Rossini: Elisabetta, Regina d'Inghilterra

On this CD:

1. Elisabetta, regina d'Inghilterra, opera
Composed by Gioachino Rossini
Performed by Pietro Bottazzo, Leyla Gencer, Sylvia Geszty, Umberto Grilli, Glauco Scarlini
Conducted by Nino Sanzogno

Tracks:

Rossini Heroines: Riedi al soglio - Zelmira
Rossini Heroines: Ah, non potrian resistere - Le nozze di Teti e di Peleo
Rossini Heroines: Giusto ciel, in tal periglio - Maometto II
Rossini Heroines: Tanti affetti in tal momento - La donna del lago
Rossini Heroines: Quant'e grato all'alma mia - Elisabetta, regina d'Inghilterra
Rossini Heroines: Fellon, la pena avrai - Elisabetta, regina d'Inghilterra
Rossini Heroines: Ah! che invan su questo ciglio - Maometto II
Rossini Heroines: Serena i vaghi rai... Bel raggio lusinghier - Semiramide

Customer Reviews:

Incredible.......2006-04-06

This is my favorite Bartoli recording. Her rich mezzo-soprano voice feels custom-made for Rossini. I own this CD-it's my second copy, I wore out the first one!

If you are browsing here in search of your first Cecilia Bartoli CD, this is it. It's one of the CDs I can't live without.

5+ stars!

A fine disk of selections from Rossini operas by one of the premier mezzo-sopranos.......2005-12-30

Bartoli is one of the premier mezzo-sopranos currently singing. This music shows off her vocal flexibility and emotional range quite well. Rossini is the right kind of composer for her musical gifts because he allows the voice to sing beautifully and without pushing it to extremes. Bartoli displays her dynamic range, from a whisper to a full forte while maintaining a singing tone. Her range from low notes to high soprano notes is quite impressive and delights the listeners (as she and the composer fully intend).

Here she sings numbers from various Rossini operas with full orchestral accompaniment and some chorus to provide context. However, the point is much less the drama than the vocal display the selection allows Bartoli.

The notes provided that describe each of the works is very helpful as are the supplied lyrics and English translation.

This is a very pleasurable disk and one you can listen to many times and still find new delights. The only thing that I find the least bit difficult is when Bartoli resorts to aspirating vowels (putting an "h" on each note of the vowel) in runs and melismas. She doesn't do it all the time, but it is jarring for me when she does. It is really a flaw, but a minor one given all her great gifts and talents. It just gets in the way, however.

That being said, I still recommend the disk and say, ENJOY! Learn to love opera and it will enhance your life. Really, it will!

Best CD by Bartoli!.......2001-09-04

The most enjoyable Bartoli CD for me was "Potrait".
Other than that, this is one of the enjoyable CDs from Her.
Money worthy CD with Belcanto Style.

Stunning.......1999-02-24

Everything about this CD is perfect. The music is great, her singing incredible, the production just right. This one will grow on you and sound fresh or different 5 years down the line. Warning: this recording got me into opera!

This is my favorite Cecilia Bartoli recording........1998-10-11

This artist's voice is hypnotic and compelling, very rich and expressive. I recommend this recording even for those who are not opera fans, as I am not. If you enjoy exquisite sound, you should hear this recording-a treat for the connosseur of any type of vocal music. I am presently on my second copy of this recording-I wore the first one out. My personal favorite is track 3, Giusto Ciel...

Average customer rating:

As near as we'll get to the sound of Isabella Colbran
Nelly Miricioiu a rare treat among singers and recordings
Exótico

Nelly Miricioiu - Rossini Gala
Gioachino Rossini , David Parry , Nelly Miricioiu , Bruce Ford , Enkelejda Shkosa , Garry Magee , Patrizia Biccire , Alastair Miles , and Simon Bailey, Antonia Sotgiu Dominic Natoli, Barry Banks Dean Robinson
Manufacturer: Opera Rara UK
ProductGroup: Music
Binding: Audio CD

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Nelly Miricioiu - Bel Canto Portrait ~ Scenes from Emma d'Antiochia, L'assedio di Corinto, Belisario, Parisina

ASIN: B00004TAS2
Release Date: 2000-09-12

Tracks:

Elisabetta Regina D'Inghilterra: Cavatina 'Quante'E Grato All'alma Mia' - Nelly Miricioiu/The Geoffrey Mitchell Choir/Geoffrey Mitchell
Aureliano In Palmira: Duetto 'Se Tu M'ami, O Mia Regina' - Nelly Miricioiu/Enkelejda Shkosa
Bianca E Falliero: Quartetto 'Cielo, Il Mio Labbro Ispira' - Nelly Miricioiu/Enkelejda Shkosa/Bruce Ford/Garry Magee/The Geoffrey Mitchell Choir/Geoffrey Mitchel
Zelmira: Rondo Finale 'Riedi Al Soglio' - Nelly Miricioiu/Garry Magee/Barry Banks/The Geoffrey Mitchell Choir/Geoffrey Mitchell
Mose In Egitto: Quartetto 'Mi Manca La Voce' - Nelly Miricioiu/Patrizia Biccire/Bruce Ford/Barry Banks
Semiramide: Duetto 'Se La Vita Ancor T' E Cara' - Nelly Miricioiu/Alastair Miles
Armida: Duettino 'Dove Son Io?' - Nelly Miricioiu/Bruce Ford
Mose In Egitto: Act II Finale 'Porgi La Destra Amata' - Nelly Miricioiu/Garry Magee/Barry Banks/Patrizia Biccire/Dean Bobinson/Dominic Natoli/The Geoffrey M
Vallace: Finale Ultimo 'Viva Vallace! Vallace Viva!' - Nelly Miricioiu/Garry Magee/Barry Banks/Dean Robinson/Antonia Sotgiu/Patrizia Biccire/Simon Bailey..

