Giuseppe Taddei

On this CD:

1. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Aprite un po' quegli occhi
Composed by Wolfgang Amadeus Mozart
Performed by Giuseppe Taddei
Conducted by Arturo Basile

2. Don Giovanni, opera, K. 527 Deh, vieni all finestra
Composed by Wolfgang Amadeus Mozart
Performed by Giuseppe Taddei
Conducted by Arturo Basile

3. Il barbière di Siviglia (The Barber of Seville), opera Largo al factotum
Composed by Gioachino Rossini
Performed by Giuseppe Taddei
Conducted by Fernando Previtali

4. Il barbière di Siviglia (The Barber of Seville), opera All'idea di quel metallo
Composed by Gioachino Rossini
Performed by Giuseppe Taddei, Luigi Infantino
Conducted by Fernando Previtali

5. Guillaume Tell (William Tell), opera Resta immobile
Composed by Gioachino Rossini
Performed by Giuseppe Taddei
Conducted by Arturo Basile

6. Otello, opera Credo in un Dio crudel
Composed by Giuseppe Verdi
Performed by Giuseppe Taddei
Conducted by Arturo Basile

7. Falstaff, opera L'onore! Ladri!
Composed by Giuseppe Verdi
Performed by Giuseppe Taddei
Conducted by Arturo Basile

8. Falstaff, opera Siam pentiti e contriti
Composed by Giuseppe Verdi
Performed by Saturno Meletti, Giuseppe Nessi, Amalia Pini, Giuseppe Taddei
Conducted by Mario Rossi

9. L' Africaine, grand opera in 5 acts Adamastor, re delle acque profonde
Composed by Giacomo Meyerbeer
Performed by Giuseppe Taddei
Conducted by Arturo Basile

10. Hérodiade, opera Vision fugitive
Composed by Jules Massenet
Performed by Giuseppe Taddei
Conducted by Arturo Basile

11. Le Roi de Lahore, opera O casto fior
Composed by Jules Massenet
Performed by Giuseppe Taddei
Conducted by Arturo Basile

12. Andrea Chénier, opera Nemico della patria
Composed by Umberto Giordano
Performed by Giuseppe Taddei
Conducted by Arturo Basile

13. La fanciulla del West (The Girl of the Golden West), opera Minnie dalla mia casa
Composed by Giacomo Puccini
Performed by Giuseppe Taddei
Conducted by Arturo Basile

14. Gianni Schicchi, opera Era eguale la voce?
Composed by Giacomo Puccini
Performed by Fernando Corena, Pierluigi Latinucci, Gino del Signore, Giuseppe Taddei, Alberto Albertini, Liana Avogadro, Agnese Dubbini, Renza Ferrari, Giuseppe Savio
Conducted by Alfredo Simonetto

15. Gianni Schicchi, opera Ditemi voi, Signori
Composed by Giacomo Puccini
Performed by Giuseppe Taddei
Conducted by Alfredo Simonetto

Tracks:

Ov - Philharmonia Orch/Karl Bohm
Act One, Scene One: La Mia Dorabella Capace Non E - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene One: Fuor La Spada - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene One: E La Fede Delle Femmine - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene One: Scioccherie Di Poeti! - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene One: Una Bella Serenata - Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act One, Scene Two: Ah, Guarda, Sorella - Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Two: Mi Par Che Stamattina - Elisabeth Schwarzkopf/Christa Ludwig/Walter Berry
Act One, Scene Two: Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Walter Berry
Act One, Scene Two: Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf/Walter Berry/Christa Ludwig
Act One, Scene Two: Sento, Oddio, Che Questo Piede - Giuseppe Taddei/Alfredo Kraus/Walter Berry/Elisabeth Scwarzkopf/Christa Ludwig
Act One, Scene Two: La Commedia E Graziosa - Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei
Act One, Scene Two: Bella Vita Militar! - Philharmonia Chor/Karl Bohm
Act One, Scene Two: Non V'e Piu Tempo - Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei...
Act One, Scene Two: Muoio D'affano!...Di Scrivermi Ogni Giorno - Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei...
Act One, Scene Two: Bella Vita Militar! - Philharmonia Chor/Karl Bohm
Act One, Scene Two: Dove Son? - Christa Ludwig/Walter Berry/Elisabeth Schwarzkopf
Act One, Scene Two: Soave Sia Il Vento - Elisabeth Schwarzkopf/Christa Ludwig/Walter Berry
Act One, Scene Two: Non Son Cattivo Comico - Walter Berry
Act One, Scene Three: Che Vita Maledetta - Hanny Steffek/Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Three: Ah, Scostati! - Christa Ludwig
Act One, Scene Three: Smanie Implacabili Che M'agitate - Christa Ludwig
Act One, Scene Three: Signora Dorabella, Signora Fiordiligi - Hanny Steffek/Christa Ludwig/Elisabeth Schwarzkopf
Act One, Scene Three: In Uomini, In Soldati Sperare Fedelta? - Hanny Steffek
Act One, Scene Three: Che Silenzio! Che Aspetto Di Tristezza - Walter Berry/Hanny Steffek
Act One, Scene Three: Alla Bella Despinetta - Walter Berry/Alfredo Kraus/Giuseppe Taddei/Hanny Steffek/Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Three: Che Sussurro! Che Strepito! - Walter Berry/Alfredo Kraus/Giuseppe Taddei/Hanny Steffek/Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Three: L'intatta Fede - Elisabeth Schwarzkopf
Act One, Scene Three: Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
Act One, Scene Three: Ah, Non Partite! - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Christa Ludwig/Elisabeth Schwarzkopf
Act One, Scene Three: Non Siate Ritrosi - Giuseppe Taddei
Act One, Scene Three: E Voi Ridete? - Walter Berry/Alfredo Kraus/Giuseppe Taddei
Act One, Scene Three: La Cagion Di Quel Riso? - Walter Berry/Alfredo Kraus/Giuseppe Taddei
Act One, Scene Three: Un'aura Amorosa Del Nostro Tesoro - Alfredo Kraus

Tracks:

Act One, Scene Four: Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf/Christa Ludwig
Act One, Scene Four: Ah, Che Del Sole Il Raggio - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act One, Scene Four: Eccovi Il Medico - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act One, Scene Four: Dove Son? Che Loco E Questo? - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act One, Scene Four: Dammi Un Bacio, O Mio Tesoro - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act Two, Scene One: Madame...Trattar L'amore - Hanny Steffek/Elisabeth Schwarzkopf/Christa Ludwig
Act Two, Scene One: Una Donna A Quindici Anni - Hanny Steffek
Act Two, Scene One: Sorella, Cosa Dici? - Christa Ludwig/Elisabeth Schwarzkopf
Act Two, Scene One: Prendero Quel Brunettino - Christa Ludwig/Elisabeth Schwarzkopf
Act Two, Scene Two: Secondate, Aurette Amiche - Alfredo Kraus/Giuseppe Taddei/Philharmonia Chor
Act Two, Scene Two: Cos' E Tal Mascherata? - Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek/Alfredo Kraus/Giuseppe Taddei/Walter Berry
Act Two, Scene Two: La Mano A Me Date - Walter Berry/Alfredo Kraus/Giuseppe Taddei/Hanny Steffek
Act Two, Scene Two: Oh, Che Bella Giornata! - Elisabeth Schwarzkopf/Alfredo Kraus/Christa Ludwig/Giuseppe Taddei
Act Two, Scene Two: Il Core Vi Dono - Giuseppe Taddei/Christa Ludwig
Act Two, Scene Two: Barbara, Perche Fuggi? - Alfredo Kraus/Elisabeth Schwarzkopf
Act Two, Scene Two: Ei Parte...Senti...Ah No! - Alfredo Kraus/Elisabeth Schwarzkopf
Act Two, Scene Two: Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
Act Two, Scene Two: Amico, Abbiamo Vinto! - Alfredo Kraus/Giuseppe Taddei
Act Two, Scene Two: Donne Mie, La Fate A Tanti A Tanti - Giuseppe Taddei
Act Two, Scene Two: In Qual Fiero Contrasto - Alfredo Kraus
Act Two, Scene Two: Tradito, Schernito - Alfredo Kraus

Tracks:

Act Two, Scene Three: Ora Vedo Che Siete Una Donna Di Garbo - Hanny Steffek/Christina Ludwig/Elisabeth Schwarzkopf
Act Two, Scene Three: E Amore Un Ladroncello - Christa Ludwig
Act Two, Scene Three: Come Tutto Congiura - Elisabeth Schwarzkopf/Giuseppe Taddei/Hanny Steffek
Act Two, Scene Three: Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf/Alfredo Kraus
Act Two, Scene Three: Ah, Poveretto Me, Cosa Ho Veduto! - Elisabeth Schwarzkopf/Walter Berry/Alfredo Kraus
Act Two, Scene Three: Tutti Accusan Le Donne - Walter Berry/Alfredo Kraus/Giuseppe Taddei
Act Two, Scene Four: Fate Presto, O Cari Amici - Hanny Steffek/Philharmonia Chor/Karl Bohm/Walter Berry
Act Two, Scene Four: Benedetti I Doppi Coniugi - Philharmonia Chor/Karl Bohm/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei
Act Two, Scene Four: E Nel Tuo, Nel Mio Bicchiero - Elisabeth Schwarzkopf/Alfredo Kraus/Christa Ludwig/Giuseppe Taddei
Act Two, Scene Four: Miei Signori, Tutto E Fatto - Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei/Hanny Steffek
Act Two, Scene Four: Bella Vita Militar! - Philharmonia Chor/Karl Bohm/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek/Alfredo Kraus...
Act Two, Scene Four: Richiamata Da Regio Contrordine - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act Two, Scene Four: Ah, Signor, Son Rea Di Morte - Alfredo Kraus/Giuseppe Taddei/Walter Berry/Elisabeth Schwarzkopf/Christa Ludwig/Hanny Steffek
Act Two, Scene Four: Fortunato L'uom Che Prende - Elisabeth Schwarzkopf/Christa Ludwig/Giuseppe Taddei/Alfredo Kraus/Hanny Steffek/Walter Berry...

Customer Reviews:

A benchmark.......2007-07-03

After reading the brilliant review of this recording by Mike Birman (Brooklyn, New York USA), I have to echo all of his reasoning for according it five stars. A benchmark recording!

You've got to have it.......2006-11-04

This is a great Cosi production. Karl Bohm is the best conductor for Mozart in his days. I think Alfredo Kraus sounds fabulous in this recording.

Good starting point for beginners.......2006-03-29

Cosi fan tutte is my favorite opera, and I have been searching for the "perfect" Cosi recording for years. While I agree that this is a good recording, I can't say this recording is "the definitive one." After all, it doesn't even include Ferrando's "Ah, lo veggio" in Act II. The recitatives are also somewhat abridged, which takes away from the theatrical and dramatic aspect of this work (afterall, opera is musical _theatre_).

Having said that, if you do no currently own a recording of Cosi, you should buy this first, because it is one of the most well-rounded studio recordings, and for a very good price.

