Meyerbeer in Italy

On this CD:

1. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Queste destre
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Bruce Ford
Conducted by David Parry

2. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Palpitò dolente
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Bruce Ford
Conducted by David Parry

3. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Rassicurata da suoi timori
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Bruce Ford
Conducted by David Parry

4. Romilda e Costanza, opera (melodramma semiserio) in 2 acts Trio. Che barbaro tormento
Composed by Giacomo Meyerbeer
Performed by Philharmonia Orchestra with Chris Merritt, Bronwen Mills, Anne Mason
Conducted by David Parry

5. Semiramide, opera Aria. Il paicer, la gioja scenda'
Composed by Gioachino Rossini
Performed by Philharmonia Orchestra with Yvonne Kenny
Conducted by David Parry

6. Emma di Resburgo, opera (heroic melodrama) in 2 acts Sextet. Di gioja, di pace
Composed by Giacomo Meyerbeer
Performed by Philharmonia Orchestra with Maria Bovino, Bronwen Mills, Diana Montague, Harry Nicoll, Paul Nilon, Geoffrey Dolton
Conducted by David Parry

7. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Duet. Ah! non ti son più cara
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Yvonne Kenny, Diana Montague
Conducted by David Parry

8. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Duet. Non v'è per noi più speme
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Yvonne Kenny, Diana Montague
Conducted by David Parry

9. Margherita d'Anjou, opera (melodramma semiserio) in 2 acts Trio. Pensa, e guarda. Amico, all'erta!
Composed by Giacomo Meyerbeer
Performed by Philharmonia Orchestra with Alastair Miles, Russell Smythe, Geoffrey Dolton
Conducted by David Parry

10. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Aria. Cara mano dell'amore
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Della Jones
Conducted by David Parry

11. L'Esule di Granata, opera (heroic melodrama) in 2 acts Duetto. Sì, mel credi
Composed by Giacomo Meyerbeer
Performed by Philharmonia Orchestra with Alastair Miles, Patricia Spence
Conducted by David Parry

12. L'Esule di Granata, opera (heroic melodrama) in 2 acts Duetto. Il trono avito
Composed by Giacomo Meyerbeer
Performed by Philharmonia Orchestra with Alastair Miles, Patricia Spence
Conducted by David Parry

13. L'Esule di Granata, opera (heroic melodrama) in 2 acts Duetto. Trema i tuoi complici
Composed by Giacomo Meyerbeer
Performed by Philharmonia Orchestra with Alastair Miles, Patricia Spence
Conducted by David Parry

14. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Act 1. Finale. Sogni, e ridenti
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Ugo Benelli, Bruce Ford, Della Jones, Yvonne Kenny, Linda Kitchen, Diana Montague, Ian Platt
Conducted by David Parry

15. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Act 1. Finale. Ite, superbi
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Ugo Benelli, Bruce Ford, Della Jones, Yvonne Kenny, Linda Kitchen, Diana Montague, Ian Platt
Conducted by David Parry

16. Il Crociato in Egitto, opera (heroic melodrama) in 2 acts Act 1. Finale. All'armi vi chiama
Composed by Giacomo Meyerbeer
Performed by Royal Philharmonic Orchestra with Ugo Benelli, Bruce Ford, Della Jones, Yvonne Kenny, Linda Kitchen, Diana Montague, Ian Platt
Conducted by David Parry

Tracks:

Santa Lucia
Vieni Sul Mar'
La Danza
La Donna E Mobile
M'appari
Libiamo Ne'lieti Calici
Caro Mio Ben
Lunge De Lei - De' Miei Bollenti Spiriti
Mattinata
Torna A Surriento
Funiculi, Funicula
O Paradiso
Amor Ti Vieta
Una Furtiva Lagrima
Core 'Ngrato
Ave Maria
Nessun Dorma!

Customer Reviews:

uplifting.......2007-02-15

Pavarotti's voice will lift your spirit and fill your home with rich sound. He is the best.

Average customer rating:

Cornucopia of Pavarotti's works
Don't...!!!
Great Tenor - Poor CD Quality
Great Music......Horrible Mastering
Surely I am proud to be an Italian-American!!