Customer Reviews:

As near as we'll get to the sound of Isabella Colbran.......2003-03-21

First things first, this is one of the Opera Rara 'recitals' which really is a real recital not just a compilation from the back catalogue, and for once it also comes with texts and translations. The only other Opera Rara releases I know in this category are the 'Three Rossini Tenors' and Matteuzzi 'Ferme tes yeux' recitals, and of course the worthy decade by decade 3CD sets. Further this is a recital which won a host of plaudits, not just in the music press but even in the Economist annual arts round up.

Secondly although there is a significant overlap with the second Bartoli Rossini recital on Decca (the first conducted by Patane was mainly standards, the second conducted by Marin invaded Opera Rara's territory) there are enough new items on this disc for it to still be attractive. Some might well prefer Miricioiu to the occasionally rather tremulous Bartoli, although personally the Bartoli Marin disc is the one for the desert island. Either way the real star features only in the booklet notes in either disc - Isabella Colbran, for whom these arias were written.

Nelly Miricioiu a rare treat among singers and recordings.......2001-08-12

Buying this record will change how you think about singing,here is an artist of exceptional ability who is prepared to take risks vocally to bring to life all the characters she creates on this disc no small feat. Nelly Miricioiu is for me a fantastic singer and actress,through the music she conveys the personality of the characters making them totally believeable. If you want just beautiful sounds there are numerous singers around such as Angela Gheorghui or Renee Fleming but if you want to have a truly exciting experience then thats certainly what awaits you here. It is a disc that you wish to return to time after time. THANK YOU NELLY MIRICIOIU

Exótico.......2001-04-14

Uma soprano romena, Nelly Miriciou, e um repertório não muito adequado a sua voz. Pela primeira vez me decepciono com a Opera Rara, pela inadequação do elenco. As interpretações de Miriciou (muito mais adequada como Tosca ou Adriana Lecouvreur) para Zelmira e Elisabeta são muito inferiores as de Cecilia Bartoli em Rossini Heroines, sua Semiramide é convincente mas não chega aos pés de Joan Sutherland. Vale pela cena final de Vallace, a primeira versão de Guilherme Tell, e pela ária final de Mosé in Egito. Decepcionante.

Average customer rating:

A banquet for the ears
Rare Opera Resurrected: Jennifer Larmore Is Sensational
A Real Winner
Not Caballe or Carreras
Queen Larmore

Elisabetta Regina D'Inghilterra
Rossini , Larmore , Ford , Carella , and Lpo
Manufacturer: Opera Rara UK
ProductGroup: Music
Binding: Audio CD

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Rossini - Bianca e Falliero / Larmore · Cullagh · Banks · D'Arcangelo · LPO · Parry (Complete Opera)
Matilde Di Shabran - Juan Diego Florez
Giovanni Pacini: Carlo di Borgogna
Rossini: Zelmira
Federico Ricci: La prigione di Edimburgo (Highlights)

ASIN: B00006FN1K
Release Date: 2002-10-08

Tracks:

Sinfonia
Act I - Part One: Introduzione: Coro
Act I - Part One: Introduzione: Cavatina
Act I - Part One: Introduzione: Recitative
Act I - Part One: Coro E Cavatina: Coro
Act I - Part One: Coro E Cavatina: Aria
Act I - Part One: Coro E Cavatina: Cabaletta
Act I - Part One: Coro E Cavatina: Recitative
Act I - Part One: Coro E Cavatina: Cabaletta
Act I - Part One: Coro E Cavatina: Recitative
Act I - Part One: Duetto: 'Incauta! Che Festi!'
Act I - Part One: Duetto: 'Che Palpito Io Sento!'
Act I - Part One: Duetto: Recitative
Act I - Part One: Aria: Aria - 'Sento Un'Interna Voce'
Act I - Part One: Aria: Cabaletta - 'Ah! Se Tolto Un Sol Momento'

Tracks:

Act I - Part Two: Recitative
Act I - Part Two: Scena E Duetto: Scena
Act I - Part Two: Secena E Duetto: Duetto
Act I - Part Two: Scena E Duetto: Largo
Act I - Part Two: Scena E Duetto: Allegro
Act I - Part Two: Scena E Duetto: Recitat8-
Act I - Part Two: Finale Primo: Scena
Act I - Part Two: Finale Primo: Allegro
Act I - Part Two: Finale Primo: Adagio
Act I - Part Two: Finale Primo: Stretta

Tracks:

