to deliver a recital containing only music that Handel devised for key dramatic moments. Yet, it more often does work here perhaps because there are a treasure trove of little-known gems such as "Caro, tu m'accendi" from "Faramondo", "Se mai turbo il tuo riposo" from "Poro" and "Alma mia, dolce ristoro" from "Admeto". The performances really become more like chamber music pieces, almost understated and always tasteful. Toward that end, the singing is expressive and stylish as Ciofi and Di Donato play lovers who quarrel and console in these duets. Together they bring this recording to a consistently high level regardless of the dramatic shortcomings, and their emotional availability makes their unified voices all the more resonant as they get lost in each other.

A feast .......2004-09-28

The programme maybe disjointed, but it doesn't matter, because the singing is some of the most glorious I have EVER heard. A shining feast of articulation, phrasings and harmonies, heavenly executed by Ms Ciofi and Ms Di Donato.

Just buy it for an unparalleled vocal chord experience; marvel at the singing. Any other considerations are entirely oblivious.

A sumptuous feast of Handel.......2004-08-04

Alan Curtis has here chosen to bring to life some of the more memorable duets of Handel's many operas. Quite apart from chewing over some of the more well-known operas he has chosen some duets from Silla, Sosarme (Per le porte del tormento), Faramondo, Atalanta, Poro and Muzio Scevola, few of which have had decent recordings in the last number of years.

His band is small, one player per part, withe the resultant effect rather to make the duets seems like chamber music. There is a danger in that with duets such as Io t'abbraccio (end of Act 2 Rodelinda) taken out of context that the dramatic moment of the music would be lost. However, by arranging the duets in a sequence (as Curtis writes in the notes) from love's joy through self-doubt and jealousy, back to undying love, the duets out of context sound superb.

Both singers, Patrizia Ciofi (Soprano) and Joyce di Donato (Mezzo) sound thoroughly at home in the idiom of baroque opera, and in fact their cadenzas and ornamentation are delightfully understated, rather than the sort of shrieking 'I can go higher still' of some more lauded performers. I look forward to Curtis' forthcoming recordings of Lotario, Rodelinda and Radamisto, if these performers are to be retained.

In short this is a delightful enterprise showing the genious of Handel in dealing with the most basic of human emotions - love and jealousy. Well done Alan Curtis!

Average customer rating:

Very Bad
Different is not always bad!
Pay special attention to this new promise !
A tenor who wishes he were a baritone
Finally, a SPINTO tenor!!!

Jose Cura - Puccini Arias / Domingo
Giacomo Puccini , London Philharmonia Orchestra , Plácido Domingo , and Jose Cura
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000005E5L
Release Date: 1997-10-28

Tracks:

Turandot (Act III): Nessun dorma
Turandot (Act I): Non piangere Liu!
Gianni Schicchi: Avete torto! - Firenze ome un albero fiorito
Il Tabarro: Hai ben ragione
Il Tabarro: Io voglio la tua bocca - Folle di gelosia
La Rondine (Act I): Parigi! a cittei desideri
La Rondine (ActIII): Dimmi che vuoi seguirmi
La Fanciulla del West (Act II): Una parola sola - Or son sei mesi
La Fanciulla del West (Act III): Risparmiate lo scherno - Ch'ella mi creda
Madame Butterfly (Act I): Dipende dal grado di cottura - Amore o grillo
Madame Butterfly (Act III): Addio fiorito asil
Tosca (Act I): Recondita armonia
Tosca (Act III): E lucevan le stelle
La Boh (Act I): Che gelida manina
Manon Lescaut (Act I): Tra voi, belle
Manon Lescaut (Act I): Donna non vidi mai
Manon Lescaut (Act II): Ah, Manon mi tradisce
Manon Lescaut (Act III): Ah! non v'avvicinate! - No, pazzo son
Manon Lescaut (Act IV): Manon...senti, amor mio - Vedi, son io che piango
Edgar (Act II): Orgia, chimera dall'occhio vitreo
Le Villi (Act II): Ecco la casa - Torna ai felici di

Amazon.com essential recording

Good tenors are always in short supply, a particularly lamentable circumstance given the great demand for them in the operatic and symphonic repertoire. Thus, the advent of a good young tenor is always cause for rejoicing. A tenor of the caliber of Jose Cura--a composer, conductor and guitarist as well as a singer--is really good news. There is nothing wimpy about Cura's singing, nothing strained; he sings with baritonal beef and strong, chesty high notes. A protege of Placido Domingo, he shares some qualities with the older tenor, but is definitely an artist with something to say for himself. This is a career to watch. --Sarah Bryan Miller

Customer Reviews:

Very Bad.......2007-03-29

First of all, his voice does not suit for Puccini(I do not know what is fitting for him). If you buy this cd, you may listen the worst "Non piangere liu" "E Lucevan Stella" etc. He can not bring a little emotion. But Puccini demands it.

Different is not always bad!.......2006-11-26

It's very interesting to read all the reviews smashing Jose Cura for his "baritone-like" voice and supposed stiff and unvaried interpretation. The first opera I ever saw was The Washington Opera's 1997 production of Samson et Dalila (I was 13) with Jose Cura and Denyce Graves. Immediately I was converted into an opera lover! (specifically an opera-goer-lover) I don't necessarily like listening to all opera, and a lot of singer's voices still annoy me, but Jose Cura's voice is different (the source of much of the controversy...). The richness and deep quality of his voice that so contrasts with most tenor's voices (which can be rather squeaky at times) is what attracts me. And you should see this man act! A refreshing experience against the stereotypical stiff opera singer standing in the middle of the stage bellowing his/her lungs out. So please, try to actually see the man before you form an unshakeable opinion. I think his voice alone is gorgeous (especially with Puccini's incomparable work!), but pared with his charisma and ability on stage, it's irresistable.

Pay special attention to this new promise !.......2006-06-30

A talented artist, a potent and polished voice emerges to satisfy the Opera lovers all over the world.

Jose Cura is nowadays, one the most prominent figures of the Bel Canto. His charismatic presence and his timber have deserved him the best praises all over the world.

In this opportunity we may listen him singing a selection of Puccini's Arias, accompanied by Placido Domingo with the Philharmonia orchestra, a magnificent occasion to enjoy his art and impeccable timber.