Pavarotti: Greatest Hits

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000042HZ
Release Date: 1997-09-30

Tracks:

Turandot: Nessun dorma
La Boheme: Che gelida manina
La Traviata: Brindisi
Aida: Se quel guerrier io foss ... Celeste Aida
L'Elisir d'Amore: Una furtiva lagrima
Rigoletto: Questa o quella
Martha: M'appari
TOSCA: E lucevan le stelle
Fedora: Amor ti vieta
Pagliaccci: Recitar!... Vesti la guibba
Manon Lescaut: Donna non vidi mai
Rigoletto: La donna e mobile
L'africana: Mi batte il cuor ... O paradiso
Werther: Pourquoi me reveiller
Carmen: La fleur que tu m'avais jetee
Manon Lescaut: Ma se vi talenta ... Tra voi, belle
La Gioconda: Cielo e mar!
TOSCA: Recondita armonia
La Favorita: Spirito gentil
II torvatore: Di quella pira
L'amico Fritz: Suzel, buon di

Tracks:

O sole mio
Torna a Surriento
Orchestra del Teatro Comunale di Bologna: Core 'ngrato
Orchestra del Teatro Comunale di Bologna: Funiculi Funicul
Notte 'e piscatore
O Holy Night (Cantique de Noel)
Panis angelicus
Ave Marie: Ave Maria
Mattinata
La danza
Caro mio ben
Caruso
My Way
Santa Lucia
Tu che m'hai preso il cuor
Mamma
La mai canzone al vento: La mia canzone al vento
Volare
Passione
Granda: Granada

Customer Reviews:

Cornucopia of Pavarotti's works.......2007-03-01

This is a "Super hits" CD, with over forty different cuts (quite a few of which have appeared elsewhere, of course). For those who are aficionados of Pavarotti, this is what might be called "hog heaven."

Disc 1 features estimable works such as "Nessun dorma" (well done, with his voice showing to good effect), "Che gelida manina" (excellently done, with good characterization), ""Celeste Aida" (elegantly sung), "Di quella pira" (a much better than average version), "E lucevan le stelle" (Pavarotti does a nice job in the Puccini-Verdi repertoire), "La donna e mobile" (sung with aplomb), "Recondita armonia" (the other aria from Tosca, which also shows Pavarotti's voice off to good effect), and so on.

Disc 2 is especially interesting, because it features a more popular set of works, from the redoubtable "O sole mio" (richly orchestrated and nicely sung, not overpowered by Pavarotti's operatic voice), "Core n'grato" (compare with Caruso's version), "Oh, holy night," "La danza" (spritely sung with excellent breath control in a treacherous song), "Santa Lucia" (again, smoothly sung), "Ave Maria" (seemingly sung with respect and affection).

A cornucopia of Pavarottiana. For those fans of Pavarotti, this "greatest hits" collection will be welcome. For those who may not be aware of this tenor when his voice was still fresh, this is a fine entrée to his work.

Don't...!!!.......2005-01-24

To combine a voice as beautiful as Pavarotti's with some of the world's greatest music and outstanding orchestras, and end up with this...`thing'...is unforgivable. After buying and listening to it, it brought to mind those painful words "A fool, a fool. I saw a fool today. I saw him in the mirror."

R. J. Rogers

Great Tenor - Poor CD Quality.......2004-10-11

I have never been a huge fan of Maestro Pavarotti but I must admit that this compilation is a masterful collection of his operatic highlights.

I particularily enjoy the first disc which contains just about all the major tenor arias. The singing is superb and listening to this CD it becomes obvious what the fuss over the pre-3 Tenors Pavarotti was all about - the man really did have one of the greatest tenor voices of all time.
His diction was flawless, his line perfect and his interpretation in keeping with the greatest of the Italian tenors of days gone by.

The second disc is interesting in that it is a bit uneven. It contains a few neapolitan standards, a x-mas song, a duet with Frank Sinatra and some other random selections.

Overall this is a 5 star CD but due to the extremely low volume, particularily on the first and most important disc I can only give it a 4 star rating.

On a final note, anyone puzzeled by the current hype over the now againg and commercially over-blown Pavarotti should purchase this CD. This is the great tenor in his prime and as such a CD well worth having...even if you're not a Pavarotti fan.
I'm still not, but I recognize greatness when I hear it.