Act II: Introduzione E Recitativo
Act II: Scena Ed Duetto: Scena
Act II: Scena Ed Duetto: Duetto
Act II: Scena Ed Duetto: Andante
Act II: Scena Terzetto: Terzetto
Act II: Scena Terzetto: Largo
Act II: Scena Terzetto: Stretta
Act II: Scena Terzetto: Recitative
Act II: Scena Terzetto: Coro
Act II: Scena Ed Aria: Scena
Act II: Scena Ed Aria: Aria
Act II: Scena Ed Aria: Cabaletta
Act II: Scena Ed Aria: Scena
Act II: Scena Ed Aria: Aria
Act II: Scena Ed Aria: Stretta
Act II: Scena Ed Aria: Recitative
Act II: Duetto: Duetto
Act II: Duetto: Recitative
Act II: Finale Ultimo: Scena
Act II: Finale Ultimo: Aria
Act II: Finale Ultimo: Scena
Act II: Finale Ultimo: Stretta

Customer Reviews:

A banquet for the ears.......2004-01-20

This recording of Elisabetta treats the opera with complete attention to every lovely detail and nuance. The previous recording of note, featuring Caballe and mentioned by some of the other reviewers, has very competent singing but is seriously deficient as far as recording engineering and overall interpretation are concerned. The new recording treats the opera as a masterpiece; you hear every nuance of both voices and orchestra in a beautifully balanced, perfectly paced performance, with a conductor who reacts with exceptional sensitivity to every one of Rossini's many shifts in mood and color. The engineering (and possibly the conducting, it's hard to tell) of the older recording reduces the orchestra to a mushy background, with a very annoying, artificial sounding separation of soloists and orchestra, and seems to treat the opera as merely a vehicle for virtuosos. So the older recording is arguably a good document of some fabulous singing, but if you really want to appreciate Rossini's Elisabetta, you need to hear it under the sensational direction of Giuliano Carella, with a very strong cast where every singer has a distinctive voice that contributes to the wonderful textures of this beautiful score.

Rossini appears to have been possessed by an extraordinary state of inspiration for this opera, which features his delightful ability to construct, within very intensely realized scenes, music which shifts seamlessly among sweet, lyrical, cute, triumphant, agitated, passionate and joyous expressions. The listener must be amazed that such sophisticated music could emerge from a very young composer.

The booklet that accompanies this magnificent recording is a noteworthy example of superb art direction. Apparently the designer realized that opera lovers might appreciate text in a legible font size, along with stunningly cleaned up reproductions of illustrations of the original performers of the opera. The introductory essay by Jeremy Commons is a wonderful example of good writing about opera.

Rare Opera Resurrected: Jennifer Larmore Is Sensational.......2003-11-25

Rossini is most famous for his comic operas, primarily for his Barber Of Seville. His arsenal of operas include highly entertaining, light-hearted stories such as The Italian Girl In Algiers and The Thieving Magpie. His music is almost a definition of bel canto comedy- festive but lyric, ebullient and even Mozartian in its spirit of joyous melodies. However, comic operas were not his only forte. Rossini composed grand operas with historic settings and melodramatic plots which were becoming the popular craze at the time of his death. He successfully started the "grand opera" tradition in Italy with such hits as "William Tell", "La Dona Del Largo" and now this revived obscure opera -Elisabetta Regina D'Inglaterra "Elizabeth, Queen of England".

The title says it all. It's about Englan'ds greatest queen. The oft-told apocryphal story was used frequently in dramatic plays of the early 19th century. Stories tell of Queen Elizabeth's romantic love (usually for a military hero or a court nobleman), her competition with a rival woman with whom her dashing cavalier is truly in love with and the Queen's resignation at the end. The figure of Queen Elizabeth in love had been produced in operas before. Donizetti would use her twice in his operas Maria Stuarda and most significantly in Roberto Devereux. Rossini's heroines were always sung by a mezzo soprano during his day. This was because the star singers of this time were the daughters of Spanish tenor Manuel Garcia. Both daughters were mezzo sopranos and helped to popularize Rossini operas worldwide, including trips to America. A mezzo soprano like Jennifer Larmore in this recording is perfect for the Queen because her heavy chest register comes off as dramatic, imperious and effectively "regial". In addition, Jennifer Larmore can toss off coloratura technique with dazzling power and can be equally impressive in her feather soft and higher "head" voice for the lyric passages.

This is the best recording of Elisabetta. There is another in circulation, an old World War II Era recording that features Leyla Gencer in the starring role of Queen Elizabeth. Leyla Gencer is equally as mangnificent and perhaps superior in the dramatic portions because Leyla has a lot more chest voice. Nevertheless, Jennifer Larmore has a lot more colors in her palette and this is why her Queen Elizabeth is more satisfying. I hope this opera continues to be performed and produced with great success in our modern times. I feel strongly that mezzo soprano Cecilia Bartoli would make a remarkable Queen Elizabeth in this Rossini opera. Bartoli has taken on all of Rossini operas and the Queen should be easy for her especially because Cecilia Bartoli is expanding into some soprano territory. I can't wait until a new Elisabetta recording is released with Bartoli as the Queen and unless Bartoli has performed the Queen on stage, I can't wait to see her perform on stage as the Queen. Kudos to this recording, to Jennifer Larmore, to the conductor and his orchestra and the incredible efforts into reviving such obscure operas that can now come out of the darkness and into the spotlight.