A tenor who wishes he were a baritone.......2005-12-14

I bought this CD because I love Puccini above all other composers, due to the sheer emotion that he could put into his music. I also wanted to hear Placido Domingo conduct and I'm always on the lookout for a good tenor. However, this is not the CD to buy if you're looking for a good tenor. I can't help but agree with the reviewer who gave only one star, at first Jose Cura sounds great. But after I really listened I had to change my opinion. Cura sings ridiculously heavy to be a tenor. If you listen to him with the mindset that this is a tenor it's really laughable how heavy and pressed his voice is. I was reminded of Placido Domingo (Ugh) or Franco Corelli who also depressed his larynx giving him a very baritonal sound but by the time he was in his forties, when most voices really blossom, his was declining do to the tremendous weight he sang with. Cura scoops up even to middle register notes because he is unable to start on the pitch, and has one tone to his voice (except when he goes bellow mezzo forte when he has almost no control) and very little in the way of vocal expression due to the restrictions this weight puts on the voice. Now don't get me wrong, I'm not usually an opera snob (I listen to and love Josh Groban, Russel Watson, and Andrea Bocelli), but Cura truly warranted a review. I gave it two stars because I didn't think Placido did a bad job at conducting (not the best by any means but certainly not bad) and despite everything I just said, I really like Cura's performance of Nessun Dorma (I don't get why it's weak).

Finally, a SPINTO tenor!!!.......2005-10-14

I am SO happy that there is finally a tenor out there with the vocal power to sing over a Puccini orchestra but still keep the lyricism for the upper register! If your preference is for a sweeter, lighter sound, check out recordings of Carlo Bergonzi and Roberto Alagna. This is a voice meant for singing over large orchestras with some "muscle" in the low register and the ability to make high notes soar. (It also doesn't hurt that Sr. Cura is as gorgeous as his voice! :) )

Average customer rating:

This Truly Is "Bel Canto"!
An essential Maria Stuarda...the only one, in fact
Glorious Maria Stuarda - The best on records
Remembrance of Things Past
Awful

Donizetti: Maria Stuarda
Gaetano Donizetti , Beverly Sills , Aldo Ceccato , Stuart Burrows , Eileen Farrell , and Louis Quilico
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005AWIM
Release Date: 2001-04-10

Tracks:

Maria Stuarda: Overture
Maria Stuarda: Act One - Preludio
Maria Stuarda: Act One - Qui si attende
Maria Stuarda: Act One - Si, vuol di Francia il Rege
Maria Stuarda: Act One - Ah! quando all'ara scorgemi
Maria Stuarda: Act One - Fra voi perche
Maria Stuarda: Act One - Hai nelle giostre
Maria Stuarda: Act One - Questa immago
Maria Stuarda: Act One - Sei tu confuso?
Maria Stuarda: Act One - Quali sensi
Maria Stuarda: Act Two - Allenta il pie, Regina
Maria Stuarda: Act Two - Oh nube!
Maria Stuarda: Act Two - Ah! non m'inganna la gioia!
Maria Stuarda: Act Two - Da tutti abbandonata
Maria Stuarda: Act Two - Qual loco e questo
Maria Stuarda: Act Two - E'sempre la stessa

Tracks:

Maria Stuarda: Act Two - Deh! l'accogli
Maria Stuarda: Act Two - Va, preparati furente
Maria Stuarda: Act Three - E pensi? E tradi?
Maria Stuarda: Act Three - Quella vita
Maria Stuarda: Act Three - Si!...Regina!
Maria Stuarda: Act Three - D'una sorella, o barbara
Maria Stuarda: Act Three - La perfida insultarmi
Maria Stuarda: Act Three - Che vuoi?
Maria Stuarda: Act Three - Oh mio buon Talbo!
Maria Stuarda: Act Three - Quando il luce rosea
Maria Stuarda: Act Three - Vedeste? Vedemmo
Maria Stuarda: Act Three - Anna?...Qui piu sommessi favellate
Maria Stuarda: Act Three - Deh! Tu di un umile preghiera
Maria Stuarda: Act Three - Oh colpo!...
Maria Stuarda: Act Three - Giunge il Conte
Maria Stuarda: Act Three - Ah! se un giorno da queste ritorte

Customer Reviews:

This Truly Is "Bel Canto"!.......2005-07-06

Beverly Sills is justifiably famous for her performances and recordings of the three Donizetti "Mad Queen" operas--"Anna Bolena", "Roberto Devereux", and this one, "Maria Stuarda". All three recordings are wonderful examples of quintessential bel canto operas performed by excellent casts, but this recording of "Maria Stuarda" must stand out. While other sopranos may be considered to have richer voices, Sills' technical mastery, incredible musicanship and acting skills make her one of the finest performers of bel canto opera in the second half of the 20th century.
And unlike in her recording of "I Puritani", here Sills is ably supported by her fellow cast members. Stuart Burrows is an elegant and refined Mozartean tenor--very different in style from Sills' fierce and somewhat "over the top" portrayal of Mary Stuart--but it works very well for his role as the ineffectual Leicester. And one of the joys of this recording is the chance to hear the sadly under-recorded American dramatic soprano Eileen Farrell in one of the very few (if not the only) full length opera roles she recorded. Her rich and powerful soprano is a joy to hear, and her duets with Sills are musically stunning--one of the major highlights of this opera. If you like bel canto opera, you'll love this recording.

An essential Maria Stuarda...the only one, in fact.......2005-05-01

One might argue that Mary Stuart (bloody Mary) should never have been represented as a heroine, but here in the opera she is regally presented as a vulnerable, innocent woman. And who would be better to represent this queen that America's queen of opera, Beverly Sills? I've heard several renditions of Mary Stuart, from Montserrat Caballe to Leyla Gencer and even Edita Gruberova, but Beverly Sills outsings them all as Elizabeth's rival to the throne. She had all the notes in her throat, plus drama in her veins that makes her in every right of the word a queen. No other recording of Maria Stuarda has caught my attention as this, and I believe it should be a part of your collection. Eileen Farrell, who sings Elizabeth in this recording, is an amazing singer who not only sang Wagnerian roles well, but also bel canto roles. Listen to her duets with Sills...simply amazing. Highly recommended recording!

Glorious Maria Stuarda - The best on records.......2005-02-03

Beverly Sills is famous for her recordings of Donizetti's Tudor-Queens, and this recordings proves how right her fans are. Her Mary has it all that some lack: Fire, dignity, vocal brilliance, touching drama, delirious passion and Bel Canto abilities that haven't been equalled since she and Montserrat Caballe sang these roles. Just listen to Maria's prayer... It'll take your breath away. Mary Queen of Scots may not have been such a heroine in real history but this recording certainly is nothing short of a miracle with an equally brilliant cast.