Pros:
- Low price
- Schwarzkopf is probably /the/ best Fiordiligi on record at this time. Her voice is rich and expressive, and her rendition of the 2 arias (Come Scoglio in Act I and Per pieta in Act II) sounds like liquid gold.
- Christa Ludwig sings a beautiful Dorabella too, but it's not the same calibre as her performance as Octavian
- Good, even-tempered interpretation by Bohm makes this particularly newbie-friendly.

Cons:
- Incomplete: "Ah lo veggio" is rarely performed, probably because it's so hard to pull off successfully (Jerry Hadley is the only tenor I've heard that can do it). But still, it's an integral part of Ferrando's character and one of the best parts of the entire opera. If you haven't heard this aria, you haven't heard Cosi.
- Flat: Bohm's overall tempo is slow. Yes, it is very "pretty," but at what cost? Take Despina's Act II aria, "Una donna a quindici'anni" for example. It's "grazioso" in the extreme, but there isn't much else there.

In summary, it's a good, inoffensive interpretation (graced by the incomparable Schwarzkopf), which makes it a good introductory recording, but definitely not in the running for "THE COSI FOR ALL TIME." In fact, I haven't yet found a recording that fits that description.

Karajan versus Bohm in Cosi.......2006-03-20

Whereas EMI was fortunate enough to make one Don Giovanni and one Marriage of Figaro for the ages, both under Giulini, they achieved mixed results with two versions of Cosi fan tutte. Neither is an obvious first choice, so I thought it was worthwhile comparing their respective pluses and minuses.

Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.

Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.

Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.

Interpretation that may never return.......2005-05-08

"Interpretation that may never return". That's how gramophone magazine has closed it's review for Bohm's Cosi, and how can we disagree with this? A magnificent recording with Walter Legge at the head of the production, 9 years after his first Cosi made with Karajan in 1954, (perhaps the best Cosi in gramophone) he returned with this 1963 stereo remake of mozart's masterpiece with impressive results. The only thing that may someone say is that maybe Bohm is not as "happy" as he should be for this comic opera but as we know he never faced mozart music as a laughing matter, anyway the result Justifies him in every prospective.

Average customer rating:

The Art of Gigli
Gigli Is A Wonderful Singer!

The Very Best of Beniamino Gigli

Manufacturer: EMI Classics
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

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

Classical | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

More Titles at Least 25% Off | Blowout Music | Stores | Music
Similar Items:

The Very Best of Franco Corelli
The Very Best of Giuseppe di Stefano
Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
Beniamino Gigli: Historical Recordings 1927 - 1951
Giuseppe Di Stefano Sings Neapolitan Songs

ASIN: B0000A5BXR
Release Date: 2003-09-02

Tracks:

Se Quel Guerrier Io Fossi...Celeste Aida
La Donna E Mobile
Una Furtiva Lagrima
Qual Turbamento...Salve Dimora
O Dolce Incanto...Chiuder Gli Occhi
Che Gelida Manina
Recondita Armonia
E Lucevan Le Stelle
Dovunque Al Mondo
Recitar!...Vesti La Giubba
Intanto Amici, Qua...Viva Il Vino Spumeggiante
Mamma, Quel Vino E Generoso
Non Colombelle!...Ah! Tu Ch'Odi Lo Mio Grido
Che Avvien?...Ah! Non V'Avvicinate...No! Pazzo Son!
Cujus Animam
Panis Angelicus
Ingemisco
Ave Maria
Core 'Ngrato
Funiculi, Funicula - Chorus

Tracks:

'O Sole Mio
La Serenata
La Danza
Aprile
Mattinata
Torna A Surriento
L'Ultima Canzone
La Vita E Inferno...O Tu Che In Seno
E La Solita Storia Del Pastor
Un Di All'Azzurro Spazio
Andrea Chenier...Corragio!...Si, Fui Soldato
Come Un Bel Di Di Maggio
Di' Tu Se Fedele
Forse La Soglia Attinse...Ma Se M' E Forza Perderti
Rachel, Quand Du Seigneur
Puisqu'on Ne Peut Flechir...Vainement, Ma Bien-Aimee
Io Son Sol...Ah! Dispar, Vision
Ah! Non Mi Ridestar
Quanto E Bella - Chorus
Nessun Dorma - Chorus

Customer Reviews:

The Art of Gigli.......2007-03-09

After Caruso's death, Beniamino Gigli became one of the most renowned tenors in the world. His rich voice well justified his reputation. While some of his mannerisms (the little "cries" and "catches" in his voice) can be a bit overdone, they were not atypical of the time. A few reactions to specific cuts.

"Celeste Aida" from Verdi's opera is smoothly sung; his rich voice serves to good effect. As already noted, the little "cries" are unfortunate, but hardly an issue. His higher notes flow smoothly from lower ones, in a seamless fashion. It would have been nice to hear him try for the piano at the end, but he did not choose to do so. Any way you slice it, a nice version of a glorious aria.

"La donna e mobile" is taken at a rather slow pace. It is smoothly sung but does not really catch the spirit of the wretched Duke. He shows wonderful breath control. This is more a workmanlike than scintillating version. On the other hand, "Che gelida manina" is wonderful. Smooth, elegant singing. A very well done high note. An iconic version.

The twin arias from "Tosca," "Recondita armonia" and "E lucevan le stelle" are very well executed. His rendering of the final "la vita" in the latter aria is, again, noteworthy.

And now for something completely different. . . . "Funiculi funicula" is spritely sung, in good spirits, and it is a lot of fun! Most enjoyable. "O Sole mio," likewise, is well rendered. As previously noted, some "off putting" cries, but the warm, full voice more than makes up for such mannerisms. He does not overpower this song with operatic technique. The end result is most satisfying.

"La danza" befuddled the great Caruso (in his version, his breathing fell apart at one point). But not Gigli. Well sung, good breath control. Bravo Gigli!

Back to opera. . . . "Nessun dorma" is well sung. The vocalization is smooth. Gigli's voice soars over orchestra and other voices. The final "Vincero" rings out.

While this CD is not without some questions, as noted above, it is worth 5 stars for its full portrayal of the work of Gigli. As such, it can be recommended for anyone who wants a comprehensive introduction to this singer.

Gigli Is A Wonderful Singer!.......2006-07-31

It's an honor for me to be "the first" to review this recording for Amazon. As "opera lovers" know, Gigli was "the greatest tenor in the world" for many years after the death of Caruso. If you haven't heard Gigli, a great treat is in store for you! He had "penache" and drama in the way he sang. Plus he had a beautiful tonal quality! I could go on and on but if you "pass this guy up" you'll be missing some beautiful and dramatic singing from a "world class" singing actor.

Besides listening to Gigli on Cd, you'd be doing yourself a favor to buy a movie in which Gigli appears and sings. The movie is called "Non Ti Scordar di Me". I'll try to find it on amazon or from "The Bel Canto Society" and give it a "review" also. It's an "old movie" but it has a VERY touching story, is well acted, and you get to see and hear Gigli which is a great treat since he has been gone for at least 50 years. He "comes alive" in this CD and in the movie. You will "thrill" to the sound of his voice. Enjoy! Email:boland7214@aol.

Verdi: Aida (complete opera live 1951) with Maria Callas, Mario del Monaco, Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City

Average customer rating:

Why 5... Find Out!
Callas Aida, Mex. City, 1951
Callas's most famous Aida -- all I can say is wow
All hail to the E Flat Goddess
Nuclear Aida!!!

Verdi: Aida (complete opera live 1951) with Maria Callas, Mario del Monaco, Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City

Manufacturer: EMI 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

Operettas | Opera & Vocal | Styles | Music

Classical | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

More Titles at Least 25% Off | Blowout Music | Stores | Music
Similar Items:

Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan
Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin

ASIN: B0000BWTKC
Release Date: 2003-11-04

Tracks:

Preludio
Si, Corre Voce Che L'Etiope Ardisca
Se Quel Guerriero Io Fossi!
Celeste Aida
Quale Insolita Gioia Nel Tuo Sguardo!
Vieni, O Diletta, Appressati
Alta Cagion V'aduna
Su! Del Nilo Al Sacro Lido
Ritorna Vincitor!
Possente Ftha...Tu Che Dal Nulia Hai Tratto
Immenso Ftha!...Mortal, Diletto Ai Numi
Nume, Custode E Vindice
Chi Mai Fra Gl'inni E I Plausi
Dance Of The Moorish Slaves
Vieni, Sul Crin Ti Piovano
Fu La Sorte Dell'armi A' Tuoi Funesta
Pieta Ti Prenda Del Mio Dolor
Su! Del Nilo Al Sacro Lido...Numi, Pieta
Gloria All'Egitto, Ad Iside
Triumphal March
Ballet
Vieni, O Guerriero Vindice
Salvator Della Patria
Che Veggo! Egli? Mio Padre!...Anch'io Pugnai...Ma Tu, Re, Tu Signore Possente
Il Dolor Che In Quel Volto Favella
O Re, Pei Sacri Numi...Gloria All'Egitto

Tracks:

O Tu Che Sei D'Osiride
Vieni D'Iside Al Tempio
Qui Radames Verra!
O Patria Mia
Ciel! Mio Padre!
Rivedrai Le Foreste Imbalsamate
Pur Ti Riveggo, Mia Dolce Aida
Nel Fiero Anelito Di Nuova Guerra
Fuggiam Gli Ardori Inospiti...La, Tra Foreste Vergini
Ma Dimmi: Per Qual Via
L'aborrita Rivale A Me Sfuggia
Gia I Sacerdoti Adunansi
Ohime! Morir Mi Sento!
Spirto Del Nume
A Lui Vivo, La Tomba!...Sacerdoti: Compiste Un Delitto!
La Fatal Pietra Sovra Me Si Chiuse
Vedi? Di Morte L'angelo...Immenso Ftha
O Terra, Addio

Customer Reviews:

Why 5... Find Out!.......2006-10-12

This Aida is perhaps the best I've ever heard. Even in the libretto it states that it is a full-blooded performance. I whole-heartedly agree. Callas, once again giving her exciting performances in Mexico City, turns her Aida into the stuff of legend. Again. Del Monaco is the best of any Radames. Yes, Domingo had the dramatic capability, but Del Monaco's overpowering voice should well be the trademark of the overpowering Egyptian military leader. Dominguez is the best of any Amneris I've heard, and also is mentioned in the libretto as having "opulent" tones. The word "opulent" doesn't begin to describe the effect she had on me in "L'aborrita rivale a me sfuggia". In the "Rivedrai le foreste imbalsamate" duet with Aida and Amonasro, Giuseppe Taddei tops all expectations, blowing back even Tito Gobbi. Altogether, this recording is a must even for people who hate Callas. 5 stars.

Callas Aida, Mex. City, 1951.......2006-07-21

Everyone is on fire in this performance. Singers today do not have that "fuoco". Thanks to recordings like these, opera fans of the post Callas era, like myself, can get a "glimpse" into her glorious past. Callas and Del Monaco soar over everything else in the second act! And of course, the famous E flat! O. Dominguez as Amneris! I became an instant fan; hard to find other recordings of her. Some of the reviewers refer to Anmeris as Simionato, it is Dominguez! Taddei is perfect as Amonasro - great visceral singing- no baritones like him around anymore. Who cares if the sound is not perfect? I like all the environmental sounds, it makes me feel like I am right there. I only listen to live stuff anyway, because it is the real deal; I find most studio recordings boring. It is the best AIDA I have heard. Get it!