Great Music......Horrible Mastering.......2004-07-24

Pavarotti has a voice that can take hold of you and change your entire mood...even if you don't know Italian. The problem with this set is the mastering (mastering evens out the volumes and signal to noise ratio on an album). The first CD in this collection is so quiet that you literally have to crank your player to get any kind of volume. For a professional CD this is absolutely unacceptable.
The song choices are good with the exception of "My Way" with Frank Sinatra. Both singers sound ....ummm...let's just say less than their best on the recording. It sits out like a boil on a pretty girl's face.

Surely I am proud to be an Italian-American!!.......2004-06-26

With his wondrous soaring vocals and the humble demeanor within his strong body, Pavarotti is an inspiration to Italian- Americans everywhere - Italian-Americans like me. My family plays his beautiful operas on vinyl nearly every day in me Papa's little wine and cheese shop on 18th and Broadway. The customers compliment the music with glee, pinching my plump cheeks with merriment and wishing me well on their way out the door. Ah, how I love this land of America!!

Oops, I am sorry, Nana.

My Nana has shushed me to "pipe down, little bambino."

Tracks:

Il Barbiere di Siviglia: Ecco ridente in cielo
La Sonnambula: Prendi l'anel ti dono
L'Elisir d'Amore: Qunto e bella
L'Elisir d'Amore: Una furtiva lagrima
Lucia di Lammermoor: Tombe degli avi miemi
Lucia di Lammermoor: Fra pocco a me ricovero
Lucia di Lammermoor: Tu che a Dio spiegasti l'ali
Martha: M'appari tutt'amor
Rigoletto: Ella mi fu rapita
Rigoletto: Parmi veder le lagrime
Falstaff: Dal labbro il canto
L'africana: Mi batte il cor ... O paradiso
Manon: Instant charnant ... En fermant les yeux
Werther: Pourquoi me reveiller
L'amico Fritz: Suzel, buon di
L'amico Fritz: Ed anche Beppe amo
Andrea Chenier: Come un bel di di maggio
TOSCA: Recondiata armonia - Tosca
TOSCA: E lucevan le stelle - Tosca
TOSCA: Di tua man ... O dolci mani - Tosca
L'arlesiana: E la solita storia
I Quattro Rusteghi: Luceta xe un bel nome

Liszt: The Complete Music for Solo Piano Vol. 23

Average customer rating:

Liszt the Translator
Another winner for Mr. Howard

Liszt: The Complete Music for Solo Piano Vol. 23

Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002ZTH
Release Date: 1995-04-16

Tracks:

Harold en Italie: Harold aux montagnes
Harold en Italie: Marche de pelerins - Chantant la priere du soir: Allegretto
Harold en Italie: Serenade - d'un montagnard des Abruzzes a sa maitresse: Allegro assai - Allegretto
Harold en Italie: Orgie de brigands - Souvenirs des scenes precendentes: Allegro frenetico
Harold en Italie: Romance Oubliee S132
Hymne A Sainte Cecile
Le Moine
Festmarsch zu Schillers 100jahriger Geburtsfeier

Customer Reviews:

Liszt the Translator.......2007-07-10

Volume 23 in the Hyperion Liszt series validates Liszt's phenomenal mastery of transcribing, and in the case of Berlioz's "Harold in Italy," translating an orchestral work with viola obbligato into a magnificent chamber work for piano and viola. The excellent content of Berlioz's work alone can easily earn five stars, but the other three substantial transcriptions of Gounod and Meyerbeer enhance the splendor of this recording even further.

Hector Berlioz's "Harold in Italy" is an unusual work with a fascinating history. The story of Paganini's involvement, dissatisfaction, and later ecstatic reaction, are too long to detail in this review. Perhaps it seemed odd for Berlioz to give the viola a programmatic and thematic importance, but his choice was a highly artistic one. It would certainly make Liszt's job at transcribing a little more difficult, and yet the results are thoroughly convincing. Howard even says that "Although Liszt's partition could scarcely be called chamber music, it is undeniable that, without Berlioz's orchestration, the viola part is heard to much greater advantage than is usually the case, and from time to time a real chamber music texture emerges..." And like Liszt's transcription of the Symphonie Fantastique, the piano is able to encapsulate all of Berlioz's grandiose orchestration within the versatile timbres of the piano. The last movement, "Orgie de brigands," is particularly effective, with the "brigand" theme realized wonderfully in the piano's registers. There is no denying the individuality and caliber of Berlioz's work; it's one of his best. However, Liszt's meticulous arrangement, buttressed by Howard's and Coletti's interpretative diligence, manages to create a new and unique aural experience.