Remembrance of Things Past.......2004-05-30

In this recording, I am pleasantly reminded of my early exposure to opera; and still hear much to validate my early impressions of the bel canto genre. Beautifully sung and played, this performance still stands out just for its pure flowing continuity; but no less admirable are the more dramatic moments, especially featuring the late Eileen Farrell. A pity she didn't sing more in complete opera performances, both onstage and recordings. Truly, a great dramatic soprano. Beverly Sills is, as always, a delight to hear. Such gorgeous tone and floating pianissimi. Also a notable range. Perhaps not the most depth of any voice in opera, still, always a pleasure. Just plain beautiful. Textually complete, particularly in comparison to the Sutherland version. This is opera as theatre, at least as close as one can get in bel canto. I only wish I had witnessed a performance onstage of this work featuring Sills. But, alas,I was a kid at the time, and it was never brought to my city, in spite of all my hopes. So, this recording on cd is a real treat for me, especially in view of the fact that the original lp pressings on audio treasury were a bit substandard. Also quite good are Stuart Burrows, and, to a lesser degree, Louis Quilico. If only his son had been singing professionally then. Recommended for anyone that appreciates beautiful singing.

Awful.......2004-05-20

Right back at you, damn basher! If you won't leave Callas alone (You've done her enough harm!) we'll retaliate! We warned you! Sills has a thin, screechy voice and is miscast in this dramatic role! Go for Sutherland instead!

Average customer rating:

Primo Tenore
Bravo, Cura!

Artist Portrait Jose Cura
Jose Cura
Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006L724
Release Date: 2004-03-16

Tracks:

'Non Piangere, Liu!'
'Se Quel Guerrier Io Fossi!...Celeste Aida'
'Niun Mi Tema'
'Vois Ma Misere'
Addio Alla Madre, 'Mamma, Quel Vino'
'Recitar!... Vesti La Giubba'
'Come Un Bel Di Di Maggio'
'Amor Ti Vieta'
'Ah! Si Ben Mio...Di Quella Pira'
'Io L'ho Perduta'
'L'anima Ho Stanca'
'Che Gelida Manina'
'E Lucevan Le Stelle'
'La Dolcissima Effigie'
'Dimmi Che Vuoi Seguirmi'
'Mon Coeur S'ouvre A Ta Voix'
La Rosa Y El Sauce
Cancion Del Arbol Del Olvido
'Nessun Dorma'

Customer Reviews:

Primo Tenore.......2004-11-03

As the Domingo/Pavarotti era has come to a close, we find that a new generation of tenors awaits their time.
Jose Cura is without a doubt one of the greatest tenors of the new era!

Now I realize this statement will raise quite a few eyebrows, as I know that many, many tenor lovers, particularily those who have a deeply rooted affection for the lyric tenor voices of Pavarotti, Alvarez or Gigli, do not think Mr. Cura's dark and muscular tenor worthy of consideration.

Let it be known that, to date, Mr. Cura IS the foremost operatic tenor of the world.
He has more CD's on the market than any of his contemporaries (Alagna, Licitra, Alvarez), and a wider international appeal.
In fact, I was introduced to the Cura voice in a record store in southern Germany. I was looking for a Bocelli CD and the store clerk advised me to check out this Jose Cura. I bought the Verismo CD and upon hering it, I was convinced that this man would be the successor to the aging Domingo.

Anyhow, this CD is a great sampling of most of Mr. Cura's current CD releases.
His reading of Puccini's "E Lucevan Le Stelle" and " Nessun Dorma" are inspirational. His take on Verdi's "Nun Mi Tema" form "Otello" showcase why Mr. Cura has become the most sought after "Otello" of the post-Domingo era.

The only reason I did not give this CD a 5 star rating, is because of the inclusion of a few tracks from Cura's "Anhelo" which was supposed to be collection of Argentinian "folk" songs. However, the end result sounded more like a Spanish version of German Lieder...which is to say boring beyond imagination.

I would have much preferred to have a few songs from the exquisite "Bolero" CD included. For some reason not one track of what I consider Mr. Cura's finest CD was included in this compilation.

Overall this is a fine compilation of a PRIMO TENORE.

Bravo, Cura!.......2004-10-13

Perhaps MAYBE, Placido Domingo, there isn't a better tenor singing today than Jose Cura. I've even tried to prove myself wrong by listening to an abundance of others. Voices like his just don't come around very often.
I first heard him singing two songs with Sarah Brighman on her "Time to Say Goodbye" CD. By thirsting for THAT voice, I bought lots more of his CD's, DVD's and VHS tapes, and was introduced to the world of opera, and the versatility of this phenomenally gifted man.
This CD is a wonderful sampling of several of his CD's: Puccini Arias (my personal favorite), Verdi Arias, Verismo, Samson & Dalila and Anhelo (a close second). The reasons I'm giving it a 4 instead of a 5, even though I want to, are as follows.
First, there are no selections on the CD from Manon Lescaut (on Puccini Arias), which are just wonderful. The emotion of his performance of those songs is gut wrenching, and I was moved to tears when I first heard them.
Secondly, his artistic talents are widespread; not only can he sing, but also, he can conduct and compose music as well. The songs selected from Anhelo for this CD are beautiful. But his composition skills could have also been showcased if included were Sonetos de Amor y Muerte, which consists of two poems by Pablo Neruda, put to music composed by Maestro Cura. It's just beautiful, particularly the second one. (I read on his website that a future project includes more music composed for Neruda's poems and I, for one, can't wait.)
This CD would be a great addition to anyone's music library, but don't stop there. He's got an abundance of great music...Boleros, Aurora, Song of Love, Dvorak...the list goes on.

Rossini - The Barber of Seville / Roberta Peters · Leinsdorf

Average customer rating:

Perfection in Seville
Un 'Barbero' sorprendente
Strange to say, but probably one of the best Barbers
Pure Bliss!!! YOU MUST GET THIS!!
Hey! This is one of the BEST!