A Real Winner.......2002-12-12

Opera Rara's new recording of Elisabetta, Regina d'Inghilterra proves yet again that this company can do anything from the utterly obscure to the most well-trodden fare in grand style. Comparison to the earlier Caballe-Carreras recording is of course inevitable, and while there is no doubt that Caballe's pure, crystalline tone and flawless coloratura were a delight to hear, they were not ideally suited to this role, which was written for Isabella Colbran. That legendary singer sported a voice that comfortably encompassed all three female vocal ranges and thus had in her vocal arsenal a strong, compelling lower voice as well as thrilling high notes. Thus, Jennifer Larmore's rendition of the role comes much closer to what Rossini probably intended; in addition, the contrast between Larmore's emphatic, mature-sounding mezzo and the more girlish tone of Majella Cullagh as Elisabetta's rival Matilde makes a much more interesting juxtaposition than the pairing of Caballe with Valerie Masterson. As a result, the confrontation duet between the two women is here far more exciting. Larmore's marriage of near-flawless coloratura technique to incredible sensitivity to her character's feelings continues to live up to the high standards she has set in her earlier recordings. Only in the final scene does she show any signs of strain at all, and not even then does the enjoyability of her performance suffer. Though Carreras might have been ideal in Verdi or even in Donizetti, he was less so in a role composed for the highly agile baritonal tenor Nozzari, who originally created Liecester. On the strength of this performance, one might be forgiven for believing Bruce Ford to be the reincarnation of that great tenor. His thrilling performance of the prison scene is one of the many highlights of the recording. Up-and-coming Rossini tenor Antonio Siragusa is vocally and dramatically a perfect foil for Ford; in contrast to Ford's dark, heroic voice, Siragusa's is more high-flying and easily dispatches cascades of coloratura while handily conveying the character's weaseley villainy. Majella Cullagh's light but agile and expressive voice is a treat, and Manuela Custer shows promise in the lesser trouser role of Matilde's brother Enrico. Under Giuliano Carella's direction, the London Philharmonic Orchestra's playing infuses the whole recording with excitement. As usual, a highly informative and well-researched essay sheds new light on the opera's history, and the booklet is a touchstone of its kind.

Not Caballe or Carreras.......2002-11-14

This entry from Opera Rara is fine as it far as it goes, and it goes far, but cannot go note to note with M. Caballe and Jose Carreras on Philips' entry from 1975. There is no comparison; Caballe is a soprano with more gifts that Rossini's music ever needed, and Carreras is in the best voice ever, young and vibrant in every scene and every cabaletta. Caballe's coloratura is so natural while Larmore's is labored, and there is that weird covered quality to her voice, a warble that sounds subterrenean, in the worst sense. Larmore is a mezzo and this is a soprano role to be sure. Leyla Gencer sung this to grewat acclaom, a soprano, along with the fabulous Caballe. Wjere is renee Fleming when she is so needed?

The cast of the Opera Rara is all toll, very good, but it's all warmed over greatness...why not chose another opera we have not heard these many years?

Philips' set has two cd's at nice prices,while Opera Rara sports Three cd's at... and one cd actually has only 35 minutes on it, the second, 40 minutes, and the final 70 minutes. The Philips is 5 min shorter, so anything like boasts to completness are absurd. Usually, Opera Rara gives alternate arias, endings, overtures..not here. You put the first cd on and it's like an LP; it begins and suddenly it's all over. At $60.00 you also need more than Larmore and Ford. Opera Rara have never charged so much for so little. Get Caballe and Carreras at 25.00/ Forget this one. Shame on Opera Rara for cheating faithful buyers of their usually great product. Everyone is going for the bucks. How sad.

Queen Larmore.......2002-11-03

After hearing the latest Larmore/Opera Rara collaboration, suffice it to say that this mezzo can do anything. I thought Bianca e Falliero and Carlo di Borgogna were utterly thrilling recordings, with each artist displaying his or her talents to the hilt. Elizabetta shows that Opera Rara is doing something special with truly great singers. Larmore's singing is masterful on this recording and her characterization is one to be reckoned with. This is an artist who takes such care (and joy) in her singing, and one who immerses herself in this (and every) role. Singing and orchestration are impeccable. Larmore yet again proves to be a magical mezzo who gives so much to her art and fans!!!

Average customer rating:

COMMENT & SUMMARY
Fine chocolate, indeed!
Brava, Bravura Diva
A New Queen Reigns in Bel Canto Singing
Like Fine Chocolate!

Bravura Diva

Manufacturer: Opera Rara UK
ProductGroup: Music
Binding: Audio CD

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Release Date: 2005-08-09

Customer Reviews:

COMMENT & SUMMARY.......2007-02-07

Having often pondered and lamented upon who in the world eventually would fill Sutherland's golden slippers, I can now relax with the knowlege that those slippers are not only filled, but polished and reheeled! I only regret that one can merely imagine what celestial magic would have graced our ears had she been able to belt out a few with Horne.

PRODUCT SUMMARY:
"Jennifer Larmore's exceptional affinity with the bel canto repertoire, supported by her formidable technical armoury, has allowed Opera Rara the luxury of recording for this disc some of the most difficult vocal music of the 19th century. Virtuosity, then, is the theme of this album. It features music written for several of the greatest singers of the early 19th century, including Carolina Bassi, Rosmonda Pisaroni, Isabella Colbran and Maria Malibran. A lot has been written about the vocal abilities of these legendary singers. The music they sang is often very florid, the drama reinforced by pyrotechnical vocal hurdles, which on paper look just this side of impossible. It's only when you hear a singer of the calibre of Jennifer Larmore actually leaping those hurdles that you begin to understand what the fuss was all about. Works by Costa, Rossini, Pacini, Mercadante and Lauro Rossi are all featured on this CD which is accompanied by a fully coloured 100 page booklet with notes on each contribution written by the eminent specialist in 19th century opera Jeremy Commons." - Opera Rara

Fine chocolate, indeed!.......2006-05-17

Larmore continues to amaze. Reading the Opera Rara histories, it begins to seem that Larmore may be the best mezzo in a couple of hundred years. We surely haven't seen many others attempting these three octave bel canto treks, and Larmore not only attempts, she succeeds.
The reference to a voice like chocolate turned up in the promos and the review of her concert in March at the Eastman School of Music. And it's really not as crazy as it sounds, for Jennie's voice, like fine chocolate, is dark and sweet, and addictive. Unlike chocolate, however, it has no calories.
This is music to smooth out the frayed nerves of a hard day, or a hard life, and this is a voice to hear in your head all day.