Callas's most famous Aida -- all I can say is wow.......2006-02-17

This 1951 Mexico City performance of Aida has become legendary, largely due to Callas's unbelievable performance in the title role. Aida was not a role strongly associated with Callas (the way, say, Norma was). She dropped it from her repertoire in 1953, only making a studio recording in 1955, which I always found to be a disappointment.
But in this 1951 Mexico City performance, Callas was on fire. Her voice of course never had the glowing beauty of a Tebaldi or Price, but Callas makes her Aida a firy princess. Her "Ritorna vincitor" might be the best sung version I've ever heard. Rosa Ponselle and Giannina Arangi-Lombardi and Renata Tebaldi may sound more beauty but Callas inflects the text to great emotional effect. Her "O patria mia" is a rough moment -- high C was always a rough note for Callas, and she can't sing it "dolce" as marked in the score. But her Act 3 duets with del Monaco and Taddei are remarkable, as is her "O terra addio." And of course, she caps off the Triumphal Scene with the famous E-flat that lasts 7 seconds (yes I've counted). Legend has it that in 1950, when she sang Aida at Mex City with Kurt Baum, she was so annoyed with the tenor that she did the E-flat at the Triumphal Scene. It worked so well that the next year she tried the same stunt.
The rest of the cast is strong. I prefer a Radames who is better able to control dynamics like Franco Corelli or Carlo Bergonzi. Mario del Monaco seems to sing in two ways -- loud and louder. But del Monaco is certainly stentorian and heroic and there just aren't voices like him anymore. Giuseppe Taddei is a wonderfully nasty Amonasoro. His voice practically drips hatred and bitterness. And Oralia Dominguez is not as well-known as the rest of the cast but she's terrific nonetheless, with a beautiful, powerful mezzo voice.
The sound is admittedly bad, but the performance more than makes up for it.

All hail to the E Flat Goddess.......2005-08-23

I have always love Aida I have heard 3 versions but nothing can compare to this. Although the recording quality is terrible, this 1951 gala captures The La Divina in the prime of her vocal prowess. The first time I heard the e flat in the Triumphant schene, my jaw dropped.I could not describe the feeling I had that time. I just closed my eyes and thank the Creator above for giving the world "Maria Callas the greatest suprano in living memory".

Nuclear Aida!!!.......2005-03-18

Ever imagine a large voiced Callas singing Aida? Here it is! Ever wanted her paired with an amazing Radames with a large, robust voice? You have it here! What about an explosive Amneris? Oralia Dominguez is also cast in this performance! What about a 12-second, interpolated E-flat? Callas sings it, and with a huge blazing voice too! Very unlike the standard canary E-flats you hear today! What about a great performance and a dramatically convincing Aida with Giuseppe Taddei as Amonasro? Well, this is it! Although her fabulous studio Aida wasn't as accepted as the Price Aida, this live recording from Mexico puts Leontyne's recording to second place. No other Aida will be able to achieve such a miraculous job of singing the role with that kind of forza, and with that kind of passion. The studio recording with Callas is recommended too, if you want to hear the several colors of Aida.

Average customer rating:

Every scene and aria from Don Giovanni is a highlight
Good as it gets!
Pre-Bonynge Sutherland
Of all opera recordings, this is the best value...
Best Don Giovanni ever

Mozart: Don Giovanni [Highlights]

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music
Similar Items:

Mozart: Le Nozze di Figaro (Highlights)
Mozart: The Magic Flute (Highlights)
Mozart - Così fan tutte / Cuberli, Bartoli, Rodgers, Streit, Furlanetto, Tomlinson, Berlin Phil., Barenboim [highlights]
Verdi: Rigoletto (Highlights) / Sutherland, Pavarotti
Rossini: The Barber of Seville (Highlights)

ASIN: B000002S0W
Release Date: 1989-06-05

Tracks:

Don Giovanni: Overture
Don Giovanni: 'Madamina, Il Catalogo E Questo'
Don Giovanni: 'La Ci Darem La Mano'
Don Giovanni: 'Don Ottavio Son Morta... Or Sai Chi L'onore'
Don Giovanni: 'Dalla Sua Pace'
Don Giovanni: 'Fin Ch'han Dal Vino'
Don Giovanni: 'Batti, Batti, O Bel Masetto'
Don Giovanni: 'Tra Quest'arbori Celata'
Don Giovanni: 'Ah Taci, Ingiusto Core'
Don Giovanni: 'Deh Vieni Alla Finestra'
Don Giovanni: 'Il Mio Tesoro Intanto'
Don Giovanni: 'In Quali Eccessi, O Numi!'
Don Giovanni: 'Non Mi Dir, Bell'idol Mio'
Don Giovanni: 'Don Giovanni, A Cenar Teco M'invitasti'

Customer Reviews:

Every scene and aria from Don Giovanni is a highlight.......2003-07-05

With the new lower price in a different pressing, why not just get the whole set? Every single scene and aria and ensemble in Don Giovanni is marvelous. And we all know that this cast is definitive. Do it.

Good as it gets!.......2001-07-28

This is known as one of the best recordings of Don Giovanni, and I can see why! Wachter's Don is great- forceful, nasty, cruel. Taddei's Leporello is very good, too, and I enjoyed his "Catalogue" aria very much. Sutherland's Donna Anna almost is greater then everyone else! She threatens like the Don himself, and is very forceful as well. Her fiance, luckily, is not as wimpy as most Don Ottavios are. Schwarzkopf is a good Elvira, too. My only reservation is Sciutti's Zerlina. Though she sang beautifully, she sounded very weak in, "Batti, batti" or in, "Tra quest'arbora celata." Giulini's conducting is wonderful, so I'd suggest this cd.

Pre-Bonynge Sutherland.......2000-09-30

I don't care what you think about Sutherland's later recordings- you really ought to hear this. No mushy diction or moony mannerism here- it's crystal clear, and the voice sounds so gloriously fresh that it's actually poigniant to hear (I mean no disrespect to the path that Dame Joan and her husband took in developing her voice). She is perfection- precise, agile and yet powerful, not pasty like so many Annas; she sounds highly agitated (which is perfect for Donna Anna). If fact, she sounds like more of a threat to the Don than her tenor boyfriend. Highly recommended- and perfect in highlight form for those of you who own a full set and don't want to fork over the bucks for another full set.

Of all opera recordings, this is the best value..........2000-06-30

"Don Giovanni" is, in my humble opinion, Mozart's greatest work: a romantic and unforgettable journey into the darkest realms of his ingenius imagination. The complete opera, with its many dialogues, is really intended for the opera hall, for the vividness of the work can best be appreciated around the personae of theatre. The music, however, flows like the Danube, especially the hand-picked favorites. This cd is exquisite -- the best version available. Pop it into the stereo and let it play every track, for they are among Mozart's greatest pieces. The singers are simply outstanding -- and the Philharmonia, which is the orchestra to consider above all others when dealing with opera, is charming. I bought the cd a year ago for "La ci darem la Mano," and it remains my favorite aria of all time, and the cd itself is my favorite among an armoire filled with Mozart and dozens of other composers. I don't know why anyone would pass this cd up -- it is truly the best value in opera, and maybe in all classical music!

Best Don Giovanni ever.......1999-05-11

This is the absolute best Don Giovanni, ever. The cast speaks fo itself. With Joan sutherland just bursting to the Opera world as Donna Anna.

Mozart - Le nozze di Figaro / Taddei · Schwarzkopf · Moffo · Cossotto · Wächter · Giulini

Average customer rating:

One of the classic versions of "Le Nozze di Figaro"
Hot, Funny & Sexy Recording
A "Figaro" with many special distinctions
Bravo, bravo, bravo!
One of the best

Mozart - Le nozze di Figaro / Taddei · Schwarzkopf · Moffo · Cossotto · Wächter · Giulini
Wolfgang Amadeus Mozart , Carlo Maria Giulini , Giuseppe Taddei , Elisabeth Schwarzkopf , Philharmonia Chorus & Orchestra , Anna Moffo , Fiorenza Cossotto , Eberhard Wächter , Piero Cappuccilli , Elisabetta Fusco , and Renato Ercolani
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Mozart: Don Giovanni
Mozart: Die Zauberflote
Mozart: Così fan tutte
Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra
Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan

ASIN: B000002S1E
Release Date: 1990-05-07

Tracks:

Le nozze di Figaro: Overture
Le nozze di Figaro: Act 1: Cinque...dieci...venti
Le nozze di Figaro: Act 1: Se a caso madama
Le nozze di Figaro: Act 1: Or bene; ascolta e taci (Figaro - Susanna)
Le nozze di Figaro: Act 1: Se vuol ballare (Figaro)
Le nozze di Figaro: Act 1: Ed aspettaste il giorno
Le nozze di Figaro: Act 1: La vendetta, oh, la vendetta
Le nozze di Figaro: Act 1: Tutto ancor non ho perso
Le nozze di Figaro: Act 1: Via resti servita, madama brillante (Susanna)
Le nozze di Figaro: Act 1: Va la, vecchia pedante (Susanna - Cherubino)
Le nozze di Figaro: Act 1: Non so piu cosa son, cosa faccio (Cherubino)
Le nozze di Figaro: Act 1: Ah! Son perduto! (Cherubino - Susanna - Conte)
Le nozze di Figaro: Act 1: Cosa sento! (Conte - Basilio - Susanna)
Le nozze di Figaro: Act 1: Basilio, in traccia tosto di Figaro volate (Conte - Susanna - Cherubino)
Le nozze di Figaro: Act 1: Giovani liete, fiori spargete
Le nozze di Figaro: Act 1: Cos'e questa commedia (Conte - Figaro - Susanna)
Le nozze di Figaro: Act 1: Evviva!...Evviva! (Figaro - Susanna - Cherubino - Conte)
Le nozze di Figaro: Act 1: Non piu andrai farfallone amoroso (Figaro)
Le nozze di Figaro: Act 2: Porgi, amor (Contessa)
Le nozze di Figaro: Act 2: Vieni, cara Susanna (Contessa - Susanna - Cherubino)
Le nozze di Figaro: Act 2: Quanto duolmi, Susanna (Contessa - Susanna - Cherubino)
Le nozze di Figaro: Act 2: Voi, che sapete che cosa e amor (Cherubino)
Le nozze di Figaro: Act 2: Bravo! Che bella voce! (Contessa - Susanna - Cherubino)
Le nozze di Figaro: Act 2: Venite, inginocchiatevi (Susanna)
Le nozze di Figaro: Act 2: Quante buffonerie! (Contessa - Susanna - Cherubino - Conte)
Le nozze di Figaro: Act 2: Che novita! (Conte - Contessa)
Le nozze di Figaro: Act 2: Susanna, or via sortite (Conte - Contessa - Susanna)
Le nozze di Figaro: Act 2: Dunque voi non aprite? (Conte - Contessa)
Le nozze di Figaro: Act 2: Aprite, presto, aprite (Susanna - Cherubino)
Le nozze di Figaro: Act 2: Tutto e come il lasciai
Le nozze di Figaro: Act 2: Esci ormai, garzon malnato (Conte - Contessa)
Le nozze di Figaro: Act 2: Signore! Cos'e quel stupore? (Susanna - Conte - Contessa - Figaro)