Liszt's famous "Romance oubliee" has appeared many times throughout this series, and while the viola adds a tint of melancholic color to the work, I think Liszt's 1848 piano version is indomitable. After "Harold in Italy," the major transcriptions on this recording are Gounod's "Hymne A Sainte Cecile" and Meyerbeer's "Le Moine." Liszt displays his understanding of the piano's abilities remarkably well in the "Hymne," a piece that although I've never heard, seems utterly beautiful and sonorous under Howard's fingers. This work, Howard notes, "was scored for solo violin, harps, drums and winds" but the engrossing piano version leaves little to be desired. Liszt makes an additional triumph with his transcriptions of Meyerbeer's "Le Moine" and the "March for the Schiller centenary." Both resemble the dramatic and melodious arrangements found in the "Liszt at the Opera" Volumes of the Hyperion series. Their neglect is perplexing, but thankfully Howard has resurrected them for our enjoyment.

Bottom line: The duo performance of "Harold in Italy" is by itself worthy of five stars. With all the lame arrangements of original music for chamber ensemble floating around, Liszt's transcription is a waft of fresh air and a real artistic achievement. The three very rare but substantial transcriptions of Gounod and Meyerbeer further seals this Volume off as an essential addition to the Liszt discography.

Another winner for Mr. Howard.......2000-09-06

Without any doubt the Howard - Hyperion effort on the complete piano music of Liszt is one of the most interesting collections in the classical music today. Of course being 95 CD's makes difficult to buy all, but this is a winner.

Liszt made transcriptions of different kind of music and Harold en Italie is one of the best. Music that works ith the piano. For example the Beethoven's Symphony transcriptions lack this, and by the way Mr. Howards version are the best

Also you get a first recording.

Playing is flawless and with heart.

I had the pelasure to see Mr. Howard twice this year, and he is one of the best pianist.

Tracks:

'I Was Born With A Voice And Very Little Else...'
Family Background
Gigli's Stage Debut And Poverty-Stricken Start
Puccini: 'O Soave Fanciulla' From La Boheme - Maria Zamboni
Service In The Household Of Countess Spannocchi
Donizetti: 'Spirto Gentil' From La Favoria
Colonel Delfino, And Giovanno Zerri's Legal Agreement
Cannio: O Surdato 'Nnammurato
A Hospital Visit And Scholarship
Mascabni: 'Ah! Ritrovarla Nella Sua Capanna' From Lodoletta
Gigli Graduates And Makes His Debut; He Goes For The High B Flat
Puccini: 'E Lucevan Le Stelle' From Tosca
Marriage, Rome And A Tuor To Spain
Mascagni: 'Apri La Tua Finestra! From Iris
A Letter From Fred Gaisberg Of HMV
Mascagni: 'Mamma, Quel Vino E Generoso' From Cavalleria Rusticana
Gigli Conquers South America, And Recieves An Offer From The Met
Metropolitan Opera Debut In Mefistofele
BoitoL 'Giunto Sul Passo Estremo' From Mefistofele

Tracks:

The Critics' Verdict, And More Performances
Donizetti: 'Tombe Degl'avi Miei' From Lacuia Di Lammermoor
Gigli's Fate Becomes Entwined With Caruso's
Giordano: 'Un Di All'azzurri Spazio' From Andrea Chenier
Who Will Be Caruso's Sucessor
Verdi: 'De'miei Bollenti Spiriti' From La Travita
Life Forms A Regular Pattern, And Gigli Learns To Sing In Foreign Languages
Lalo: 'Vainement, Ma Bien Aimee' From Le Roi d'Ys
Manon At The Met
Massenet: 'O Dolce Incanto' From Manon
Catalani's Loreley
Catalani: 'Nel Verde Maggio' From Loreley
Summer In Italy, Then Back To New York And Some Physical Training
Gounod: 'Ah! Ne Furis Pas Encore!' From Romeo Et Juliette
Honorary Captain Of The NYPD
Meyerbeer: 'O Paradiso' From L'Africaine
Flourishing Finances And Professional Rivalries
Crushin Remarks; The Attraction Of Radio
Sullivan: The Lost Chord
A New Decade, And The Honour Of Playing Nemorino At The Met
Donizetti: 'Quanto E Bella' From L'elisir D'amore