Rossini - The Barber of Seville / Roberta Peters · Leinsdorf
Gioachino Rossini , Erich Leinsdorf , Roberta Peters , Robert Merrill , Fernando Corena , Margaret Roggero , Carlo Tomanelli , and Giorgio Tozzi
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Rossini: L'Italiana in Algeri
Giacomo Puccini: La Rondine
Verdi: Rigoletto
Verdi: Ernani (Complete) [Germany]
Bizet: Carmen / Price, Corelli, Merrill, Freni; Karajan

ASIN: B000003G4F
Release Date: 1996-09-17

Tracks:

The Barber Of Seville: Overture
The Barber Of Seville: Act I: Scene 1: Piano, pianissimo (Count)
The Barber Of Seville: Act I: Scene 1: Ecco ridente il cielo (Count)
The Barber Of Seville: Act I: Scene 1: Ehi, Fiorello! - Mio signore! (Count)
The Barber Of Seville: Act I: Scene 1: Mille grazie, mio signore (Count)
The Barber Of Seville: Act I: Scene 1: Gente indiscreta! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: La ran le lera; Largo al factotum (Figaro)
The Barber Of Seville: Act I: Scene 1: Ah, ah! che bella vita! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: Non e venuto ancora (Rosina, Count, Bartolo, Figaro)
The Barber Of Seville: Act I: Scene 1: Se il nome saper voi bramate (Rosina, Count, Figaro)
The Barber Of Seville: Act I: Scene 1: Oh, cielo! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: All'idea di quel metallo (Count, Figaro)

Tracks:

The Barber Of Seville: Act I: Scene 1: Evviva il mio padrone - Rossini
The Barber Of Seville: Act I: Scene: 2: Una voce poco fa (Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Si, si, la vincero! (Rosina, Figaro, Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: La calunnia e un venticello (Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ah, che ne dite? (Basilio, Bartolo, Figaro, Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Dunque io son... tu non m'inganni? (Rosina, Figaro) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ora mi sento meglio (Rosina, Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: A un dottor della mia sorte (Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: Brontola quanto vuoi (Rosina, Count) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ehi, di casa... buona gente (Count, Bartolo, Rosina, Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Che cosa accadde, signori miei (Figaro, Bartolo, Count, Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Fermi tutti, nessun si mova (Bartolo, Figaro, Basilio, Count, Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Mi par d'esser con la testa (Rosina, Count, Basilio, Bartolo, Figaro) - Rossini

Tracks:

The Barber Of Seville: Act II: Ma vedi il mio destino! (Bartolo)
The Barber Of Seville: Act II: Pace e gioia sia con voi (Count, Bartolo)
The Barber Of Seville: Act II: Insomma, mio signore (Bartolo, Count, Rosina)
The Barber Of Seville: Act II: 'Contro un cor che accende amore...' (Rosina, Count)
The Barber Of Seville: Act II: Bella voce! (Count, Rosina, Bartolo)
The Barber Of Seville: Act II: 'Quando mi sei vicina...' (Count, Bartolo)
The Barber Of Seville: Act II: Bravo,signor barbiere,ma bravo! (Figaro, Bartolo, Rosina, Count)
The Barber Of Seville: Act II: Don Basilio! Cosa veggo! (Rosina, Count, Figaro, Bartolo, Basilio)
The Barber Of Seville: Act II: Buona sera, mio signore (Count, Figaro, Basilio, Rosina, Figaro, Bartolo)
The Barber Of Seville: Act II: Orsu, signor don Bartolo (Figaro, Bartolo, Count, Rosina)
The Barber Of Seville: Act II: Ah! Disgraziato me! ma come? (Bartolo,
The Barber Of Seville: Act II: Il vechiotto cerca moglie
The Barber Of Seville: Act II: Dunque voi don Alonso non conoscete affatto? (Bartolo, Basilio, Rosina)
The Barber Of Seville: Act II: Temporale - Storm
The Barber Of Seville: Act II: Alfine eccoci qua (Figaro, Count, Rosina)
The Barber Of Seville: Act II: Ah! qual colpo inaspettato! (Rosina, Figaro, Count)
The Barber Of Seville: Act II: Ah,disgraziati noi! come si fa? (Figaro, Count, Rosina, Basilio)
The Barber Of Seville: Act II: Il conte! ah che mai sento! (Bartolo, Count)
The Barber Of Seville: Act II: Cessa di piu resistere (Count)
The Barber Of Seville: Act II: Insomma, io ho tutti i torti! (Bartolo, Figaro, Basilio, Rosina)
The Barber Of Seville: Act II: Di si felice innesto (Figaro, Bartolo, Basilio, Rosina, Count)

Customer Reviews:

Perfection in Seville.......2007-05-14

I think the mezzo vs high coloratura soprano as Rosina is irrelevant when considering the merits of this recording. This is almost a complete reading of the score which benefits from the casting of most of the original cast of a production that was still relatively new in 1958 when the recording was made.

All the soloists have the bel canto style nailed down. The Figaro of this recording is Robert Merrill and his voice is caught in all of it's prime time state. Simply gorgeous golden tone here that is richly masculine with an easy upper register. The rest of the cast, the conducting and playing of the Met Opera orchestra and chorus are perfection.

Although there is some minor master tape related problems, and they are really minor, RCA's Living Stereo process is remarkable. This edition's sonics are an incredible improvement over RCA's original CD release.

Un 'Barbero' sorprendente.......2004-10-31

Este 'Barbero de Sevilla' (grabado en 1956 por el sello RCA) depara muchas sorpresas agradables. Se trata de una version completisima (se incluyen todos los recitativos y ademas el aria de Almaviva 'Cessa di piu resistere', que suele suprimirse y que aparece aqui por primera vez en la historia en grabacion de esta opera).
El reparto se acerca bastantea la realidad rossiniana de los canones de hoy en dia (lo que debe sorprender, porque en 1956 eran bien diferentes) Como Almaviva tenemos al tenor CESARE VALLETTI, que combina una bella voz con un dominio de la coloratura bastante correcto para la epoca. La Rosina de ROBERTA PETERS (en version soprano ligera) derrocha una cantidad de agudos y sobreagudos con una seguridad y limpieza absolutamente pasmosa: la voz puede gustar o no, pero su dominio del agudo y del registro agudo no se le puede negar.
ROBERT MERRILL es un Figaro diferente, que quiza pueda chocar un poco, porque es el que mas alejado esta de la realidad rossiniana de hoy en dia. FERNANDO CORENA es un Don Bartolo que quiza peca de excesos de comico y GIRGIO TOZZI es un Don Basilio imponente. La lista de secundarios cumple perfectamente con sus cometidos y ERICH LEINSDORF realiza una lectura que, aunque hoy en dia puede resultar poco rossiniana, no deja de ser interesante ante unos cuerpos estables del Metropolitan de Neuva York que, como siempre, responden con calidad.
En definitiva, sin ser un Barbero de primera opcion, es una buena forma de ver cuanto ha evolucionado la historia del canto y de la conduccion rossiniana, disfrutando y sorprendiendose. Una version que, aunque a priori pueda prometer poco, ofrece bastante. Recomendable.