Tracks:

Le nozze di Figaro: Act 2: Conoscete, signor Figaro (Conte - Figaro - Susanna - Contessa)
Le nozze di Figaro: Act 2: Voi signor, che giusto siete (Susanna - Contessa - Figaro - Conte)
Le nozze di Figaro: Act 3: Che imbarazzo e mai questo! (Conte - Contessa - Susanna)
Le nozze di Figaro: Act 3: Crudel! Perche finora farmi languir cosi? (Conte - Susanna)
Le nozze di Figaro: Act 3: E perche fosti meco (Conte - Susanna - Figaro)
Le nozze di Figaro: Act 3: Hai gia vinta la causa! (Figaro)
Le nozze di Figaro: Act 3: E' decisa la lite (Conte - Figaro)
Le nozze di Figaro: Act 3: Riconosci in quest' amplesso (Figaro - Conte - Susanna)
Le nozze di Figaro: Act 3: Eccovi, o caro amico (Figaro - Susanna)
Le nozze di Figaro: Act 3: E Susana non vien! (Contessa)
Le nozze di Figaro: Act 3: Io vi dico signor (Conte - Susanna - Contessa)
Le nozze di Figaro: Act 3: Canzonetta sull'aria... (Susanna - Contessa)
Le nozze di Figaro: Act 3: Ricevete, o padroncina (Contessa - Susanna - Conte - Cherubino - Figaro)
Le nozze di Figaro: Act 3: Amanti costanti (Figaro - Conte)
Le nozze di Figaro: Act 4: L'ho perduta, me meschina! (Figaro)
Le nozze di Figaro: Act 4: Tutto e disposto (Figaro)
Le nozze di Figaro: Act 4: Signora! Ella mi disse... (Susanna - Figaro)
Le nozze di Figaro: Act 4: Giunse alfin il momento (Susanna)
Le nozze di Figaro: Act 4: Perfida! E in quella forma meco mentia? (Figaro - Contessa - Cherubino)
Le nozze di Figaro: Act 4: Pian pianin le andro piu presso (Cherubino - Contessa - Conte - Susanna - Figaro)
Le nozze di Figaro: Act 4: Tutto e tranquillo e placido (Figaro - Susanna)
Le nozze di Figaro: Act 4: Pace, pace, mio dolce tesoro (Susanna - Figaro - Conte)
Le nozze di Figaro: Act 4: Gente, gente, all'armi, all'armi! (Conte - Figaro - Susanna - Cherubino - Contessa)

Customer Reviews:

One of the classic versions of "Le Nozze di Figaro".......2007-03-04

This is a classic version of Mozart's "Marriage of Figaro" (Or "Le Nozze di Figaro"). As other reviewers note, there are several top notch versions of this opera--and this is surely one of those.

The excellence begins with the conductor, Carlo Maria Giulini, leading the well reputed Philharmonia Orchestra. His conducting shows its stuff starting with the well know overture to the opera. The overture sets the tone; it is taken at a sprightly pace and is a spirited rendition. There is a nice clarity of sound in this piece.

This version of the opera is well sung, with a cast of really talented singers. Figaro is sung by Giuseppe Taddei, in fine voice. Susanna is played by Anna Moffo, relatively early in her career, and her fresh, lush voice fits the character well. Her characterization of Susanna is splendid. The Count is the solid baritone Eberhard Wachter. The Countess is the redoubtable Elisabeth Schwartzkopf, an excellent actress as well as singer. Cherubino is nicely portrayed by Fiorenza Cossotto. The lesser characters are workmanlike and support the lead singers appropriately.

A sampling of components of the two CD set. The duet between Figaro and Susanna, "Or bene; ascolta e taci" is most pleasurable to listen to. The fresh voiced Moffo and clear, deep voice of Taddei blend well in this piece. Taddei's singing is spirited indeed. "Se vuol ballare" is one of Figaro's showstopper "tunes." Taddei does an excellent job with this; his rich voice works to good effect. This is part of a poignant scene, and Taddei makes this work. Another Figaro showstopper is "Non piu andrai farfallone amaroso," a martial air, sung to commemorate Cherubino's imminent military career. This is a strong version, well sung by Taddei. He catches the spirit of this piece.

The Countess' poignant aria, "Porgi, amor," exemplifies the artistry of Schwartzkopf. While her voice is hardly perfect, her expressiveness and characterization are top notch. She is in good voice on this CD, and that renders this piece most satisfying. Cherubino's big moment is "Voi che sapete." Cossotto sings this well, and catches the spirit of the piece nicely. Her vocal quality is good. The ensemble piece, "Conoscete, signor Figaro," includes Figaro, Susanna, the Count, and the Countess. This is an exquisite ensemble piece. Somehow, the voices of the four singers work well together, and lead to another satisfying piece.

In conclusion, this is one of the finer versions of this opera around, even though it is nearing half a century old. This is one of the versions of "Le Nozze di Figaro" that is well worth purchasing and will continue to reward the listener over time.

Hot, Funny & Sexy Recording.......2006-09-05

This recording is everything this opera should be. Latin in tone and certainly spicey and sexy with a festival level cast of great singers from the past.

There are not many opera recordings conducted by Giulini, which is very unfortunate, but this recording does the late maestro proud.

The sound quality of the recording is excellent.

Forget authentic performance practice.

A "Figaro" with many special distinctions.......2006-03-20

This Figaro from 1959 has been unassailable for nearly half a century, so there's no reason to heap on more praise. But I took it out today after reading that Anna Moffo, who sings Susannah here, died this week at the shockingly early age of 73. She was greatly underrated, especially toward the end of her career. Her singing is a dramatic asset in this Figaro, not least becasue she and Taddei, both native speakers of Italian, do so much more with the recitatives than other couples.

I am not usually a fan of bassos singing the role of Figaro, but of that type, Taddei is the most flexible; he's full of wit and anger both, and believably a servant (unlike Siepi on the famous Erich Kleiber set for Decca, who seems like an aristocrat in disguise). Moffo is more sharp-witted and less coy than other Susannahs, which I think is also a help. Instead of singing in a generic Mozart style, this Figaro and Susannah sound like two disntinct personalities. (Nobody in the cast tries to sound dainty and refined, thank goodness.)

The third distinction of this set is Giulini's conducting. At his best this conductor could impart inner life to every line in the score, as he does here. There are no inert accompaniments; everything sparkles with real, not artificial animation. EMI gave this recording such good sound that they have never remastered it, which is amazing in itself. The sonics have held up quite well, although I had forgotten until listening today that the solo arias employ a lot of the resonance in Kingsway Hall, coming across as a touch cavernous.

No matter abuot that--this recording will ssurvive as long as people are listening to Mozart's masterpiece.

Bravo, bravo, bravo!.......2006-02-25

This was the first Youth Opera production I was in at the Bell Center, and hearing this recorded version... how much better can it get? I was just about to start crying the first time I listened to Kiri Te Kanawa singing one of the countess's arias. This is recommended even if you don't care that much for classical and/or opera music. Just give it a listen, and your mind will change tremendously about the genre.

One of the best.......2006-01-11

This recording retains my affection after almost forty years of listening in LP and CD versions. Giulini's conducting is quite wonderful in its attention to nuance and detail. Schwarzkopf's Countess suffers only in comparison to her fresher voiced self in the 1950 Karajan conducted version (unfortunately shorn of all the recitatives) and the Furtwangler conducted Salzburg version (in German). Concerning Taddei's Figaro, it captures the quicksilver quality of the hero to the T and is well sung as well. No singer/conductor combination in my experience has captured the venom of "Se vuol ballare" of Taddei and Giulini in this set. Moffo is a sympathetic Susanna and acquits herself well vocally. Cossotto and Vinco do very well as Cherubino and Bartolo. The Count is, I think, a rather problematic role. He is a nobleman (albeit one outsmarted by his wife and servants) and that inherent power makes him a dangerous character. The man stands high enough in the opinion of his king to be the newly appointed ambassador to England, after all. How to bring off that combination of power and powerlessness is the problem. Waechter's well vocalized but vehement performance has always struck me as dangerously close to boorishness. Most other singers don't do much better, however. The rest of the supporting cast does well enough - some shaky intonation from the Basilio aside. I enjoy the fleet, conversation quality of the recitatives - special plaudits to the La Scala coaches engaged by Walter Legge for the proceedings. To Legge as well goes much of the credit for the balance and overall excellence of the production. The decision to dispense with the then rarely heard arias for Marcellina and Basilio doesn't bother me at all. They are far from top drawer Mozart IMHO. In a field as crowded as Figaro recordings, I hesitate to call any one the best. This one joins a handful of favorites including Leinsdorf (RCA/London and sadly no longer in print), Gui (with Jurinac's great Countess), and Jacobs (well sung and acted and spectacular in SACD sound). Absent are Boehm (well sung by the ladies but insufficient point and clarity in the diction, recitatives in particular) and Kleiber (well conducted but jarringly shorn of all appogiature and tubby in sound).

Average customer rating:

Vivid tragedy, great singing
Sorry, but...
The Most Exciting Bell Chorus Ever Recorded
Karajan in Command!
A truly stunning performance of I Pagliacci!!!!

Leoncavallo: Pagliacci

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Baritones | Voices | Opera & Vocal | Styles | Music

Tenors | Voices | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Mascagni: Cavalleria Rusticana / Herbert von Karajan
Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini
Mozart: Don Giovanni
Mascagni: Cavalleria Rusticana
Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B000001GS2
Release Date: 1996-09-17

Tracks:

Prologo - Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan
'Si Puo? Si Puo?' - Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan
Act One, Scene I: 'Son Qua!' - Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan/Ragazzi/Carlo Bergonzi/Ugo Beneli
Act One, Scene I: 'Un Grande Spettacolo' - Carlo Bergonzi/Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan/Ragazzi/Giuseppe Taddei...
Act One, Scene I: Un Tal Gioco, Credetemi' - Carlo Bergonzi/Joan Carlyle/Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan
Act One, Scene I: 'I Zampognari!' - Ragazzi/Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan/Carlo Bergonzi
Act One, Scene II: 'Qual Fiamma Aveva Nel Guardo!' - Joan Carlyle
Act One, Scene II: 'Stridono Lassu' - Joan Carlyle
Act One, Scene II: 'Sei La! Credea Che Te Ne Fossi Andanto' - Joan Carlyle/Giuseppe Taddei
Act One, Scene III: 'Nedda!/'Silvio, A Quest' Ora' - Rolando Panerai/Joan Carlyle
Act One, Scene III: 'Decidi Il Mio Destin' - Rolando Panerai/Joan Carlyle
Act One, Scene III: 'Non Mi Tentar!' - Joan Carlyle/Rolando Panerai/Giuseppe Taddei
Act One, Scene IV: 'Cammina Adagio' - Giuseppe Taddei/Rolando Panerai/Joan Carlyle/Carlo Bergonzi
Act One, Scene IV: 'Derisione E Scherno!' - Carlo Bergonzi/Joan Carlyle/Ugo Benelli/Giuseppe Taddei
Act One, Scene IV: 'Recitar!...Mentre Preso Dal Delirio' - Carlo Bergonzi
Act One, Scene IV: Intermezzo - Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan
Act Two, Scene I: 'Ohe!...Ohe!' - Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan/Giuseppe Taddei/Ugo Benelli/Rolando...
Act Two, Scene II/Commedia: 'Pagliaccio, Mio Marito' - Joan Carlyle
Act Two, Scene II/Commedia: 'O Columbina, Il Tenero Fido Arlecchin' - Ugo Benelli/Joan Carlyle
Act Two, Scene II/Commedia: 'E Dessa! - Giuseppe Taddei/Joan Carlyle/Ugo Benelli
Act Two, Scene II/Commedia: 'Arlecchin!'/'Colombina!' - Joan Carlyle/Ugo Benelli/Giuseppe Taddei
Act Two, Scene II/Commedia: 'Versa Il Filtro Ne La Tazza Sua' - Ugo Benelli/Joan Carlyle/Carlo Bergonzi/Giuseppe Taddei
Act Two, Scene II/Commedia: 'No, Pagliaccio Non Son' - Carlo Bergonzi/Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan/Rolando Panerai...
Act Two, Scene II/Commedia: 'Suvvia, Cosi Terribile Davver Non Ti Credeo!' - Joan Carlyle/Carlo Bergonzi/Coro E Orch Del Teatro Alla Scala/Herbert Von Karajan...