Brava, Bravura Diva.......2006-03-01

Jennifer Larmore's meltingly beautiful yet powerful voice, aided by her rich coloring and emotional resonance, make her among the very best mezzo-sopranos of our day, or, in fact, of any day. There are more than a few critics and fans who compare her to the great Marilyn Horne. She is a consummate artist, and this magnificent collection of her vocal charisma and fireworks is long overdue. Anyone who has seen her in performance, in opera or recital, can attest that she is a pro in every respect. Having met her backstage several times, I can also tell you that she is lovely, charming, appreciative of her fans, and a "diva" in the "good" sense of the word. She takes time to talk to people and thanks them for their support.
Even after Giulio Cesare at the Met or Carmen at the Washington Opera. Or a Master Class at the Yale Music School.

More than perhaps any other mezzo today, Larmore brings her unique vocal artistry and dramatic verve to a range of well- known, as well as less well-known opera works, and brings them to vivid life.

One can only look forward to a similar collection of Larmore's
magnificent talents in the Baroque repertory. There is good reason to hope for Bravura Diva, Part II.

A New Queen Reigns in Bel Canto Singing.......2005-11-22

Jennifer Larmore is one of those rare artists whose career seems more pointed toward solid, strong development of the voice and the repertoire than to the glamour that the opera world seduces artists to define. Larmore is a consummate vocalist whose technique and musicality are so solid that she doubtless will be on the performing stages for many years. And here is a sparkling CD of bel canto arias and ensembles that shows her strengths and musical intelligence.

Arias by such composers as Sir Michael Costa, Luigi Arditi, Lauro Rossi, and Giovanni Pacini don't exactly ring familiar bells with the general public, but here Larmore gives this fine music the communication it needs to acquaint us with some splendid operas. Larmore is well known for her Rossini roles of the known works of the composer so it is with a bow to her musicality that she offers here arias from the lesser known operas 'Bianca e Falliero' and 'Elisabetta, regina d'Inghilterra'. She also gives us portions of Mercadante ('Andronico') not readily available on the stage, and while these arias are somewhat obscure Larmore delivers them with a rich, robust vocal color and facile technique that make them important. These arias were the territory of the infamous Pauline Viardot and Maria Malibran who in many ways 'created' bel canto, and like her predecessors Joan Sutherland and Marilyn Horne, she is up there with the best of them.

Various conductors and orchestras are represented on this collection (some from previous recordings of entire operas) and the support from the conductors and other singers with whom she sings ensembles is consistently fine. Jennifer Larmore's time has come and this album is titled appropriately! Grady Harp, November 05

Like Fine Chocolate!.......2005-11-15

A friend and I were talking about Jennifer Larmore's spectacular new CD and all he said was "It's like fine chocolate, addictive and you can easily eat the whole box!"...I agree, and I say, go ahead, eat the whole box...Fine chocolate is a perfect description for Ms. Larmore's unique mezzo voice. In top form, the new queen of Bel Canto shows us a thing or two about how this music must be sung. Now, I am quite partial to her voice, but this Opera Rara treat is a MUST for Bel Canto fans. The Pacini selections made me love this neglected composer. Buy the full length recording of Carlo di Borgogna and I guarentee you will not put it down. Also featured are Opera Rara favorites Majella Cullagh and the great Bruce Ford. What's more, the packaging features stunning shots of Larmore as Giulietta from Tales of Hoffman. Beat still my heart.

Vissi d'arte: The Magnificent Voice of Montserrat Caballé

Average customer rating:

One of the very best Caballe recital albums
A CLEAR, BEAUTIFUL, POWERFUL VOICE.
Beautiful!

Vissi d'arte: The Magnificent Voice of Montserrat Caballé

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Tracks:

Temerari! Sortite...Come Scoglio Immoto Resta
Ei Parte, Senti, Ah No!
Per Pieta, Ben Mio, Pardona
Ne Sulla Terra Creatura Alcuna - Jose Carreras
Ah Conforto E Sol La Speme - Jose Carreras
La Terra, Il Ciel M'Abborrino - Jose Carreras
Venerabile O Padre
Lo Sguardo Avea Degli Angeli
Qual Mare, Qual Terra
Quant'e Grato All'Alma Mia
Questo Cor Ben Lo Comprende
O Beau Pays De La Touraine
Signore, Ascolta! - John Alldis Choir
Tu Che Di Gel Sei Cinta - John Alldis Choir
Suicidio! - Luciano Pavarotti
La Barca S'Avvicina - Luciano Pavarotti
La Mamma Morta - Luciano Pavarotti
Vicino A Te - Luciano Pavarotti
La Nostra Morte E Il Trionfo Dell'Amor! - Luciano Pavarotti