Strange to say, but probably one of the best Barbers.......2004-10-27

It's funny how some "classic" recordings might be classic but they arent necessarily good introductions to an opera. For example, the Maria Callas/Tito Gobbi/Luigi Alva Barber of Seville is often thought to be the classic recording of Rossini's comic gem. While I agree that recording is unique, it's also extremely cut, and it goes for a drier, more "subtle" humor.
OTOH, the Leinsdorf recording, with a cast of Cesare Valletti, Roberta Peters, Robert Merrill, and Fernando Corena is well-sung, relatively complete, well-recorded, and most of all has a freewheeling sense of fun that I think perfectly captures the charm of this opera.
Roberta Peters was a high, light soprano. Her voice can sound a bit glassy and colorless, but her Rosina is lively, virtuostic, and properly spunky. The only caveat is that like some sopranos she transposes "Una voce poco fa' up to F, while the aria IMO is much more charming in its original key of E. Cesare Valleti's Almaviva is more caressing than dazzling (unlike Juan Diego Florez), but unlike many Almavivas he actually sings the whole part. He does not cut his final aria "Cessa di piu resistere."
Overall, I'd say none of the individual singers on this recording are necessarily the best, but together this is a great ensemble recording, and I highly recommend it as an introduction to the opera. To opera, in fact.

Pure Bliss!!! YOU MUST GET THIS!!.......2003-07-29

Okay, if you are just browsing amazon and this set caught your eye let me just say STOP!! GO NO FURTHER!! THIS IS THE BEST!!
THIS IS PERFECTION!! THIS BORDERS ON DIVINE!! There is simply no point in looking for that all important "most enjoyable piece of opera in the world" BECAUSE THIS IS IT! Its this simple folks, if you like opera, if you like beautiful voices, if you like perfect timing, pitch and recording quality you must get this. This is the DEFINITIVE Barber of Seville. I will let the previous reviews here tell you about the story and the performers. My review is here for just one reason - to let people that are on the fence wondering if they should really get this -YES YOU SHOULD! You absolutely will not be dissappointed - I stake my brothers life on it. :)
End of rant.

Hey! This is one of the BEST!.......2002-07-18

I've owned this on vinyl for decades, and it seldom comes any better. Most of you know that, being familiar with Roberta Peters in her prime, along with Valletti, Merrill, Corena, and Tozzi. This is one of the most balanced casts ever assembled. I happen to like both approaches to Rosina- high in the stratosphere vocalizing and the more down-to-earth approach of Teresa Berganza. In Cesare Valletti, we have one of the finest Almavivas since the days of Fernando de Lucia. Valletti gets right into the meat of this character, with Nicolai Gedda being the only modern Almaviva to rival Valletti's voice. (I can't wait to hear Florez sing this!) What can one say about Robert Merrill? If he didn't love singing Figaro, he's done a fine job of fooling me. I do not agree with all of his interpretation, but this is one of the finest baritones having fun with a role that deserves it. (He has formidable competition here: Stracciari is incredible as Figaro. He had one of the most glorious high baritone voices you could ever want to hear and he's darned funny as Figaro to boot. Then there's Sherrill Milnes, who had a voice to rival Stracciari's formidable instrument and the same sense of fun.)

Then there are the not so minor roles of Bartolo and Basilio. Corena had a powerful, rich voice used here with a sense of character that's almost impossible to surpass. Has anyone ever had a better voice for Bartolo? Not in my memory! Giorgio Tozzi's Basilio is one of the glories of this performance; a rich, colorful voice with great beauty of tone... all at the service of one of opera's funniest `villains'. Leinsdorf does a fine job capturing the ambience of Barbiere, so I find it hard to go wrong with this recording...

Tracks:

Act One, Scene One: All'erta! All'erta! - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Di Due Figli Vivea Padre Beato - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Abbietta Zingara, Fosca Vegliarda! - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Brevi E Tristi Giorni Visse - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Sull'orlo Dei Tetti - Nicola Zaccaria
Act One, Scene One: Che Piu T'arresti? - Maria Callas
Act One, Scene One: Tacea La Notte Placida - Maria Callas
Act One, Scene One: Quanto Narrasti Di Turbamento M'ha Piena L'alma! - Maria Callas
Act One, Scene One: Di Tale Amor - Maria Callas
Act One, Scene One: Tace La Notte! - Rolando Panerai
Act One, Scene One: Il Trovator! Lo Tremo!...Deserto Sulla Terra - Rolando Panerai
Act One, Scene One: Anima Mia!...Piu Dell'usato - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Di Geloso Amor Sprezzato - Maria Callas
Act Two, Scene One: Vedi! Le Fosche Notturne - Coro Del Teatro Alla Scala, Milano
Act Two, Scene One: Stride La Vampa! - Fedora Barbieri
Act Two, Scene One: Mesta E La Tua Canzon! - Giuseppe Di Stefano
Act Two, Scene One: Soli Or Siami - Coro Del Teatro Alla Scala, Milano
Act Two, Scene One: Condotta Ell'era In Ceppi - Coro Del Teatro Alla Scala, Milano
Act Two, Scene One: Non Son Tuo Figlio! - Coro Del Teatro Alla Scala, Milano
Act Two, Scene One: Mal Reggendo All'aspro Assalto - Giuseppe Di Stefano
Act Two, Scene One: L'usato Messo Ruiz Invia!...Mi Vendica! - Renato Ercolani
Act Two, Scene One: Perigliarti Ancor Languente - Giuseppe Di Stefano
Act Two, Scene Two: Tutto E Deserto - Coro Del Teatro Alla Scala, Milano
Act Two, Scene Two: Il Balen Dei Suo Sorriso - Coro Del Teatro Alla Scala, Milano
Act Two, Scene Two: Qual Suono! Oh Ciel! - Coro Del Teatro Alla Scala, Milano
Act Two, Scene Two: Per Me Ora Fatale - Coro Del Teatro Alla Scala, Milano
Act Two, Scene Two: Ah! Se L'error T'ingombra - Rolando Panerai
Act Two, Scene Two: Perche Piangete? ... O Dolci Amiche (Leonora, Ines, Conte, Coro) - Maria Callas
Act Two, Scene Two: E Deggio Posso Crederlo? - Maria Callas

Tracks:

Act Three, Scene One: Or Co' Dadi, Ma Fra Poco - Nicola Zaccaria
Act Three, Scene One: In Braccio Al Mio Rival! - Coro Del Teatro Alla Scala, Milano
Act Three, Scene One: Giorni Poveri Vivea - Coro Del Teatro Alla Scala, Milano
Act Three, Scene One: Deh! Rallentate, O Barbari - Rolando Panerai
Act Three, Scene Two: Quale D'armi Fragor - Maria Callas
Act Three, Scene Two: Ah Si, Ben Mio, Coll'essere Io Tuo - Giuseppe Di Stefano
Act Three, Scene Two: L'onda De Suoni Mistici Pura Discenda Al Cor! - Maria Callas
Act Three, Scene Two: Di Quella Pira, L'orrendo Foco - Renato Ercolani
Act Four, Scene One: Siam Giunti, Ecco La Torre - Maria Callas
Act Four, Scene One: D'amor Sull'ali Rosee - Maria Callas
Act Four, Scene One: Miserere... Quel Suon, Quelle Preci - Maria Callas
Act Four, Scene One: Di Te, Di Te Scordami Di Te - Maria Callas
Act Four, Scene One: Udiste? - Coro Del Teatro Alla Scala, Milano
Act Four, Scene One: Mira, D'acerbe Lagrime - Coro Del Teatro Alla Scala, Milano
Act Four, Scene One: Conte! ... Ne Basti! - Coro Del Teatro Alla Scala, Milano
Act Four, Scene One: Colui Vivra...Vivra! Contende Il Giubilo - Maria Callas
Act Four, Scene Two: Madre, Non Dormi? - Coro Del Teatro Alla Scala, Milano
Act Four, Scene Two: Si, La Stanchezza Mopprime - Coro Del Teatro Alla Scala, Milano
Act Four, Scene Two: Ai Nostri Monti Ritorneremo - Giuseppe Di Stefano
Act Four, Scene Two: Che! Non M'inganna - Coro Del Teatro Alla Scala, Milano
Act Four, Scene Two: Parlar Non Vuoi?...Ha Quest'infame L'amor Venduto - Coro Del Teatro Alla Scala, Milano
Act Four, Scene Two: Ti Scosta! - Maria Callas
Act Four, Scene Two: Prima Che D'altri Vivere - Maria Callas

Amazon.com essential recording

Maria Callas's voice was never noted for its sheer beauty, but she was in her best form for this session and she knew exactly what to do with what she had. She might not make the distraught figure of Leonora rationally credible, but she knows more about acting with her voice than anyone this side of Sir John Gielgud. And she puts Leonora's emotions, her vulnerability, her whole-hearted, self-sacrificial love, squarely before the listener. Herbert von Karajan's conducting brings logical coherence to a work not noted for that quality. In short, this is vintage Callas, at the top of her form in some of the greatest music and some of the most intensely emotional situations ever devised for a soprano. Von Karajan--young and not yet burdened with the mannerisms of his later years, is an ideal partner. The other singers, though dwarfed by Callas, provide substantial support. --Joe McLellan

Customer Reviews:

A Leonora For All Time.......2006-04-08

I have always considered the Trovatore Leonora to be one of Callas's very greatest roles. Here , less obscured by her undoubted dramatic gifts, we can enjoy the pure musicality of her singing. The timbre is perfect for Leonora - dark, plangent & (apart form at the very top of her register)surpassingly beautiful. The role displays her perfect legato, incredible breath control & accurate coloratura. She also has a wonderful understanding of just how to phrase a Verdian cadenza, quite different from anything she would do in Bellini or Donizetti. You only have to hear her first few phrases to know that this Leonora is an aristocrat. Leontyne Price is undoubtedly another great Leonora, and she too has a voice perfectly suited to the role, but occasionally she mars the vocal line with unmusical cadenzas, appearing more interested in laying out her voice for admiring display, where Callas is more intent on letting us hear Verdi. The rest of the cast is just about as perfect as was possible at the time & a good deal better than anything we could manage today. True, Di Stefano lacks the requisite weight, but he sings with such face, it is readily forgiven. His "Di quella pira" may not have the heroic heft of a Corelli, but he sings "Ah, si ben mio" quite beautifully. Panerai, Barbieri & Zaccaria could hardly be bettered & Karajan was at this time the perfect conductor for the project. He conducts with great style & dash, while at no time apologising for the occasional vulgarities in the score. More modern recordings are uncut & here we have the cuts traditional at the time, but at least we get one verse of Leonora's cabaletta "tu vedrai". The sound has also been remarkably well freshened up in it's present transfer. Unless you really have to have modern stereo digital sound, buy it. And, even if you have another recording, acquire this as well. You won't regret it!

The greatest Leonora!.......2004-07-02

I couldn't agree more with the reviews stating that Callas' Leonora is unsurpassed. Björling called this Leonora "sheer perfection". Unbeatable!

Brilliant!.......2004-06-13

The dream-team Callas-di Stefano comes together once more to record I'll Trovatore! And how beautifully they did it! Herbert von Karajan's conducting is supreme, Callas sings the definite Leonora, di Stefano sounds passionate and loving as Manrico and Barbieri kicks ass as Azucena. To the guy who said that if Callas had Milanov as a rival she'd fall on her face, Callas and Milanov performed at the same time! So there! The best Trovatore ever!

The best Leonora forever.......2004-05-16

Period! Di Stefano sounds surprisingly on fire as the ill-fated Manrico, Barbieri COMMANDS as Azucena and Panerei is a fabulous di Luna. Von Karajan conducts mastefully. Not the only Trovatore but one of the very best!

Beautiful and amazing.......2004-04-04

This Trovatore has been called a landmark by critics and fans alike. Callas in in exquisite form, di Stefano sounds passionate, ardent and luscious and Panerei is a surprisingly fierce di Luna. Von Karajan conducts this PERFECTLY. Buy this and marvel at a vocal wonder!

No Tenors Allowed: Famous Duets for Baritone and Bass

Average customer rating:

The Troubles with Thomas
Make sure you buy 2!
But one complaint
Voices of power
A Masterful Double Bill

No Tenors Allowed: Famous Duets for Baritone and Bass
Giuseppe Verdi , Vincenzo Bellini , Gaetano Donizetti , Münchner Rundfunkorchester , Miguel Gomez-Martinez , Thomas Hampson , Samuel Ramey , and Domenico Cimarosa
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Samuel Ramey - Operatic Arias
Date With the Devil
The Very Best of Thomas Hampson
Samuel Ramey: Ev'ry Time We Say Goodbye: Songs of Barber,
Leading Man

ASIN: B00000I8T3
Release Date: 1999-03-16

Tracks:

Il matrimonio segreto: Se fiato in corpo avete
Don Pasquale: Cheti, cheti immantinente
Marino Faliero: Israele, che vuoi?...Se pur giungi a trucidarlo
I Puritani: Il rival salvar tu dei...Suoni la tromba
Attila: Uldino, a me dinanzi...Tardo per gli anni
Don Carlos: Restez!
Simon Boccanegra: Suona ogni labbro il mio nome
Un Giorno de Regno (Il finto stanislao): Tutte l'ami!