Amazon.com

This is widely regarded as the best stereophonic Pagliacci--and many would say the best, period. Its virtues are primarily musical: Carlo Bergonzi usually sang with a level of good taste not common in tenors this side of Sir Peter Pears, and you might expect that to limit the voltage he generates as the insanely jealous, knife-wielding Canio, particularly with the well-groomed Karajan on the podium. But he gets into the character, and Karajan gets into the music's passion and the story's gritty atmosphere. It may be that the conductor caught some excitement from the La Scala Orchestra and Chorus, which are ideal for this music. The two baritones are excellent, and Joan Carlyle's performance makes you wonder why she made so few recordings. --Joe McLellan

Customer Reviews:

Vivid tragedy, great singing.......2007-03-29

This is one of my favorites opera recordings, and for me the best Pagliacci recording ever made. Among many virtues, Carlo Bergonzi. I always considered him one of the finest italian tenors, and under Karajan when he unleashes Canio's hurricane the result is chilling. Truly a great Bergonzi for a great Pagliacci.

Sorry, but..........2005-01-28

I'm probably one of the few people in this world who DON'T like this recording. I prefer a more lively, fiery, sparkling interpretation, for instance the old Renato Cellini recording featuring De Los Angeles, Bjorling, Warren and Merrill (on which the singers are also close to ideal in my opinion), or the two Muti recordings on which, however, the singers, for the most part, are not quite on the same level.
Because of the usual "Karajan sound", you get to hear details in the orchestration (that you don't always hear under other conductors), you get gorgeousness of sound, and spacious lyricism from both orchestra and singers. What you miss is a LOT of excitement. I happen to LOVE the Karajan approach in many operas (Tristan, Butterfly, Tosca, Otello, to name a few)but, perhaps because I got to know this recording later than the more "fiery" ones, I've never managed to warm to this one (and I've tried!!!).
The singing is Beautiful, as would be expected, but because of the heaviness of the conducting, even much of the singing sounds too fragmented for my taste.
As for somebody's comment that Bergonzi has a vibrato in his voice, frankly I don't know what you're talking about. To me Bergonzi is one thing that I do enjoy very much here.
So my three stars are for the orchestral SOUND and details, as well as for most of the singing, especially Bergonzi's. The missing two stars are for the lack of "fire" in the interpretation, even to a certain extent in Bergonzi's interpretation.

The Most Exciting Bell Chorus Ever Recorded.......2003-11-16

I can't believe it! Karajan never conducted a performance like this one. This is so different from other Karajan recordings. Karajan conducts the most exciting Pagliacci ever recorded. He must've assimilated his conducting to a new style. This is the fastest bell chorus ever recorded next to the naxos recording which might cost the same amount of money. At times the pace could be extremely fast and at other times the pace could be extremely slow. This is like recordings of modern music. Karajan's conducting is like Julius Rudel's on this recording of Pagliacci. The bell chorus sounds as it never sounded before. What a shame that nobody ever conducts like Karajan except for Alexander Rahbari.

Karajan in Command!.......1999-11-04

This is a great recording. I, generally didn't consider buying any Italian recordings with Bergonzi. He has a great voice but he sounds like a helden tenor. I'd sell my house to hear him sing Siegfried or Othello live.But his voice is truly Italian and purely verrisimo here. I almost leveled the house when he sang "non, Pagliaccio, non,son." Guiseppe Taddei sings a beautiful Prologue. He can sing beautifully, comically,and in a moment he is almost mephistofelian, as in the scene with Nedda. Karajan is simply the best. In his day I'll bet they had to have an act of Parliament to limit his curtain calls. Now if only I could find the DGG double recording, with Cavalleria Rusticana.

A truly stunning performance of I Pagliacci!!!!.......1999-10-28

This is one of the finest rcordings of Pagliacci ever!! The two show stoppers here are Carlo Bergonzi and Herbert von Karajan. First of all, Bergonzi is perfect as the tormented Canio. He literally makes the tears leap right off of the grooves on this recordings. In "Vesti la Giubba" he delivers a performance of a man whose whole world has just fallen down around him and in the second act aria "No Pagliaccio non Son" portrays a man totally at the end of his rope. One other point of interest to me on this aria. Bergonzi literally soars up to his B flats here. Not straining like so many other Tenors are want to do. Bergonzi also realizes a certain lyricism in this role that only a few like Bjoerling, Gigli, and Di Stefano were capable of (the original Canio, Fernando De Lucia, was really a more lyric Tenor). To me this is a perfect performance of Pagliacci. Von Karajan's tempi are perfect and his phrasing with the orchestra is exquisite. When I first heard Taddei's Tonio I didn't much care for it, but the more I listen the more I have grown to like, yea even love, it. Taddei delivers, what I consider, a very Gobbi like performance, which I feel is truer to the realization of this character than, say a Warren, Milnes, or MacNeil. Joan Carlyle is a very fine Nedda, though not in the same league as de Los Angeles or Callas, but very compelling nonetheless. Rolando Panerai sings very well, if not a bit too robust, in the lyric baritone role of Silvio (my favorite is still Robert Merrill in the Cellini/Bjoerling/De Los Angeles recording). This recording not only possesses the great Tenor voice of Carlo Bergonzi, but also the equally wonderful lyric Tenor voice of Ugo Bennelli in the role of Beppe/Arlequino, who sings the role with a beauty and ease unequaled by any other Tenor, on any other recording. A perfect recording of I Pagliacci, and certainly the best of the stereo recordings (Bjoerling, Gigli, and Di Stefano are all mono). Now if DGG will only rerelease the accompanying Cavalleria Rusticana that was originally coupled with this recording! You simply must buy this recording!!!

Average customer rating:

Best Tosca I have heard
Supreme Tosca
Leontine Price Reigns As The Equal To Callas
This is one of those 10 Desert Island Recordings
Ever notice how some of the best classics get trashed?

Puccini: Tosca
Giacomo Puccini , Leontyne Price , Fernando Corena , Giuseppe Taddei , Giuseppe di Stefano , and Herbert Von Karajan
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

Operettas | Opera & Vocal | Styles | Music

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

Puccini: Madama Butterfly
Puccini: Tosca
Mascagni - Cavalleria rusticana / de Los Angeles · Corelli · Santini ~ Leoncavallo - Pagliacci / Corelli · Gobbi · Amara · von Matacic
Puccini: Tosca
Verdi: Aida (complete opera) with Maria Callas, Richard Tucker, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B00004C8TD
Release Date: 2000-03-14

Tracks:

TOSCA: Atto primo - Ah! Finalmente! (Angelotti)
TOSCA: Atto primo - E sempre lava! (Sagrestano)
TOSCA: Atto primo - Dammi i colori... Recondita armonia (Cavaradossi)
TOSCA: Atto prino - Voi! Cavaradossi! (Angelotti)
TOSCA: Atto primo - Mario! Mario! Mario! (Tosca)
TOSCA: Atto primo - E' buona la mia Tosca (Cavaradossi)
TOSCA: Atto primo - Sommo giubilo, Eccellenza! (Sagrestano)
TOSCA: Atto primo - Un tal baccano in chiesa! (Scarpia)
TOSCA: Atto primo - Or tutto e chairo (Scarpia)
TOSCA: Atto primo - Tre sbirri, una carrozza (Scarpia)

Tracks:

TOSCA: Atto secondo - Tosca e un buon falco! (Scarpia)
TOSCA: Atto secondo - Ha piu forte sapore (Scarpia)
TOSCA: Atto secondo - O galantuomo, come ando la caccia? (Scarpia)
TOSCA: Atto secondo - Ov'e Angelotti? (Scarpia)
TOSCA: Atto secondo - Sciarrone, che dice il Cavalier? (Scarpia)
TOSCA: Atto secondo - Ors , Tosca, parlate (Scarpia)
TOSCA: Atto secondo - Foira... - Amore (Cavaradossi, Tosca)
TOSCA: Atto secondo - Vittoria! Vittoria! (Cavaradossi)
TOSCA: Atto secondo - Quanto? (Tosca)
TOSCA: Atto secondo - Vissi d'arte (Tosca)
TOSCA: Atto secondo - Chi e la? (Scarpia)
TOSCA: Atto secondo - Io tenni la promessa (Scarpia)
TOSCA: Atto terzo - Io de' sospiri (Un pastore)
TOSCA: Atto terzo - Mario Cavaradossi? (Carceriere)
TOSCA: Atto terzo - E lucevan le stelle (Cavaradossi)
TOSCA: Atto terzo - Ah! Franchigia a Floria Tosca (Cavaradossi)
TOSCA: Atto terzo - O dolci mani (Cavaradossi)
TOSCA: Atto terzo - Come e lunga l'attesa! (Tosca)
TOSCA: Atto terzo - Presto, su! Mario! Mario! (Tosca)

Amazon.com

This 1962 recording is viewed as a type of classic. Conductor Herbert von Karajan elicits first-class symphonic playing from his Vienna forces, with great attention to every detail of Puccini's strong score, and Decca's producers have create a soundstage that is magnificent, with layer upon layer of sound, distant effects sounding distant, and a clarity that must be admired. Tempi tend to be broad, but the drama builds nonetheless. Leontyne Price sings with great potency and really acts the spoiled diva. Where she fails is in the details--Tosca's traits are generalized--and in her ugly, truck driver-like chest register she brings forth for emphasis every so often. Giuseppe di Stefano was, by '62, a vocal shadow of his former self: he's involved and interesting, but the sound ranges from weak to horrendous, and if you listen carefully, you'll hear one of the worst cracks on a high note ever, at the end of his last-act duet with Tosca. Giuseppe Taddei, too, was in vocal decline, but he overcomes his problems often enough and his Scarpia is truly a terrifying portrait. So, a mixed bag. Fans of Price and Karajan (and audiophiles) will need this; others are directed toward Callas and di Stefano from a decade earlier on EMI. --Robert Levine

Customer Reviews:

Best Tosca I have heard.......2006-06-20

Very Involving. Fantastic recording. All three; Karajan, Price and Berlin Philharmony make this disc extraordinary.
If you are looking for a good Tosca reording that you can truely enjoy then this is it.

