I Lombardi Alla Prima

On this CD:

1. I Lombardi alla prima Crociata, opera Prelude
Composed by Giuseppe Verdi

2. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Oh nobile esempio!
Composed by Giuseppe Verdi

3. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Qui nel luogo santo e pio
Composed by Giuseppe Verdi
Performed by Francesco Piccoli, Giorgio Surian

4. I Lombardi alla prima Crociata, opera Act 1. The Revenge. T'assale un tremito!...
Composed by Giuseppe Verdi
Performed by Francesco Piccoli, Giorgio Surian

5. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Or s'ascolti il voler cittadino!
Composed by Giuseppe Verdi
Performed by Francesco Piccoli, Giorgio Surian

6. I Lombardi alla prima Crociata, opera Act 1. The Revenge. A te nell'ora infausta
Composed by Giuseppe Verdi

7. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Vergini!... il ciel per ora
Composed by Giuseppe Verdi
Performed by Giorgio Surian

8. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Sciagurata! hai tu creduto
Composed by Giuseppe Verdi
Performed by Giorgio Surian

9. I Lombardi alla prima Crociata, opera Act 1. The Revenge. O speranza di vendetta
Composed by Giuseppe Verdi
Performed by Giorgio Surian

10. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Tutta tremante ancor l'anima io sento...
Composed by Giuseppe Verdi
Performed by Francesco Piccoli

11. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Salve Maria
Composed by Giuseppe Verdi

12. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Vieni!... Già posa Arvino
Composed by Giuseppe Verdi
Performed by Francesco Piccoli, Giorgio Surian

13. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Mostro d'averno orribile
Composed by Giuseppe Verdi
Performed by Francesco Piccoli, Sergio Rocchi, Giorgio Surian

14. I Lombardi alla prima Crociata, opera Act 1. The Revenge. Parricida!
Composed by Giuseppe Verdi
Performed by Francesco Piccoli, Sergio Rocchi, Giorgio Surian

15. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. È dunque vero?
Composed by Giuseppe Verdi

16. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. O madre mia, che fa colei?
Composed by Giuseppe Verdi

17. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. La mia letizia infondere
Composed by Giuseppe Verdi

18. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. Come poteva un angelo
Composed by Giuseppe Verdi

19. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. E ancor silenzio!
Composed by Giuseppe Verdi

20. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. Sei tu l'uom della caverna?
Composed by Giuseppe Verdi
Performed by Francesco Piccoli

21. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. Stolto Allah... sovra il capo ti piomba
Composed by Giuseppe Verdi
Performed by Francesco Piccoli

22. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. La bella straniera che l'alme innamora!
Composed by Giuseppe Verdi

23. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. Oh madre, dal cielo soccorri al mio pianto
Composed by Giuseppe Verdi

24. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. Chi ne salva?
Composed by Giuseppe Verdi
Performed by Francesco Piccoli

25. I Lombardi alla prima Crociata, opera Act 2. The Man of the Cave. No!... giusta causa - non è d'Iddio
Composed by Giuseppe Verdi
Performed by Francesco Piccoli

26. I Lombardi alla prima Crociata, opera Act 3. The Conversion. Gerusalem
Composed by Giuseppe Verdi

27. I Lombardi alla prima Crociata, opera Act 3. The Conversion. Dove sola m'inoltro?
Composed by Giuseppe Verdi

28. I Lombardi alla prima Crociata, opera Act 3. The Conversion. O belle, a questa misera
Composed by Giuseppe Verdi

29. I Lombardi alla prima Crociata, opera Act 3. The Conversion. Che vid'io mai?...
Composed by Giuseppe Verdi

30. I Lombardi alla prima Crociata, opera Act 3. The Conversion. Prelude
Composed by Giuseppe Verdi

31. I Lombardi alla prima Crociata, opera Act 3. The Conversion. Qui posa il fianco!...
Composed by Giuseppe Verdi

32. I Lombardi alla prima Crociata, opera Act 3. The Conversion. Qual voluttà
Composed by Giuseppe Verdi

33. I Lombardi alla prima Crociata, opera Act 4. The Holy Sepulchre. Componi, o cara vergine
Composed by Giuseppe Verdi

34. I Lombardi alla prima Crociata, opera Act 4. The Holy Sepulchre. Qual prodigio!...
Composed by Giuseppe Verdi

35. I Lombardi alla prima Crociata, opera Act 4. The Holy Sepulchre. O Signore, dal tetto natio
Composed by Giuseppe Verdi