Amazon.com

This disc is remarkable in many ways. Not only does it bring together two of opera's reigning lower-voiced superstars, it shows them at their best and presents, in addition, repertoire we rarely get to hear. In the past, Samuel Ramey has occasionally come across as bland and Thomas Hampson as just a bit too eager for a man with what is essentially a very lyric baritone voice. But their chemistry here works: Ramey is filled with passion--some of it comic (as Don Pasquale), some of it vitriolic (as Fiesco), and some of it loony (as Attila); throughout, his burnished tone never lets him down. Hampson is charming and in handsome voice as well--equally light and patterful when comic (a delicious Malatesta), and nicely dire (Ezio and Rodrigue). He isn't up to Simon Boccanegra's stature either vocally or emotionally (for that, listen to the classic performance of Piero Cappuccilli, but the sheer loveliness of his singing is enough to carry the day. A must for fans of either gent, and an intelligent, unhackneyed collection of music to boot. --Robert Levine

Customer Reviews:

The Troubles with Thomas.......2005-12-31

This could have been a fantastic album, but ends up falling well short of that owing to Thomas Hampson. I have never understood the fawning praise Mr. Hampson receives. His voice is unpleasant, his musical interpretations are well-below average, and his coloratura is completely non-existant -- for an excellent example of this, compare, in the Pasquale duet, Ramey's exquisite descending scales in the "aspetta, aspetta, cara sposina" phrase with Hampson's sloppy counterpart, "il poverino, sogna vendetta". The "i" in "poverino" is supposed to carry over four separate notes, and not one note, a whooping cough, and a closing note! Judging by some interviews I've read and/or seen, Mr. Hampson appears to be a decent, down-to-earth gentleman. As an opera singer, however, he's mediocre at best. This recording is worth owning thanks to Ramey, who is absolutely top-notch.

Make sure you buy 2!.......2005-01-05

One to keep, one to give away. You'll wind up burning one for the car and one for the office regardless. A friend lent me this CD and I've bought 4 so far. One of the best! I can't recommend it enough.

But one complaint.......2004-08-21

Amusing concept, wonderful singing. But one question: Why was the Dandini-Don Magnifico duet from LA CENERENTOLA not included? Since they wanted to have two buffo duets, I think that would have been a better choice that the MATRIMONIO SEGRETO number.

Voices of power.......2004-03-21

It had always been my impression that when basses and baritones got together to sing, they were either intent on murdering each other, or else they were engaged in a jolly, male-bonding patter song. "No Tenors Allowed" (NTA) has examples of both of these types of duets. But the lower voices are also opera's authority figures, so we also have a smattering of Doges and Kings on this CD.

The basso cantante of Samuel Ramey and the baritone of Thomas Hampson swirl together like chocolate liqueur in coffee. This CD vibrates with dark sonics. Both artists bring their considerable powers of interpretation to these roles--no fooling around with buffo here, just wonderful singing.

There are a total of eight duets by Cimarosa, Donizetti, Bellini, and Verdi on this CD. Among my favorites:

"Cheti, cheti immantinente" from Donizetti's "Don Pasquale"--The elderly Don Pasquale (Ramey) and his personal physician Malatesta (Hampson) plot to catch Pasquale's young 'bride' in the garden with her lover. This might not sound like a particularly jolly situation, but the duet captures the verve of a hilarious plot--lots of "oh ho's," "ha ha's," and "hee hee's" scattered throughout--the very epitome of bass-baritone hilarity. Listening to this duet, I'm almost tempted to regret Ramey's preference for serious roles over lighter repertory like "Don Pasquale." His old buffoon schemes and whines and chuckles without a trace of vulgarity, just pure musicality. Both singers are patter-perfect.

"Suona ogni labbro il mio nome" from Verdi's "Simon Boccanegra"--This is the first of two great duets between adversaries Jacopo Fiesco, patrician and currently Doge of Genoa (Ramey) and Simon Boccanegra, a plebian and the future Doge (Hampson). Fiesco still hasn't forgiven Boccanegra for stealing the love of his daughter, Maria, who has borne Boccanegra a daughter out of wedlock. In this duet, Ramey's fury contrasts vividly with Hampson's pleading, "Padre mio, pieta t'implora..." as the baritone tells him of the loss of his little daughter (Fiesco's granddaughter). What Boccanegra does not yet know is that his lover, Maria has died. This duet is another fine example of a Verdian father-daughter heartbreaker, in which both men are mourning the loss of a daughter. Hampson sings with dramatic conviction, almost a sweet sound compared to the menacing undercurrent of Ramey's bass, but also dignified.

If you are a fan of the lower fach in Italian opera, NTA is a 'must' for your CD library.

A Masterful Double Bill.......2002-08-13

This is one cd that I may actually wear out. I love this collection! What a marvelous idea, to highlight the most under-represented opera format--the bass/baritone duet--and bring together two of the current best--Ramey and Hampson--to pull it off. I am a bass-baritone and find all these selections a wonderful change of pace from the usuall opera recording. The liner notes are hilarious, with their tongue-in-cheek (or not) poke at tenors. My only complaint, and it is a significant one, is this the libreto. Come on, guys, no English (or German or French) translations? It would have helped with the duets from lessor known operas, Cimarosa's, for instances. But all in all, an excellent effort that I recommend highly!