Supreme Tosca.......2005-10-11

Thanks to Decca Legends, we have another supreme Tosca in this performance recorded in Vienna in 1962. The Stars: Leontyne Price, Giuseppe Di Stefano, Giuseppe Taddei and Fernando Corena. It has been remastered so that it sounds powerfully alive, complete with effect noises like doors opening and shutting, distant voices, church bells and the sound of cannon- noises which figure prominently in Tosca. The strength of this classic recording lies in the outstanding musicianship of conductor Herbert Von Karajan and his Vienna forces and the virtuosic and experienced performances by the principal singers. While a lot has already been discussed about this recording by operaphiles who collect classic albums, one more assessment wouldn't hurt. For one thing, fans of Leontyne Price should opt to own this recording in place of the 1973 Zubin Mehta Tosca with Placido Domingo and Sherill Milnes. In that recording, everything is rushed and sloppy music-wise and Leontyne Price's Italian diction has become noticeably careless and instead she "whoops" through phrases and her voice, though dramatic and diva-esque, is no where near as beautiful and passionate as she sings in this Tosca. After all, in 1962, she was in her best voice, for this was the year she debuted at the Metropolitan Opera. This is her best Tosca hands down for this record captures her in the height of her prime, eventhough her co-stars are going downhill. Karajan championed Leontyne Price while she was in Vienna and she had already sang Leonora in Trovatore to great acclaim opposite Franco Corelli at the Salzburg Festival. His relationship with her as conductor and artist is nicely rendered in the cover photo which captures them in a tender moment of respect and affection. Karajan in 1962, too, was in his musical prime, and his many recording of classical music ranging from Mozart to Wagner attest to his brilliance. He treats Puccini's score with dramatic pizzaz and epic majesty, broad tempi (particularly in the Act 1 Finale) and also with painstaking attention to subtleties and lyrical sensibility in such moments as Tosca and Mario's duets or the themes associated with their love. Karajan would return to conducting the score to Tosca in his later years in the 80's when he contracted Katia Ricciarelli, Jose Carreras and Ruggero Raimondi in another superb performance available on Deutsche Grammophone.

Leontyne Price was in 1962 an experienced opera singer. She had already sung Aida and her first Toscas in the 1950's. One of her Toscas was broadcast on NBC, viewed by many Americans despite protests by racist Southern stations that refused to air it. Tosca was never a challenge for Leontyne, for in the operas of Puccini she found as suitable a vocal vehicle as the operas of Verdi, for whose music she is regarded as the best exponent. For the entire performance on this record she is sensational and luminous. Her voice is appropriately vulnerable but spunky. Listen to the entire scene beginning with "Mario! Mario! Mario!" in which she flies into a jealous rage because she suspects Mario is having a tryst with another woman. She perfectly transitions from a voice that is indeed jealous and spoiled to a voice of genuine love for Mario. When Scarpia sets a trap to provoke her jealousy toward the end of Act 1 using La Attavanti's fan, note how she is torn between heartbreak and vulnerability to a madly jealous and vindictive woman. She is pure passion. Leontyne captures these moments perfectly, even if the Amazon.com editorial reviews claim she pays no attention to Tosca's subtle character traits. She DOES! In Act 2, when Scarpia tortures Mario so that she may reveal Angelotti's hiding place, she is a woman who is pushed into despair and who has been tormented, though the way Price sings it she maintains a noble bearing and majestic dignity. She is even "majestic" when she stabs Scarpia "Questo Il Bacio Di Tosca" and she does not scream or go on a murderous rage as most sopranos do. In Act 3, in her duet with Mario she is sublime. Finally, she cops out in the end when upon discovering that Mario is really dead, she goes a little looney and makes her voice sound pretty cheesy-dramatic. But even with this, I still prefer this Tosca to even Maria Callas' eternally popular 1950's EMI recording.

Yes, Giuseppe Di Stefano in '62 could not knock them dead as he did when he was singing the role of Mario opposite Callas and Tebaldi. Yes, there is, as the Editorial Review states, a crack in the voice as he belts out the duet in the last act. But he is nevertheless a strong performer. His Mario is elegant, idealistic and passionate. His "Ricondita Armonia" and "E Lucevan La Stelle" are well-executed and I find nothing faulty in them. He still has a voice! Note how he exclaims in stentorian fortissimi "Vittoria! Vittoria" in Act 2. So for fans of Di Stefano, this is also a fine recording to add to your collection. He does sound in-synch next to Leontyne, which is a must for Mario-Tosc pairings. Enough said.

Giuseppe Di Stefano, detractors insist, is also singing past his prime and lacks a je ne sai quais in his performance as the sinister, sadistic, lustful and evil Vitellio Scarpia. Nonsense. His voice perfectly encompasses all these villainous traits. Plus, his Scarpia is quite LOUD and ANGRY sounding, which gives Scarpia an edge, a menacing and powerful alpha male quality that is absolutely necessary. To my ears, neither Tito Gobbi, Sherill Milnes, Samuel Ramey or Ruggero Raimondi possess the fine dramatic prowess that Taddei employs for Scarpia. Ramey and Raimondi, especially, sing the role too lyrically with hardly any bite. Listen to how Taddei, in his first lines, shouts: "Un Tal Bacciano in chiesa! Bel Rispetto!". Already, he establishes his commanding quality as Scarpia. Karajan was wise enough to contract basso-buffo Fernando Corena as the comic relief role of the Sacristan. He is hilarious and he even uses falsetto for comic affect. Next to the dark, invective-style voice of Taddei's Scarpia, Corena sounds more like Leporello in Don Giovanni, only far more wimpy. It's such a fine contrast Taddei and Corena and it's even more miraculous when one notices that Taddei had in his own career sang Leporello.

So, please, opera fans, this is the GREATEST TOSCA EVER MADE. Need I SAY MORE ? Look for this recording in stores or buy it a fine price here on Amazon.com. Buy this version. Do not buy the other versions of the same recording which suffer from bad sound equipment and are not digitally remastered.

Leontine Price Reigns As The Equal To Callas.......2005-02-26

While to many operaphiles, Maria Callas as Tosca is unsurpassed, and in many ways, that's true, let's not overlook such talents as that of Leontine Price. When Leontine Price began to sing, she had to overcome many issues- among them, racist attitudes. One 1955 televised performance of her Tosca was prevented from airing in some Southern states where racism was rampant there. Leontine Price makes a wonderful Tosca, dramatic, intense, definately getting into the spoiled diva nuance, jealous, powerful, playful, feminine, strong, passionate. She makes an Italian sounding Tosca and is far better than other intrepretors among them Hildegard Behrens. There are good things and bad things about this recording. First off, Herbert Van Karajan was in his prime at this time. He was a masterful conductor who with the Vienna Philharmonic, brings out the passion and power of Puccini's score. The music and studio effects are satisfying. He used actual bells and cannon in the scenes of the Te Deum and Mario Cavardossi's execution. The tempi is broad and this gives it the mood of an epic.

Leontine Price as Tosca: She has a fine lyric voice, definately appropriate for Puccini's music. She had a regal stage presence. She shine in such moments as "Vissi D'Arte" and the Torture Scene, and her leap at the finale. However, the scene in which she stabs Scarpia, I feel is a bit mannered, too mannered, and not as intense and spontaneous as it should be. She has fine chest voice and high voice, which so few sopranos do. She is a great Tosca, one of the best. If I were to pick out which are the most outstanding in order from greatest to least I would say: Maria Callas, Birgit Nilsson, Leontine Price, Renata Tebaldi and Raina Kabavianskava. Leontine is a great Tosca that ranks among the best. This recording is even better than the later recording under Zubin Mehta's baton which she sang opposite Placido Domingo and bass Sherill Milnes. In that recording, made in the 70's, she was already in a kind of vocal decline, "whooping" through phrases and losing dramatic power. But this one, her voice is young, fresh and dynamic. There is absolutely no flaw, except, and this is little in the long run, she sounds hammy and a bit too fake when she cries for Mario as she realizes he's dead -Mario ! Morto! Finiri Cosi!.

Giuseppe Di Stefano as Cavaradossi is not an entirely great performance. He is in his old age and shows it. The best thing Karajan could have done was to pair the awesome Leontyne Price with Franco Corelli. They debuted at the Met at the same time back in the early 60's. They sang in Trovatore. They definately could have teamed up again for this Tosca. Franco Corelli was the worthy successor to Di Stefano. Di Stefano shines in the earlier 50's recording with Callas. Giuseppe Taddei as the evil Scarpia is doing a great job. He is lusty, nasty, and villainous. Fernando Corena as the Sacristan is doing a great job as well.

This is one of those 10 Desert Island Recordings.......2004-12-13

Flat out, this is one of the 10 recordings you would take with you to a desert island. The only problem would be finding nine others of the same quality. Much has been written about the recording of Maria Callas (deservedly), but as good as her Tosca was, it does not compare to this one. This studio recording was a rare assembling of great artists in their prime. There simply can be no better Tosca than the one Leontyne Price creates in this recording. Price may be the most under valued star soprano in history - her spinto voice range through the Verdi roles with a clarion intensity that seems hard to find any more. She brings that same quality of voice to Tosca. The voice soars over the orchestra and every note is thrilling. Her "Visi d'arte" is a model for others; her confrontation with Scarpia spell binding; and duets with Mario (Giuseppe Di Stefano) almost ethereal.

She is pared with the incomparable Giuseppe Di Stefano - the quintessential Italian tenor of his day. Di Stefano lives this music. While other tenors of the day learned to excel (such as say Corelli or Tucker), Di Stefano was simply born to sing the great Italian roles. The qualities of expression and style and simply innate - they are a natural, not acquired, part of the voice. There simply can be no better pairing in this work.

Had I not heard this recording (and I have quite literally grown up with it since LP days), I would have said that Giuseppe Taddei was the weak link. But his is clearly a case where a perhaps not quite first rate talent rose to great heights and achieved great things. While I will always cherish Tito Gobbi's Scarpia, in this recording, Taddei rises to great heights and achieves a Scarpia of menacing proportions. This is a Scarpia to be reckoned with, both vocally and dramatically.

There simply is no weak link here. The supporting cast lead by Fernando Corena and Piero de Palma are world class; the orchestra playing by the Vienna Philharmonic unsurpassed. And the conductor, Herbert von Karajan - while not your immediate choice of a Puccini conductor - is outstanding.

Ever notice how some of the best classics get trashed?.......2004-11-24

This recording has always been considered great and probably always will. And yet, we still get reviews like the one from Robert Levine above!