Tracks:

Debuts In Paris And London, And London's Critical Reception
Flotow: 'M'Appari' (Ach! So Fromm) From Marta (Martha)
Crisis: The Death Of Gigli's Mother, And Tension At The Met
Departure From The Met
America's Loss Is Europe's Gain
Speech: Gigli In An Interview At The Savoy Hotel, London
Cherished London Reviews
Leoncavallo: 'No. Pagliaccio Non Son!' From Pagliacci
Recording Reflects The Drama
Leoncavallo: 'Suvvia, Cosi Terrible' From Pagliacci
Touring, Gigli's Working Relationships, And A New Turn Of Events
De Curtis: Non Ti Scordar Di Me
Film Popularity, Hitler And Goebbels, And The Caracalla Tradition
Puccini: 'Che Gelida Manina' From La Boheme
Voice Expert John Steane's Recommendation
Puccini: 'O Soave Fanciulla' From La Boheme
A New Recording Of Tosca
Puccini: 'Recondita Armonia' From Tosca
Patience And Hard Work Produce A Perfect Set Of Master Recordings
Puccini: 'E Lucevan Le Stelle' From Tosca
Verdi: 'Ingemisco' From The Requiem
Verdi: 'Ingemisco' From The Requiem
The Recording Of Madama Butterfly
Puccini: Closing Moments Of Act I, Madama Butterfly

Tracks:

War Keeps Gigli In Italy
Introductory Speech To Cavalleria Rusticana By Mascagni
Translation Of The Speech
Mascani: 'Mamma, Quel Vino E Generoso' From Cavalleria Rusticana
More Role Debuts, Gigli's Wartime Films, And Andrea Chenier
Giordano: 'Un Di All'azzurro Spazio' From Andrea Chenier
John Steane's Verdict
Giordano: 'Come Un Bel Di Di Maggio' From Andrea Chenier
Rome Opera House Ralies Wartime Spirits
Verdi: 'Teco Is Sto - Gran Dio' From Un Ballo In Maschera
Verdi: 'Non Sai Tu Che Se L'anima Mia' From Un Ballo In Maschera
Verdi: 'Oh, Qual Soave Brivido' From Un Ballo In Maschera
Gigli's Political Affliations
Verdi: 'Celeste Aida' From Aida
Postwar Italy: An HMV Manager's Report
Verdi: 'Pur Ti Riveggo, Mia Dolce Aida' From Aida
Covent Garden With Rina, Then A Tour Of Britain And Ireland
Speech Given By Gigli After A Concert At The Royal Albert Hall
The Final Phase - And No Thoughts Of Retirement
Di Veroli: Ritorna Amore
A Last Visit To The USA
Cottrau: Santa Lucia
Gigli's Death, His Obituaries, And His Place In The Tenor Lineage
Meyerbeer: 'O Paradiso' From L'Africaine

Average customer rating:

An important and interesting document
Reissue of selections from early Meyerbeer

Meyerbeer in Italy: Opera Excerpts
Meyerbeer , Ford , Kenny , Parry , and Lpo
Manufacturer: Opera Rara
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006FN1L
Release Date: 2002-10-08

Customer Reviews:

An important and interesting document.......2006-10-07

Even though the 6 operas represented here are not Meyerbeer's best, they are important documents to understand the musical career of the most important figure of French XIX Century opera. The selections are definitely some of the most impressive moments of these early operas: the first traces of Meyerbeer's genius in creating the "Grand French opera" formula.
We can see how Italian opera played a definite part in Meyerbeer's musical style, from the fist of these operas to the last, Il Crociato in Egitto (which is pretty much a "grand" Italian opera). Rossini was a great influence in the music of Meyerbeer (Rossini once even referred to these 6 operas as "the Rossini grand operas"). You can see this in the musical style and singing technique of the arias and ensembles.
It was after "Il Crociato" that Rossini invited him to Paris to present this work at the Theatre Italianne: Meyerbeer was now on his way to Paris. And we know the rest of the story.
His years working in Italy were then determinant on his training as composer, something totally unknown to me. I guess you can compare this with the importance that Gluck's early Italian operas had for his mature work.