The Complete Recordings, 1902-1920 (Box Set)

Average customer rating:

Get It While You Can
Essential edition for opera lovers

The Complete Recordings, 1902-1920 (Box Set)

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Ladino | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

General | Latin Music | Styles | Music

General | Soundtracks | Styles | Music
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Bach: Cantatas, Vol. 22
Caruso 2000
The Complete Caruso
Wagner: Götterdämmerung
Classic Puccini Recordings

ASIN: B00030B92K
Release Date: 2004-11-23

Album Description

The Complete Caruso: Volumes 1 - 12

The Italian tenor Enrico Caruso holds a unique place in musical history, as the first operatic singer whose recordings sold in millions, and who created an international reputation on the strength of these. Caruso's robust tone and musical sincerity made him both an ideal stage and recording artist, whose voice the primitive acoustic recording technology of the early twentieth century was able to reproduce with startling fidelity. The Naxos Historical Caruso edition constitutes the complete cycle of all Caruso's recordings issued in chronological order. In addition, the transfers have been immaculately undertaken by top sound engineer Ward Marston, unrivalled for his knowledge of the specialized world of acoustic opera recordings, and his rare ability to retrieve all of the music lying in the grooves of the original recordings. Naxos Historical's incredible price (12 CD'S FOR THE PRICE OF 10) puts this unique legacy of great singing within the reach of all music-lovers. This! complete cycle of recordings represents a major document in the history of sound recording, and one which no collector and enthusiast of great singing will wish to be without. "There is no series of vocal records that have a greater documentary value, that meant more to the development of the phonograph record, or that are as consistently capable of providing pleasure to lovers of great singing. ...One of the most significant recording industry events of the decade." Fanfare

Customer Reviews:

Get It While You Can.......2006-10-13

This may not be easy to get in the USA for very long.....don't miss it.

Essential edition for opera lovers.......2005-02-01

This set gives you the opportunity to follow the entire recording career of one of the greatest singers in Operatic History. Enrico Caruso was the first superstar of the 20th century -- and this without the benefit of mass media. His person and his records were his greatest publicity.

The set begins with Caruso's Italian made recordings. They show a great raw talent. The artistry is lacking with many sobs, over acting and mistaken cues. The 1902 and 1903 clearly show a tenor with a lot to learn. But learn it he did. His 1904 sessions show a mature artist on par with any heard since. His voice matures before your very ears and by 1910, you wonder if you will ever listen to any other tenor the same way again.

The engineering used for this set is wonderful. There is no attempt at all to use the soundstream process of computer sound enhancement as heard on the RCA issued sets. These are near perfect mint conditioned discs copied by engineer extraordinary Ward Marston. They sound like natural 78s, they way Caruso himself must have heard the playbacks at the (RCA) Victor studios.

Also included are outtakes and extra takes. There is a "Celeste Aida" from 1908, complete with a broken high note, previously released by RCA in a 1973 set commemorating the tenor's centenary birthday. But there are new treasures here as well, including extra takes of two of Caruso's greatest recordings, the Italian song "L'Alba separa dalla l'uce ombra" and an aria from Rubinestine's Nerone. Listening to them, one wonders what Caruso could have possible thought inadquate in those long lost altenative takes.

Finally, there is the simple joy of hearing so many things so well sung. Caruso was the pinnacle of the tenor art. He can be compared to no other single tenor since ... he has the brilliant ring of Bjorling, the passion of Gigli, the beauty of Gedda, the youthful enthusiasm of Lanza, the warm tonal quality of Tucker, the pure strength of Corelli, the charasma of Pavarotti and the artestry of Domingo.

Whether you are an opera fan, a voice fan or just a music lover. This set is worth every penny.

Todd Kosovich

Average customer rating:

Rare recordings, ideal for opera learners
Beautiful Recording
Donaudy a rare find

Stefano Donaudy: Amor mi fa cantare

Manufacturer: Newport Classic
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Songs by Roger Quilter
36 Arie di Stile Antico: Low Voice
Arleen Auger - Love Songs / Dalton Baldwin
Just-Spring: Art Songs of John Duke
Permit Me Voyage: Songs by American Composers

ASIN: B000003W37
Release Date: 1996-11-19

Tracks:

Book One: Se Tra L'Erba
Book One: Perche Dolce, Caro Bene
Book One: Quelle Labbra Non Son Rose
Book One: Se Vuoi Ch'io Mora
Book One: Amor S'Apprende (Duet)
Book One: Perduta Ho La Speranza
Book One: Ah, Mai Non Cessate
Book One: Date Abbiento Al Mio Dolore
Book One: Sento Nel Core
Book One: Spirate Pur, Spirate
Book One: Come L'Allodoletta
Book One: E Filli M'Ha Detto
Book Two: Freschi Luoghi, Prati Aulenti
Book Two: Vaghissima Sembianza
Book Two: Ognun Ripicchia E Nicchia
Book Two: Vorrei Poterti Odiare
Book Two: Sorge Il Sol! Che Fai Tu?
Book Two: O Del Mio Amato Ben
Book Two: Quand'il Tuo Diavol Nacque
Book Two: No, Non Mi Guardate
Book Two: Or Che Le Redole
Book Two: Quando Ti Rivedro
Book Two: Amor Mi Fa Cantare
Book Two: Madonna Renzuola
Book Three: Se Volete Un Servidore
Book Three: Venuto E L'Aprile
Book Three: Amorosi Miei Giorni
Book Three: Ah, Che Odor Di Buono
Book Three: Cuor Mio, Cuor Mio
Book Three: O Bei Nidi D'Amore
Book Three: Amor Mi Tiene In Pugno
Book Three: Tregua Non Ho
Book Three: Certo Un Po' Di Cielo Colse
Book Three: Dormendo Stai
Book Three: Luoghi Sereni E Cari
Book Three: Tempo E Alfin

Customer Reviews:

Rare recordings, ideal for opera learners.......2005-04-21

Though this cd has to be made instantly, it still comes as fast as the other ones.
It contains Donaudy's classic and rare works, with piano accompany, it's ideal for opera learners to adjust to piano accompanyment and get the sense of old italian songs.

Beautiful Recording.......2004-01-11

I am a novice to Opera I found that I have this in my cd player more often than not, and love Robert Guarino's amazing tenor voice.. A+

Donaudy a rare find.......2002-01-22

Virtually nothing is known about this Sicilian composer who was a contemporary of Mascagni and Puccini and shares in the sort of verismo passion of both. We do know that Toscanini championned his song writing and Caruso sang his music on his recitals, as have Domingo and Corelli and Carreras. No surprise, as they are gorgeous tunes and oh so romantic.
Another fine surprise is the wonderful American tenor Robert Guarino, who clearly has a connection to this music either through his own ethnic heritage or much work on the style and songs themselves--or both. Except for a little limitation at the very top of the range, this is lush, fully committed and suave singing of just the sort one enjoys with a cognac and roaring fire in January. Once again, Newport Classic shows its penchant for unearthing the best in the out of reach and unexpected places on the musical map. Guarino is partnered by a superb pianist and the sound of the album is warm and inviting. Buy it!!!

Music Review:

Music Review

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