Stefano was not in vocal decline at all; in fact this is generally considered to be one of the high points of his career. It is, without a doubt, a dramatic account rather than an operatic show piece--which is fortunate, because of all of Puccini's operas it is the least lyrical and most dramatic (although that's still pretty lyrical). Price is a good Tosca; I don't think she adds anything to the role (like she did with Aida) but she certainly handles the role well, and is very effective. I happen to think Taddei is the real star of this recording--he's evil through and through. When Tosca kills him at the end of Act 2, it's a really good feeling.

Karajan is such a difficult conductor to nail down. He seems to be thoroughly German/Austrian in his approach to music, and yet his most succesful opera recordings are with Mascagni, Leoncavello and Puccini. I also believe he does better with the Vienna Phil than the Berliner, in spite of the fact it was 'his' orchestra. The orchestra plays with tremendous fury and precision. Of the Karajan/Puccini recordings it is definitely the most succesful, and it highly recommended. This is one of those rare recordings where both the dramatist and the vocal lover can enjoy.

Average customer rating:

Verdi: Rigoletto

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000FWGYOE
Release Date: 2006-09-05

Average customer rating:

Fine studio-made "L'elisir" with a Grand Old Man conducting
Italian opera as it used to be - thank goodness!

Donizetti: L'elisir d'amore

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Donizetti - L'Elisir d'Amore / Eschwe, Netrebko, Villazon, Wiener Staatsoper

ASIN: B000002S6I
Release Date: 2002-11-05

Tracks:

Preludio - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Bel Conforto Al Mietitore - Angela Vercelli
Quanto E Bella, Quanto E Cara! - Luigi Alva
Chi La Mente Mi Rischiara?...Del Merigio Il Vivo Ardor - Angela Vercelli/Luigi Alva
Benedette Queste Cartel - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Della Crudele Isotta - Rosanna Carteri/Angela Vercelli/Luigi Alva
Come Paride Vezzoso - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Or Se M'ami, Com'io T'amo - Rolando Panerai/Rosanna Carteri/Angela Vercelli/Luigi Alva
Intanto, O Mia Ragazza - Rolando Panerai/Rosanna Carteri/Luigi Alva
Chiedi All'aura Lusinghiera - Rosanna Carteri/Luigi Alva
Che Vuol Dire Cotesta Suonata? - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Udite, Udite, O Rustici - Giuseppe Taddei
Ardir! Ha Forse Il Cielo - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Voglio Dire...Lo Studendo Elisir Che Desta Amore...Obbligato, Ah! Si, Obbligato! - Luigi Alva/Giuseppe Taddei
Caro Elisir! Sei Mio! - Luiga Alva/Giuseppe Taddei/Rosanna Carteri
La La La La La...Non So Se E Finta O Vera - Luigi Alva/Rosanna Carteri
Tran Tran, Tran Tran, Tran Tran. In Guerra Ed In Amor...Ebben, Gentil Sargente - Rolando Panerai/Rosanna Carteri/Luigi Alva
Signor Sargente - Angela Vercelli/Rolando Panerai/Luigi Alva/Rosanna Carteri
Adina, Credimi, Te Ne Scongiuro - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Andiam, Belcore - Luigi Alva/Rolando Panerai/Rosanna Carteri/Angela Vercelli

Tracks:

Cantiamo, Cantiam, Cantiam, Cantiam! - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Lo Son Ricco, E Tu Sei Bella - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
E Qua Il Notaro - Rolando Panerai/Giuseppe Taddei/Angela Vercelli/Rosanna Carteri
Le Feste Nuziali Son Piacevoli Assai - Giuseppe Taddei/Luigi Alva
La Donna E Un Animale - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Ai Perigli Della Guerra - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Que La Mano, Giovinotto - Rolando Panerai/Luigi Alva
Saria Possibile? - Angela Vercelli
Dell'elisir Mirabile - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Come Sen Va Contento! - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Quanto Amore! Ed Io, Spietata!...Dunque...Adesso - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Bella Adina, Qua Um Momento... - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Una Tenera Occhiatina - Rosann Carteri/Giuseppe Taddei
Una Furtiva Lagrima - Luigi Alva
Eccola...Oh! Quale Accresce - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Prendi. Prendi, Per Me Sei Libero - Orch E Coro Del Teatro Alla Scala, Milano/Tullio Serafin
Ebben, Tenete. Poiche Non Sono Amato - Luigi Alva/Rosanna Carteri
Il Mio Rigor Dimentica - Rosanna Carteri
Alto!...Fronte! Che Vedo? - Rolando Panerai/Rosanna Carteri/Giuseppe Taddei
Ei Corregge Ogni Difetto - Giuseppe Taddei/Rosanna Carteri/Luigi Alva/Rolando Panerai

Customer Reviews:

Fine studio-made "L'elisir" with a Grand Old Man conducting.......2007-01-29

SOURCE: Studio production recorded in August 1958 at La Scala in Milan.

SOUND: Perfectly acceptable early analogue stereo. The digital remastering of 1993 is generally satisfactory, making this one of the more successful offerings from the EMI in that era.

CAST: Adina, a prosperous country landowner who is flirtatious, flighty and a bit pig-headed - Rosanna Carteri (soprano); Nemorino, a country bumpkin and prize chump who is hopelessly in love with Adina - Luigi Alva (tenor); Belcore, a sergeant in a regiment encamped near Adina's farm who is hopelessly in love with ... Belcore but also determined to marry Adina - Rolando Panerai (baritone); Doctor Dulcamara, a traveling quack, a purveyor of bogus nostrums and fake love potions who is in love with money ... and his next meal - Giuseppe Taddei (baritone); Gianetta, a country girl who is not entirely averse to snagging a wealthy husband - Angela Vercelli (mezzo-soprano). CONDUCTOR: Tullio Serafin with the Orchestra e Coro del Teatro alla Scala, Milano.

DOCUMENTATION: Libretto in Italian and English. Brief history of the opera and summary of the plot that ties into the CD tracks. Track list with timings.

TEXT: This recording offers the standard, stage-proven version of "L'elisir" that was in use when it was recorded. In the Nineteenth Century, before Verdi came close to eliminating the practice in Italy, operas were expanded, cut and reshaped at the whim of impresarios, based on what their ticket-buying audiences wanted or were accustomed to. This led to variant editions and alternative versions, sometimes arising from the egos of local singers and more often from their technical limitations. My test for a performance is not whether it is "complete" but whether it works. This performance works.

COMMENTARY: "L'elisir d'amore" is one of the many operas that can be traced back to that ubiquitous hack of all seasons, Eugene Scribe. Scribe's original libretto, "Le philtre," had been set to music by Auber in 1831, to no particular effect. In 1832, Donizetti needed a libretto on short notice. His librettist, Felice Romani, knew a good thing when he could steal it. He quickly paraphrased "Le philtre" into Italian doggerel as "L'elisir d'amore." Donizetti devoted a long time--a whole month!--to setting the words to music. "L'elisir d'amore" opened at La Scala in May 1832. It enjoyed a triumph. Unlike most bel canto operas, "L'elisir d'amore" never faded away. It has held its position in the standard operatic repertory from the night it opened.

Tullio Serafin (1878-1968) was one of the Grand Old Men among Italian conductors. Arturo Toscanini hired him to be an assistant conductor at La Scala in 1898. He became principal conductor there in 1909. In the 1920s and 30s he was an important conductor at the Metropolitan in New York. He was particularly skilled at developing the careers of great singers. Before World War II he guided Rosa Ponselle on her path to superstardom. After the war he oversaw the transformation of Maria Callas from Wagnerian to bel canto soprano and was her collaborator in her ascent to the status of "La Divina." (The date when Callas threw him aside in a dispute over a recording of "La Traviata" is as good as any to mark the beginning of her fall.) He was also important to the early career of Joan Sutherland. Serafin was one of the great expanders of the operatic repertory, both in premiering new works and in reviving faded ones. He is the central figure in the mid-Twentieth Century revival of bel canto and the successful re-entry of many bel canto operas into the standard repertory.

With regard to this recording, some have complained that the eighty year-old Serafin had slowed down, but no-one could possibly deny his deep feeling for and understanding of the opera. For my own part, while I have heard some parts of "L'elisir" go faster, I am not entirely convinced that I have heard them sound better for it.

The two best known names in this strong cast are the baritones, Rolando Panerai and Giuseppe Taddei. Panerai is excellent as that preening military man, Sergeant Belcore. Taddei is even better as that quick-witted quack, Doctor Dulcamara. Nine years later he would sing Belcore in a fabulous live performance with Scotto and Bergonzi at the Florence May Festival (available from Opera d'Oro), but here Taddei clearly demonstrates that he was born to be an unmitigated purveyor of phoney love potions.

Rosanna Carteri is very good, a little heftier in voice than other famous Adinas but still very sound, very earthy. Luigi Alva is lighter in voice than Pavarotti and Bergonzi, two famous recorded Nemorinos, although heavier than the typical ultra-light bel canto so-called "specialists" of today. If he is less exciting than Pavarotti and Bergonzi he is almost certainly closer to the kind of tenor that Donizetti had in mind when he wrote the piece. All things considered, Alva is very satisfying as that love-sick goof Nemorino. Angela Vercelli is competent in the small part of Gianetta.

This is not the best-known "L'elisir" but it is a well-considered and authentic, very Italianate performance from beginning to end.

I give five stars for the grand old geezer's final go at a great operatic comedy.

Italian opera as it used to be - thank goodness!.......2006-05-21

This is a wonderful Elixir of Love. Anyone buying it must be aware that the old traditional cuts are followed to the T. This means there is one whopping cut in act two and lots of other verses, measures, and phrases cut. But the performance is nearly definitive.
Luigi Alva may have done lots of coloratura tenor roles on recordings, but Nemorino fits his voice so beautifully, and his "Una furtiva" is enough to make you weep. Adina is Rosanna Carteri, a highly underrated soprano from the 50s. Rolando Panerai isn't subtle as Belcore (the character doesn't warrant it), but he sings it very well. Giuseppe Taddei IS Dulcamara. (He also recorded Belcore, but that's not his role.) He relishes every word of the Italian, and he has just the right weight in his voice to make you love the character. Serafin conducts with a total understanding of the score. Unlike the Alagna/Gheorghiu/ Pido recording, which is complete, this one takes no alternate versions of arias, and it takes enough time for the music to sing. Pido conducts as if this was Rossini and thus has no heart. This would be 5 stars plus if only it had no cuts.