Tracks:

Ecco L'Orrido Campo - Jose Carreras
Ma Dall'Arido Stelo Divulsa - Jose Carreras
M'Ami, M'Ami! - Jose Carreras
Padre, Ricevi L'Estremo Addio - Luciano Pavarotti
Notte Cupa, Truce
Vissi D'Arte
Depuis Le Jour
Ah! Verrano A Te Sull'Aure - Jose Carreras
Il Dolce Suono Mi Colpi Di Sua Voce! - Jose Carreras
Ardon Gli Incensi - Jose Carreras
Mi Chiami, O Norma!
Deh! Con Te, Con Te Li Prendi
Mira, O Norma
Si, Fino All'Ore Estreme
Es Ist Kein Laut Zu Vernehman (Closing Scene)

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Montserrat Caballé had one of the great voices, tonally radiant and technically amazing, able to spin the most ravishing pianissimos as well as effortless fortissimo high notes. This well-filled two-disc collection includes a good cross-section of her recordings from the 1970s and early 1980s when she was at her peak. That alone should send admirers of great singing into a feeding frenzy. The set's title selection, "Vissi d'arte" (from Puccini's Tosca), is done with such tonal beauty and refinement of detail as to silence any criticism about its being too slow. She's as magnificent in bel canto arias like those from Lucia di Lammermoor and the Norma duets, where she's Adalgisa to Joan Sutherland's Norma, as she is in verismo roles from La Gioconda and Andrea Chenier. This set makes a terrific starter pack for those who may not be familiar with Caballé's art, and it's a welcome addition to the collections of those who do. --Dan Davis

Customer Reviews:

One of the very best Caballe recital albums.......2005-04-28

Ditto to the other reviewers. I have lots of Caballe's recordings, and yet very little from my LP and CD collection was duplicated on this two-disc set. It is an absolute must-have for Caballe fans. She outdoes Callas for emotion in the Chernier aria, and she is simply spectacular in Salome's final scene, dazzlingly conducted by none other than Leonard Bernstein.

A CLEAR, BEAUTIFUL, POWERFUL VOICE........2004-03-25

MONTSERRAT CABALLE POSSESES ONE OF THE MOST BEAUTIFUL, POWERFUL,& UNFORGETTABLE VOICES IN OPERA, HERE WE FOUD THE BEST OF THE DECCA YEARS A VERY GOOD ALBUM, AND IF YOU WANT MORE ABOUT THE MARVELLOUS CABALLÈ (I`M SHURE YOU WILL) GO AND GET "THE ULTIMATE COLLECTION" (RCA YEARS), "THE VERY BEST OF MONTSERRAT CABALLE" (EMI/ANGEL YEARS) AND "ETERNAL CABALLE" A BEAUTIFUL COLLECTION OF SONGS AND OPERA ARIAS. VIVA CABALLÈ!

Beautiful!.......2004-01-26

This double CD is another prove of the singing art of Caballé. Tecnichs, passion and beautiful.

Rossini: Elisabetta, Regina d'Inghilterra

Average customer rating:

Great performance of a mediocre work
A Dream For Hardcore Fans Of 40's Diva Leyla Gencer
Bad sound! Great performance!
Unbalanced microphone placement hurts a great opera

Rossini: Elisabetta, Regina d'Inghilterra

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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

General | Classical | Styles | Music

Tracks:

Overature - Nino Sanzogno
Piu Lieta, Piu Bella Apparve L'aurora - Coro Del Teatro Massimo Di Palermo
Oh Voci Funeste - Pietro Bottazzo
Nel Giubilo Comun, Signor, Tu Solo - Glauco Scarlini
Esulta, Elisa, Omai In Giorno Si Beato - Coro Del Teatro Massimo Di Palermo
Quant'e Grato All'alma Mia - Leyla Gencer
Questo Cor Ben Io Comprende - Leyla Gencer
Grandi Del Regno, E Questo - Leyla Gencer
Vieni, O Prode, Qui Tergi I Sudori - Coro Del Teatro Massimo Di Palermo
Alta Regina, Invano Io Scoto - Umberto Grilli
Incauta, Che Festi! Seguirmi Perche? - Umberto Grilli
Sconsigliata! E Non Sai - Umberto Grilli
Sento Un'interna Voce - Sylvia Geszty
(Che Intesi!) E Come Di Matilde - Pietro Bottazzo
Colmo Di Duol, Regina - Pietro Bottazzo
Perche Mai, Destin Crudele - Pietro Bottazzo
Misera! - Leyla Gencer
Regina, Ormai Decidi - Pietro Bottazzo
Quell'alma Perfida Non Vada Altera - Pietro Bottazzo
Guglielmo, Ascolta - Leyla Gencer
Matilde!... Oh Cielo! - Umberto Grilli
Se Mi Serbasti Il Soglio - Leyla Gencer

Tracks:

Qual Colpo Inaspettato - Umberto Grilli
Duce, In Tal Guisa Accogli - Leyla Gencer
Sposp/a... - Pietro Bottazzo
Dov'e Matilde? - Leyla Gencer
T'inoltra. In Me Tu Vedi - Leyla Gencer
Pensa Che Sol Per Poco - Leyla Gencer
Misero Me!... La Sposa Dolente - Umberto Grilli
L'avverso Mio Destino Si Fiero - Umberto Grilli
Sconsigliata, Che Facesti! - Umberto Grilli
Qui Soffermiamo Il Pie... - Coro Del Teatro Massimo Di Palermo
Che Intesi!... Oh Annunzio!... - Pietro Bottazzo
Deh! Troncate - I Ceppi Suoi - Pietro Bottazzo
Della Cieca Fortuna Un Tristo Esempio - Umberto Grilli
Sposa Amata... Respira - Umberto Grilli
E L'adorata Sposa, E L'innocente Enrico - Umberto Grilli
Deh! Scusa I Trasporti - Umberto Grilli
Tu, Regina!... Deh!... Come... - Umberto Grilli
La Pena Avrai - Umberto Grilli
Bell'alme Generose - Leyla Gencer
Leicester!... Qual Grida! - Pietro Bottazzo

Customer Reviews:

Great performance of a mediocre work.......2004-07-16

Gencer was a great soprano all right, but NOT of the 1930s and '40s as the previous reviewer stated...she made her debut in the early 1950s and sang until the early 1980s. Therefore the poor sound here is just the result of EXTREMELY bad miking!

A Dream For Hardcore Fans Of 40's Diva Leyla Gencer.......2003-11-25

The reviews which preceed my own have complained that the sound to this recording is in terrible condition and a nightmare. They express their dissatisfaction with the microphone placement. One has to remember that in the 30's and 40's (the World War II Era) both recorded Mono LP sounds and stage performances were primitive and not as dynamic as they sound today. Perhaps THERE WERE NO MICROPHONES the singers could use to enhance their voice. Leyla Gencer had to rely purely on her own natural voice and the orchestra, as crude as it was, had to work around her voice. Leyla Gencer was a Turkish soprano with an incredibly deep mezzo voice. Her voice was so deep and dark that it can come off as masculine and even menacing. Mezzo sopranos have thus been used as villains in several operas. To hear Leyla Gencer is an amazing experience. Her generous chest voice resonates with superior skill than even Maria Callas.

In this obscure opera, which I might add, Leyla Gencer was the first to revive, Rossini strays from his standard comedies and explores melodramatic grand opera. The story is about Queen Elizabeth in love. It is a subject that was done to death in the early 19th century - in dramatic plays and in two of Donizetti's operas- Maria Stuarda and most prominently in Roberto Devereux. The bel canto stamp is on this. There are beautiful melodies, a large amount of parts for chorus, and arias for the Queen that showcase her mezzo and coloratura techniques. Leyla Gence is weak in the coloratura portions. For a more satisfying, well-rounded mezzo-coloratura soprano as Queen Elizabeth, look for the studio recording that features Jennifer Larmore, who has no trouble with the high-flying coloratura. But Leyla Gencer is a classic legend and does a spectacular performance overall. She has real power and commanding stage presence. Audiences of the 30's and 40's were overwhelmed by her dynamic performances. She could take on roles that most sopranos cringed and cowered at - Lucrezia Borgia, which again Leyla Gencer was the first to revive and the three Donizetti Tudor Queens Anna Bolena, Maria Stuarda and Queen Elizabeth in Roberto Devereux. In the 70's, Beverly Sills would follow in Leyla Gencer's footsteps by performing these roles. I'm quite sure Beverly Sills held Leyla Gencer in high esteem and was her inspiration for her performances which she emulated. So get this recording if you are a hardcore fan of Leyla Gencer. You won't regret it even if the sound is ghastly, not advanced nor excellent quality. Kudos. Five Stars all the way.

Bad sound! Great performance!.......2001-09-08

As said before by another reviwer, the microphoning of the singers is completely wrong, what spoils this recording! The opera itself is interesting enough to deserve other (better) recordings. This performance seems to have been great (specially for Gencer and Grilli) unfortunately it is not very pleasant to listen to this cd.

Unbalanced microphone placement hurts a great opera.......1999-03-14

The music is wonderful, the voices very good, but the microphone placement is unbalanced. While there isn't any static or other background noise, the microphone is closer to the orchestra than to the singers, so to hear the singers well you have to have the music a bit too loud. Still a good buy at the price.

Average customer rating:

Rossini: Arias / Ricciarelli
Rossini , Ricciarelli , and Ferro
Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
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French Coloratura Arias

ASIN: B000025ESA
Release Date: 1994-10-11

Tracks:

L'Ora Fatal S'Appressa
Giusto Ciel! In Tal Periglio
Piu Dolce, E Placide Spirano L'Aure
Come Dolce All'Alma Mia
Della Rosa Il Bel Vermiglio
Quanto E Grato All'Alma Mia
Assisa Ai Pie D'Un Salice
Deh Calma, O Ciel
S'Allontanano Alfin!
Selva Opaca, Deserta Brughiera
Serena I Vaghi Rai
Bel Raggio Lusinghier
Dolce Pensiero

Average customer rating:

Sogno talor...