Reissue of selections from early Meyerbeer.......2003-04-18

This CD is a compilation of selections from Opera Rara's complete recording of Il Crociato (several tracks) and the 1811-1820 and 1821-1830 volumes in the `100 Years of Italian Opera' series. As a survey of all six of Meyerbeer's early operas written in Italy, it is unique in the catalogue. But really at full-price it was an unfortunate decision to cut the texts and translations. Given that these are not Meyerbeer's best works, something for specialist collectors only.

Meyerbeer - Robert le Diable / Mok, Ciofi, Surjan, Martina Franca, Palumbo

Average customer rating:

This recording is a triumph in every respect

Meyerbeer - Robert le Diable / Mok, Ciofi, Surjan, Martina Franca, Palumbo
Giacomo Meyerbeer , Renato Palumbo , Warren Mok , Patrizia Ciofi , and Giorgio Surjan
Manufacturer: Dynamic Italy
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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ASIN: B00005A0FF
Release Date: 2001-02-27

Customer Reviews:

This recording is a triumph in every respect.......2001-02-27

Forget all previous recordings of Robert le Diable, because here is a document that is the successor to them all.

"the Festival of Martina Franca made a tribute to one of the most important composers of the 19th century"

This recording was made during the Italian Martina Franca Festival in summer 2000. And, unlike the reviews in the sixties about the Maggio Musicale revival with Scotto, this production was an absolute, resounding succes, both with the press, not to mention the public. The praise was unanimous, from the local newspaper to the biggest national Italian newspaper. I will describe the content of the cd by summerizing in short the most important points of the (generally ecstatic) reviews. But first a short introduction to Robert le Diable. It was Meyerbeer's first Grand Opera and the first opera he wrote for Paris. Up untill the First World War it was hugely succesful throughout the world, from Calcutta to New Orleans, from Stockholm to Lisbon and the first opera to be performed at the Paris Opera a thousand times (within sixty years). It also featured the first Romantic ballet, depicting a the sduction of Robert by a group of demonic, dead nuns. This work was greatly admired by the public, critics and other composers, including Wagner, before he became obsessedwith anti-semitism.

The production on this cd: The role of Robert is one of the most difficult in the entire repertory: "...it needs volume, 'declamati martellanti', 'agilita', exceptionally high notes, endurance like a marathoner and even a certain humor." But Warren Mok did a very good job: "He did the best he could and the results he achieved were more than acceptable". "He gave us a great performance", but "his French was...quite incomprehensible". "The rest of the cast was perfect", their performances ranging from: "authoritative", "powerful", "splendid" for Giorgio Surjan as Bertram (who was also a great actor); "a triumph", "simply unforgettable" for Patrizia Ciofi as Isabelle, to: "perfect, both as singer and as actres", "her dramatic and passionate performance was...unequaled", "excellent both vocally and scenically" for the 'Alice' of the opera: Annalisa Raspagliosi. The conducting by Renato Palumbo was praised with: "at the very least, splendid", "stimulating and truly musical", "authoritative, imaginative, but always very accurate", and so on. "Rarely does one see such a unanimity of praises" (in reviews).

About the used edition: Palumbo was forced to use a truncated version, because it was performed in the open air. But this version is almost the same as used at the original premier in Paris. Approximately twenty minutes where cut from the Paris edition. Palumbo said he stunned by the beauty and expressive fore of Meyerbeer's recitatives (as they are in any of Meyerbeer's opera's), so he decided not to cut there at all. There are some cuts in the musical numbers (among others: second act ballet was cut by half; third act: unabridged, except for second couplet of Alice's aria; fifth act: monk's chorus, reprise of "Dieu puissant, ciel propice" in the Grand Trio).

So here is a cd which any opera lover should have. "...the artistic result of these performances is very top-level and it made every listener troubled and happy" BUY IT!!