Average customer rating:

Good "Elixir of Love" with Bergonzi at his blazing best
Great recording, but it's now available on video
Sparkling and romantic as the Elixir of Love must be!
Bergonzi is great
Scotto and Bergonzi=Heaven

Donizetti: L'elisir d'Amore

Manufacturer: Opera D'oro
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

Operettas | Opera & Vocal | Styles | Music

Scotto, Renata | Divas | Opera & Vocal | Styles | Music
Similar Items:

Mascagni: Cavalleria Rusticana
Donizetti: L'elisir d'amore
Bellini - Norma / Sutherland, Tourangeau, Bonynge
Donizetti - L'Elisir d'Amore (The Elixir of Love) / Pido, Alagna, Gheorghiu, Opera National de Lyon
La Boheme

ASIN: B000000UO9
Release Date: 1997-09-16

Tracks:

L'Elisir d'Amore: Act 1: Preludio e coro d'introduzione
L'Elisir d'Amore: Act 1: Quanto e bella, quanto e cara!
L'Elisir d'Amore: Act 1: Benedette queste carte!
L'Elisir d'Amore: Act 1: Come Paride vezzoso
L'Elisir d'Amore: Act 1: Or se m'ami, com'io t'amo...
L'Elisir d'Amore: Act 1: Intanto, o mia ragazza, occupero la piazza
L'Elisir d'Amore: Act 1: Una parola, o Adina
L'Elisir d'Amore: Act 1: Che vuol dire codesta sonata?
L'Elisir d'Amore: Act 1: Udite, udite, o rustici
L'Elisir d'Amore: Act 1: Ardir! Ha forse il cielo...
L'Elisir d'Amore: Act 1: Caro eliser! sei mio!
L'Elisir d'Amore: Act 1: Lallarallara la la la
L'Elisir d'Amore: Act 1: Tran tran... In guerra ed in amore...
L'Elisir d'Amore: Act 1: Signor sargente, signor sargente
L'Elisir d'Amore: Act 1: Adina, credimi, te ne scongiuro...
L'Elisir d'Amore: Act 1: Andiam, Belcore, si avverta il notaro

Tracks:

L'Elisir d'Amore: Act 2: Cantiamo, facciaam brindisi
L'Elisir d'Amore: Act 2: Poiche cantar vi alletta...
L'Elisir d'Amore: Act 2: La Nina Gondoliera, e il Senator Tredenti
L'Elisir d'Amore: Act 2: Silenzio! E qua il notaro
L'Elisir d'Amore: Act 2: La feste nuziali...
L'Elisir d'Amore: Act 2: La donna e un animale...
L'Elisir d'Amore: Act 2: Saria possibile?
L'Elisir d'Amore: Act 2: Dell'elisir mirabile...
L'Elisir d'Amore: Act 2: Come sen va contento!... Quanto amore!...
L'Elisir d'Amore: Act 2: Una furtiva lacrima
L'Elisir d'Amore: Act 2: Prendi; per me sei libero...
L'Elisir d'Amore: Act 2: Alto!... Fronte!...
L'Elisir d'Amore: Act 2: Ei corregge ogni difetto...

Customer Reviews:

Good "Elixir of Love" with Bergonzi at his blazing best.......2006-11-21

SOURCE: Live 1967 performance from the May Festival in Florence.

SOUND: Overall the sound is generally satisfactory. No-one will confuse it with a digital studio recording or even a live recording from Bayreuth, but not bad at all for a live performance. Stage noises are minimal and the audience is better behaved than many Italian audiences.

CAST: Adina, a prosperous country landowner inclined to be flirtatious and flighty - Renata Scotto (soprano); Nemorino, country bumpkin and prize chump hopelessly in love with Adina - Carlo Bergonzi (tenor); Belcore, a sergeant in a regiment encamped near Adina's farm, hopelessly in love with Belcore but also inclined to marry Adina - Giuseppe Taddei (baritone); Doctor Dulcamara, a traveling quack, purveyor of bogus nostrums and love potions, in love with money and his next meal - Carlo Cava (bass-baritone); Gianetta, a country girl who is not entirely averse to snagging a wealthy husband - Renza Jotti (mezzo-soprano). CONDUCTOR: Gianandrea Gavazzeni with the Florence May Festival Orchestra and Chorus.

DOCUMENTATION: No libretto. Brief history of the opera and short summary of the plot. Track list which identifies some but by no means all the singers on each track, and omits timings. Nothing on the performers and little more on the circumstances of this recording.

TEXT: This recording includes the performance cuts that were traditional for more than a century. Some earlier reviewers are clearly appalled by that fact and are quite evidently suffering the vapors because of it. I do not adhere to the cult of recording every note ever written and re-affirming every preliminary draft and bad idea. The simple fact is that original intentions sometimes do not survive encounters with real audiences. Opera is theater at its very largest and not every academic restorer understands that. If you have any doubts on the matter, just consider the cataclysmic effect on "The Tales of Hoffmann" when "restored" to Wagnerian length, as it is on some recent recordings.

COMMENTARY: "L'elisir d'amore" is yet another opera that can be traced back to that ubiquitous hack of all seasons, Eugene Scribe. Scribe's original libretto, "Le philtre," had been set to music by Auber in 1831, to no particular effect. In 1832, Donizetti needed a libretto on fairly short notice. His hack librettist, Felice Romani, knew a good thing when he could steal it. "Le philtre" was quickly paraphrased into Italian doggerel as "L'elisir d'amore" Donizetti devoted a long time--a full month!--to setting it. "L'elisir d'amore" opened to triumph in Milan in May 1832. One hundred and thirty five years later, the Florence May Festival offered this fine performance.

There are three international stars among the singers, but the performance really belongs to Carlo Bergonzi. The always acute and knowledgeable Amazon reviewer Armindo was so impressed that he was moved to utter these exclamations: "Bergonzi is the most characterful and romantic Nemorino ever! It's really unbelievable how much feeling and spirit he infuses in his singing without ever reducing its musical quality! I know no other singer--male or female--who ever achieved such level of musicality. He truly sounds like the young bumpkin! The most idiomatic and tender Una furtiva lagrima you will ever hear, is only one highlight of his performance." I am not quite as bowled over as Armindo. I think Ferruccio Tagliavini might have been as good or better about 1948 and so, too, might Tito Schipa have been around 1930 and maybe even Alessandro Bonci in, say 1910. But, of course, Tagliavini, Schipa and Bonci are not available in their best voices on (more or less) complete recordings of "L'elisir" while Bergonzi is-right here! He is as good as we're ever likely to hear in this lifetime.

Renata Scotto sings very well here. Her many fans may rest assured that Scotto does everything that they might wish from her and does it very impressively, too. I am not one of her fans and the fault is probably much more mine than hers. To me, she is like one of T. S. Elliot's mermaids. I hear them singing each to each but I do not think they will sing to me.

The third big name in the cast is Giuseppe Taddei. The Italians like to say they gave Gobbi to the world but kept Taddei for themselves. He did, in fact, sing outside Italy. He made his debut at the Metropolitan Opera at the age of 67. On this recording, the 51 year-old baritone offers a good, solid performance as Sergeant Belcore. I have no criticism of him in the role of Belcore except that he should not be singing it. Taddei was an excellent Leporello and a tremendous Falstaff. If I had been the producer of the May Festival I would have moved heaven and earth to have him sing Doctor Dulcamara. Any good baritone can be Belcore. Taddei would have been fabulous as the quack doctor and perhaps only Salvatore Baccaloni at his prime might have been better. I can only guess that Taddei took Belcore because he did not wish to be typecast in the buffo parts.

Carlo Cava was a reliable singer of lower-voiced parts. His recording career, to the best of my admittedly limited knowledge, was pretty much confined to short supporting parts. I'd not be at all surprised if this Dulcamara is his most significant appearance on disk. Cava is all right as the snake oil-peddling quack. He's looser than some in the role, but still generally staid in a part that practically cries out for a larger-than-life buffo baritone who delights in chewing the scenery and anything else that comes to hand.

Gianetta is a relatively small part which, nevertheless, offers some nice bits. Renza Jotti is an admirable Gianetta.

Gavazzeni conducts a fairly rapid-moving, Italianate performance in which everything keeps moving forward, unlike, say, Richard Bonynge who distorts the overall shape of the opera for the benefit of his singers. The orchestra and chorus are fine.

This is a good performance with a blazing tenor in a barebones package, all at low price. I think it's worth five stars.

Great recording, but it's now available on video.......2006-02-08

This 1967 performance from Florence is a wonderful recording, with Carlo Bergonzi, Renata Scotto, and Giuseppe Taddei all at their very best. Bergonzi has some pitch problems, but overall he sings with great beauty and musicianship. However ... this performance is now available on video, on the label Hardy Classics. The video is somewhat expensive, but it's worth it, as Carlo Bergonzi on the video is an endearingly naive country boy. Renata Scotto despite not having a conventionally beautiful face convinces us that she's the town flirt through her excellent acting. The sets are simple and the film is B&W, but as I said, I think if you liked this performance on cd, the DVD is worth getting.

Sparkling and romantic as the Elixir of Love must be!.......2004-06-15

This is one of the greatest Florence May Festival performances and should be in every opera collection. The experienced Gavazzeni, a maestro of the traditional Italian school of conducting, leads a superb cast and creates an amusing yet warm Elisir.

Bergonzi is the most characterful and romantic Nemorino ever! It's really unbelievable how much feeling and spirit he infuses in his singing without ever reducing its musical quality! I know no other singer - male or female - who ever achieved such level of musicality. He truly sounds like the young bumpkin! The most idiomatic and tender Una furtiva lagrima you will ever hear, is only one highlight of his performance.

Equally inspired is Renata Scotto's Adina and though I have never warmed up to her slightly metallic sound, I recognise her greatness. You won't find a more capricious Adina! Scotto moreover has all the abilities to shine and excite in the coloratura parts. Her big aria is a showstopper! Taddei's strong and suave Belcore is one of the best on records while Cava's funny Duclamara gets better and better as the show goes on. Even Giannetta is wonderfully performed by Renza Jotti.

It's not only the individual performances that are perfect but there is so much chemistry between the artists in the duets, the recitatives and ensembles. This is what truly makes this Elisir stand out as the best ever! A definite, intoxicating recommendation!

Bergonzi is great.......2001-08-27

What a wonderful live performance of this opera. Bergonzi is great as Nemorino. I can't recall ever hearing a more impassioned rendition of "una furtiva lagrima". Bergonzi is just perfect in this role. Scotto is no slouch either. If you like this opera, you should not be without the CD. The price is a steal. Buy it and enjoy!

Scotto and Bergonzi=Heaven.......2001-04-03

First of all, the sound quality of this recording is very acceptable and you could do far worse with some digital versions (Pavarotti/Battle or Carreras/Ricciarelli). As for the performance itself, well, it's vintage Italian singing. The important thing about this recording is that neither Carlo Bergonzi nor Renata Scotto recorded this opera commercially, so for their performances alone this set is priceless. Bergonzi sings a youthful, passionate Nemorino surpassed on records only by Giuseppe Di Stefano. Renata Scotto invariably gives a masterclass on true belcanto style, no other soprano of her generation was a better Adina, so we are very grateful indeed for this recording. If you want a digital version I can only recommend the Alagna/Devia version on ERATO.

Music Review:

Music Review

music review

Recommended Music:

Enter: Unschooled Records Compilation V1.0

Pergolesi - Il Prigionier Superbo · La Serva Padrona / Manzotti · di Cesare · Gocogna · Scano · Panni

One from the Heart (1982 Film Soundtrack) [Extra tracks] [Soundtrack]

Music: Freedom [CD-single] [Import]

On Dangerous Ground [Soundtrack]

Monolith

Pulse [Box set] [Import] [Limited Edition] [Live]

Science Will Figure You Out

Millennium

Orchestral Favorites

Maximum Audio Biography: Tori Amos [Import]

Nostalgias y Otros Vicios

New World Order

Hand in Hand

Tim Buckley