36. I Lombardi alla prima Crociata, opera Act 4. The Holy Sepulchre. Al Siloe! al Siloe!
Composed by Giuseppe Verdi
Performed by Francesco Piccoli

37. I Lombardi alla prima Crociata, opera Act 4. The Holy Sepulchre. Questa è mia tenda...
Composed by Giuseppe Verdi
Performed by Francesco Piccoli

38. I Lombardi alla prima Crociata, opera Act 4. The Holy Sepulchre. Un breve istante
Composed by Giuseppe Verdi
Performed by Francesco Piccoli, Giorgio Surian

39. I Lombardi alla prima Crociata, opera Act 4. The Holy Sepulchre. Te lodiamo, gran Dio di vittoria
Composed by Giuseppe Verdi
Performed by Francesco Piccoli, Giorgio Surian

Tracks:

La Traviata: Libiamo ne' lieti calici (Brindisi)
Werther: Pourquoi me reveiller
L'Elisir d'Amore: Una parola ... Chiedi all'aura
La Gioconda: Cielo e mar
La Traviata: Parigi, o cara
L'africana: Mi batte il cor ... O paradiso
Turandot: Nessun dorma
Petite Messe solennelle: Domine Deus
Requiem: Ingemisco
La Traviata: Lungi da lei ... De' miei bollenti spiriti
Macbeth: Ah, la paterna mano
I lombardi: La mia letizia infondere
Otello: Gia nella notte densa

Land of My Fathers: 100 Great Welsh Choir Favourites

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Land of My Fathers: 100 Great Welsh Choir Favourites

Manufacturer: Castle Pulse
ProductGroup: Music
Binding: Audio CD

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Favourite Welsh Choirs
Land of Song Welsh Choral Classics
Welsh Choirs: Wonderful Welsh Choirs
Bryn Terfel - We'll Keep a Welcome
Traditional Songs of Wales

ASIN: B0009SOFXG
Release Date: 2005-08-01

Tracks:

Guide Me O Thou Great Redeemer (CWM Rhondda) - Caerphilly Make Voice Choir
Land of My Fathers - Caerphilly Make Voice Choir
Dies Irae
Men of Harlech
You'll Never Walk Alone
Cadwyn O Emyn Donau Cymreig: Joanna (Trad./Elfion Wyn)/Crugybar (Trad.
Old Folks at Home
Il Liza Jane
Faust/Soldier's Chorus - Caerphilly Make Voice Choir
Vergine Degli Angeli
Ballard of Rourke's Drift - Cwt-Y-Collen Choir
My Hero
God Bless the Prince of Wales - Caerphilly Make Voice Choir
German Mass/Gloria
German Mass/Sanctus
Misbles/Master of the House/On My Own/Drink with Me/Empty Chairs at
All Through the Night - Caerphilly Make Voice Choir
Arwelfa
Invictus
Softly as I Leave You

Tracks:

Diolch l'R L
Hine E Hine (Maori Lullaby)
Pererin Wyf (Amazing Grace)
Tribute to the USA: America the Beautiful (Ward/Bates)/God Bless ...
Memories of Martha
I Lombardi/The Crusaders' Chorus - Treorchy Male Choir
Myfanwy - Treorchy Male Choir
Tales of Hoffman/Barcarolle
Creation's Hymn
In the Spirit!
Shall We Gather at the River
Nos a Bore
Very Best Time of Year
Soon Ah Will Be Done
Thanks Be to God
Flower That Shattered the Stone
Rhys - Treorchy Male Choir
Where Shall I Be?
Bywyd y Bugail
Lord's Prayer

Tracks:

Ave Maria
Pearl Fishers/Divine Brahma
She Was Beautiful (Cavatina) - Treorchy Male Choir
Cymru Fach
Nidaros
Jacob's Ladder - Treorchy Male Choir
Watching the Wheat
Pan Ddaw y Saint (When the Saints Go Marching In)
Misbles/Stars
Rachie
Pirates of Penzance/With Cat-Like Tread - Treorchy Male Choir
There Is a Balm in Gilead
Rise Up Shepherd and Foller
My Lord, What a Mornin'
Bryn Myrddin
Jesus Christ Superstar/Medley: Jesus Christ Superstar/Hosanna/The Last
Finnish Forest (Suomen Salossa)
Nabucco/The Glory of Israel
Ride the Chariot
Tydi a Roddaist - Treorchy Male Choir

Tracks:

Y Nefoedd
Phantom of the Opera/Think of Me
Morte Christe (When I Survey the Wondrous Cross)
By Babylon's Wave
I'm Gonna Sing
Where Could I Go But to the Lord?
Holy City - Treorchy Male Choir
Mefistofele: Ave Signor, Degli Angeli
Senzenina (Zulu Chant)
That's All I Want from You
Deep Harmony - Treorchy Male Choir
Give Me Jesus
Just a Closer Walk with Thee
My Wish for You
Jeptha/Waft Her Angels
Mose in Egitto/Prayer
Be Still My Soul (Finlandia Hymn)
God's Choir in the Sky
Floral Dance - Treorchy Male Choir
Smilin' Through

Tracks:

Calon Lan
True Love
Mor Fawr Wyt Ti (How Great Thou Art)
Aberystwyth
Comrades in Arms
Cats/Memory
They Led My Lord Away
State Fair/It's a Grand Night for Singing
When I Fall in Love
Let's Face the Music and Dance
Windmills of Your Mind
How Soon
Non Nobis Domine
Rhythm of Life
Kalinka
Sound an Alarm
Neapolitan Trilogy: It's Now or Never (Di Capua/Schroeder/Gold)/Mo ...
Turandot/Nessun Dorma
Christus Redemptor
Ann Evening's Pastorale

Album Details

Choirs Include the Morriston Orpheus Choir, the Pontadrddulais Male Voice Choir, the Caerphilly Male Voice Choir, the Cwrt-y-gollen Choir, the Treorchy Male Choir and the Lucknow Male Voice Choir.

Average customer rating:

Another supeb tenor.
The one.
A New Star voice
Quite Good
Promising debut by new lyric tenor

Italian Opera Arias

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Rolando Villazon - Gounod · Massenet Arias
Rolando Villazon: Opera Recital
Opera Recital [Includes Bonus DVD]
Verdi: La Traviata
Gitano

ASIN: B00018TIOA
Release Date: 2004-02-10

Tracks:

Lamento: E La Solita Storia
Recitativo E Romanza: Inosservato...Angelo Casto E Bel
Aria: Quanto E Bella
Aria: Una Furtiva Lagrima
Recitativo Ed Aria: Tombe Degli Avi Miei...Fra Poco
Aria: Il L'ho Perduta...Io La Vidi
Aria: Io L'ho Perduta...Io La Vidi
Aria: O Figli...Ah! La Paterna Mano
Scena Ed Aria: Ella Mi Fu Rapita...Parmi Veder
Canzone: La Donna E Mobile
Scena, Aria E Cabaletta: Lunge De Iei...De' Miei Bollenti...O Mio Rimorso
Aria: Che Gelida Manina
Aria: E Lucevan Le Stelle
Aria: Anche Tu Beppe Giungi...O Amore
Aria: Vergini, Muse...Quando Al Soave Anelito

Amazon.com

This is a glorious debut recital by a tenor, from whom, if he sings the right roles and keeps way from jet-setting and too much singing, might just be the lyrico-spinto tenor we've been waiting for. He has the class of Carlo Bergonzi and a ringing tone which is somewhere between Domingo's big, dark sound and Pavarotti's brightness; he sings with a true mezza voce (not a falsetto); he always obeys the composer's markings and delineates character. He seems incapable of vulgarity, refusing to gulp or sob when a musically expressive gesture will do. The opening aria here--from L'Arlesiana--is so beautifully, touchingly sung that it's a heartbreaker; he doesn't take the usually opted-for high note near the end, but never fear: in the Traviata and Bohème excerpts, Villazon offers big, whopping high Cs. This CD is a knockout; let's hope it's only the beginning of an illustrious career, both recorded and live. --Robert Levine

Customer Reviews:

Another supeb tenor........2007-05-13

We can be thankful that the old guard of the opera stage has been replaced by a trio of youthful artists. Villazon along with Calleja and Florez makes a great addition to the world of opera.

The one........2006-06-24

He's the real deal. Domingo-like burnished voice, great actor. Not just hype, he's genuinely worthy of all the praise.