Manufacturer: Opera Rara UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | 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

Operettas | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
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Pacini: Saffo

ASIN: B00009NJ1X
Release Date: 2003-09-09

Average customer rating:

Rockwell Rocks!
Rockwell Blake sings like a young Richard Tucker possessed!
Ugly voice - wonderful flexibility
Blake gives an astounding interpretation of Rossini's arias
Blake gives an astounding interpretation of Rossini's arias

The Rossini Tenor
Gioachino Rossini , John McCarthy , Rockwell Blake , London Symphony Orchestra , and Ambrosian Singers
Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

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

General | Classical | Styles | Music

Tracks:

Il Barbier Di Siviglia (Cessa di piu resistere)
Le Comte Ory
L'Italiana in Algeri: Languir per una bella
Elisabetta, Regina D'Inghilterra: Che intesi, oh annunzio!
Il Turco In Italia: Tu Seconda il mio disegno
La Donna Del Lago: O fiamma soave

Customer Reviews:

Rockwell Rocks!.......2007-06-06

This is an oustanding recording that any belcanto lover should have on his collection.
Like other guy said Rossini Tenors are now very present with Florez on the top of the list. But when Blake starts to sing at the end of the 70's there was nobody but he. His carreer was brilliant and by the end of 80's he was a really master of the voice. Ok his instrument it's not the most beauty but he can sing with a miracle technic, every coloratura was there, the "martellato" style, the spianato, and the fiato....what a fiato and you have to add the wonderful phrasing. He was one of those artist you have to see and hear live because he was even more electrifying on stage than in records.
On The Rossini Tenor blake prove why he is the most important rossini performer of the last century and why he is still on the ear of every rossini fan. Hes a King between belcanto singers.

Rockwell Blake sings like a young Richard Tucker possessed!.......2006-08-05

Rockwell Blake will always be remembered and not just for his astoundingly accurate and courageous singing of Rossini--something no other opera singers are able to do as he does--but because Blake began his career much earlier than any other singers performing today and sang Rossini for over 25 years. This means, to me, that Rockwell Blake carried the responsibility for advancing Rossini, who was no where to be seen, on his back alone. It is to Rockwell Blake--his voice spans 2.5 octaves and his breath-spans are astoundingly long!-- that lovers of great operatic adventures as Rossini gave us that they must look in order to hear this composer magnificently interpreted.

In a way, Blake can be compared to another heroic artist--Edgar Allen Poe, who stands all alone during his 25 year tenure-1725-1749--as the world's greatest short-story writer simply because he was all alone in his format. His contemporaries, James Fenimore Cooper, Washington Irving, and Charles Brockden Brown were not direct competitors, in the strict sense of the word, because they wrote lengthier pieces. Poe could write lengthy works but chose to focus on the short story format instead and we're all much better off for that.

Rockwell Blake will be known through the years for the same reason: he stood alone, he with his Rossini. Without a doubt the technique of Blake is unequaled and one would have to go back and speak to Richard Tucker himself to hear what he had to say about the purpose of technique polished to its ultimate shining. Tucker would have praised Blake for the stirring sound he has delivered unselfishly from opera and theater stages around the world. This master of Rossini has delivered the evidence overwhelmingly. No other competing singers have mastered his rendering of Rossini's heroic music. When evidence is submitted, as Blake has done over the last quarter of a century, it's impossible to gainsay. That's why it's called evidence: plain facts certify and authenticate. I highly recommend this wonderful collection as a prize to be cherished.

Ugly voice - wonderful flexibility.......2002-01-09

Caruso created the modern tenor sound - a relatively dark rich powerful sound appropriate for verismo. Such voices trade range and flexibility for lustrous tone. It has been said that the three great tenors of the century were Caruso, Gigli, and Bjoerling. More recently we have had Domingo, Carreras, and Pavarotti. You might also want to include Corelli, Del Monaco, Vickers, and De Stephano.

What unites all these tenors - the role of Cavaradossi in Tosca. This is the touchsone role for the modern tenor. Each of the Three Tenors has recorded it at least three times.

Here we have with Rockwell Blake a tenor who does not sing Caveradossi. He sings serious Rossini. He is a very different type of singer.

We are currently in the Golden Age of Rossini tenors. Records from the turn of the 19th century onward have included dozens of versions of arias by Verdi, Puccini, and Leocavallo. Its easy to assemble the a collection of renditions of say Nessun Dorma from the twenties, thirties, forties, and so on. There are no comparable recordings of Oh Fiamma Soave or Idreno's aria from Semiramide.

Roughly speaking there were no Rossini singers from about 1880 to 1980. A century of neglect.

Rossini singing came back with a handfull of specialists - Horne, Ramey, Callas/Sutherland, and Blake. This record shows the essential qualities of Rockwell Blake - incredible flexibility and a quite disagreeable timbre.

Virtually all the new Rossini tenors have prettier voices - Bruce Ford particularly - but nobody cuts through the passage work like Blake.

I don't like his voice much but I have virtually all his records.

Blake gives an astounding interpretation of Rossini's arias.......1999-08-21

Together with the "Rossini:Encore," this is the greatest collection of Rossini arias ever recorded, sung by the century's best Rossini tenor. Blake's interpretation of the heavenly beauty of Rossini's coloratura and the excruciating high notes is unmatched. The legendary flexibility and astounding range of Blake's voice are perfectly suited to the awesome demands of Rossini's music. The virtuoso aria from "Il Barbiere di Siviglia" (Cessa di piu resistere) is so difficult that it is usually ommitted, while the role of Le Comte Ory (with which Blake made his triumphant entry on the operatic scene in 1979) has been described as "murderous" by opera pundits. If you have not heard Blake sing Rossini, you have no idea how Rossini's music should be performed. This is bel canto at its best!

Blake gives an astounding interpretation of Rossini's arias.......1999-08-21