Lastly, I would like to say there might come a recording of this season's Berlin production of Robert le Diable. That production is far more complete than this one, using all of Meyerbeer's music (more than performed at the premier) and of equal performance quality.

Tracks:

Act I: Preludio
Act I: Versiamo A Tazza Piena
Act I: Giungon Dei Trovator
Act I: Regnava Un Tempo In Normandia
Act I: Questo E Troppo: Or S'arresti
Act I: Per Pieta, Deh! Mi Lasciate
Act I: Prence Mio, Mio Signore...
Act I: Ah!...Chi E Mai
Act I: Roberto! Per Cacciar La Tristezza
Act I: Sorte Amica, A Te M'affido
Act I: Nel Mio Destin Funesto
Act II: Dell'umana Grandezza
Act II: Invano Il Fato Spero Cangiato
Act II: Avanziam: Non Temiam
Act II: Vieni A Questo Seno
Act II: Coraggio: Or Via
Act II: Ver' Me, Deh, Gira
Act II: In Questi Che Al Valore
Act II: Accorriamo A Lei D'intorno
Act II: O Trionfo, Egli Vien, Ma Roberto
Act II: Della Pugna Il Segno E Questo
Act III: Questa Dell'appuntamento
Act III: Ecco Una Nuova Conquista

Tracks:

Act III: Rambaldo!...In Questo
Act III: La Sentenza E Decisa
Act III: Cara Alice, Sei Tu Mesta?
Act III: Or Via: T'appressa...Perche...
Act III: Le Rovine Son Queste
Act III: Udite: Sorgete, O Suore
Act III: Voi Che Del Cielo Foste
Act III: E Questo Il Loco
Act III: Gia Nella Rete
Act IV: Vergin Bella, Real Donzella
Act IV: Ma Se Non Erro E Questa
Act IV: A Presentari Io Vengo
Act IV: Del Magico Virgulto
Act IV: Ove Son Io?
Act IV: Roberto, O Tu Che Adoro
Act IV: Il Cor Non Regge
Act IV: O Strano Evento!
Act V: Gloria All Provvidenza
Act V: Vieni!
Act V: Io T'ingannai, Colpevol Sono

Tracks:

Act V: Che Mai Qui Ti Conduce?
Act V: Prendi, Leggi Il Terrible Scritto
Act V: Le Mie Cure Ancor Dal Cielo
Act V: Su Cantiam, Celesti Schiere
Cosi Dunque Tradisci? K.432
Alcandro, Lo Confesso, K.512
Mentre Ti Lascio, K.513
Don Giovanni: Madamina, Il Catalogo E Questo
Il Barbiere Di Siviglia: La Calunnia E Un Venticello
Macbeth: Studia Il Passo...Come Dal Ciel Precipita
Mefistofele: Son Lo Spirito Che Nega
Boris Godunov: Aria Della Pendola
Boris Godunov: Morte Di Boris

Average customer rating:

Leyla Gencer Paris Recital 1985

Manufacturer: Bongiovanni
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000JPCS
Release Date: 1999-12-13

Average customer rating:

If you don't mind tape hiss and distortion, and all the defects of a live performance recording of 1960, then...

Berlioz: I Troiani

Manufacturer: Myto Records Italy
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000060P8Y
Release Date: 2002-02-26

Customer Reviews:

If you don't mind tape hiss and distortion, and all the defects of a live performance recording of 1960, then..........2006-09-04

I should say up front that I have a personal reason for liking this recording- I recorded Kubleik's 1973 Metropolitan Opera Saturday Matinee radio broadcast of this opera, but lost the tape. The performance was so much better than the only other recording available at the time (it was conducted by Colin Philips, I think on Angel records, and rated just a yawn) that I was very sad about losing this tape. But here is by far the best interpreter of Berlioz, conducting a terrific orchestra and cast, with the whole orchestra, choruses, and soloists being quite audible (though a bit distorted at times) bringing to life a great but difficult and under-rated composer's greatest work. Hearing Kubelik conduct Berlioz changed my mind about Berlioz, in general- and this recording might just change yours- he did what Wagner did, but about 20 years too soon to be appreciated.

Music Review:

Music Review

music review

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