A New Star voice.......2005-09-25

Rollando Villazon can't fail to impress a listener. He is an enourmous breath of fresh air for people waiting for a new generation of Opera superstars to emerge. Those somewhat dissapointed by the somewhat ncomfortable edge to Salvator Licitra's voice, may take refuge in the freshness of Villazon.
I don't really want to ruin the magic of his singing, with caddy comparisons, but it is sufficient to say that he excellent. Many compare his to Domingo, to that I would say that Villazon has an ease to his top that Domingo never had, but perhaps lacks the focus and thickness of Domingo's lower registers.
Overall what hits you most about Villazons performance, is the induviduality of his interpretations and voice. The top of his voice has a ring and tone that sets his apart from the pack.
To my ear, he sounds at his best in the Mid Period verdi, where the cut of voice come through in the long high-lying passage, (expecially the cut from Traviata,
Enjoy this incredible singer

Quite Good.......2005-05-26

A very promising debut album with some excellent burnished tenor sound. To the reviewer who went on and on about Mr. Villazon only being in his 20's -- I hate to burst your bubble, but he was born in 1972, which makes him 33! And, by the way, the age of the singer is not a "huge" advantage; let us remember that some of our greatest singers didn't come into their element until their 40's (e.g., Flagstad, Milanov...)

Promising debut by new lyric tenor.......2005-05-05

Rolando Villazon immediately made himself a name we should all watch out for, after his appearance on a NY City Opera telecast of Boheme, as Rodolfo. Since then he has become a regular artist in leading lyric roles at the Deutsche Oper Berlin, has sung two parts at the Met already, and obviously has much ahead for him. The voice itself has a number of virtues, evenness of tone across the different registers, and the ability to encompass long lines without taking unnecessary breaths and showing the control to taper many lines off softly. It has also taken on perhaps a prematurely dark quality, in contrast with what I remember of the La Boheme telecast.

This recital of Italian opera arias presents Villazon near the alpha of his career (one appearance as the Steersman on the Barenboim Flying Dutchman before, for Teldec) and the conductor at his omega - the just deceased Marcello Viotti, at the age of 52, who suddenly replaced Sinopoli in Berlin for the second of two performances of Verdi's Aida in 2001. Sinopoli had passed away at 54 the night of the first performance that weekend in Berlin.

On first impression, Federico's lament from Cilea's L'Arlesiana is taken too slowly, and yet from repeated listening to this disc, it is one of nearly half a dozen selections that contribute the most to making this an interesting recital. The lachrymose manner and delivery here, though, sets a little too much of an overall tone for the rest of the recital, including its several or so lighter numbers. Said to also be a Caruso favorite, the aria from Donizetti's Duca d'Alba is a real highlight as close to being Schubertian in feeling as some Verdi - as late into Verdi's work as Forza and Don Carlo. Villazon's singing here is as warmly ardent as you'll find anywhere on this disc, and his personal identification with the character of Don Carlo, several tracks later, is as complete as that of its best interpreters of the recent past, Placido Domingo especially.

The two Elisir d'amore selections are pleasant vocally, but too dark, especially the start to so many phrases of "Una furtiva." The remorse felt during the opening aria of the Tomb Scene from Lucia, after a slightly uncertain start, is entirely felt. Oronte's brief aria from Verdi's Lombardi is handled with an easy, pleasant swagger from both Villazon and Viotti, leading one to expect similar lightness in selections that soon follow, and which is not entirely forthcoming; the beginning of the recitative to "Parmi veder" from Rigoletto shows a palpable anxiety in this peculiar moment for the Duke in which he finds himself. Intonation falters momentarily at the end of this aria. "Ah! la paterna mano", after good recitative, gets pushed a little too forward, robbing the crest of several lines in it their full expressive potential. Contrast of expression between Alfredo's aria and cabaletta from Traviata is so minimal, almost to have been erased altogether; Viotti here, so deft and highly musical an accompanist he is for most of the rest of this disc, is similarly disengaged. Connecting music between aria and cabaletta and repeat of the latter both get awkwardly cut.

That leaves four verismo tracks for the remainder of this disc. Most distinctively sung is "E lucevan le stelle" from Tosca, but frequently quite close to sounding a copy of Domingo's interpretation. The honeyed placement for the top of the staff, once the voice takes on the melodic line, could hardly remind you of anyone else. "Che gelida manina" is also given a fine performance here, but begins to lose all consonants on a couple of words right before the ascent to the high C in the aria. After hearing Dino Borgioli and Cesare Valletti as Fritz, each more of a benchmark than Pavarotti, it is hard to identify the villager Fritz, from how disinteresed Villazon sounds. A slight cut is taken between two portions of recitative before Fritz's Act III aria. "Quando al soave anelito" from Mascagni's Nerone, obviously a rarity, is one for which I can only find a Domingo recital before. Here, the singing is fine, but the youthful sense of wonderment for Nero, in his vision of Venus, as wordly-wise a fellow he is, gets understated. Accompaniments to these four arias are mostly as fine as the others, but all come to abrupt endings, the endings of Boheme and Amico Fritz which lose all their shimmer here.

Much criticism here, but there is also much hope felt from listening to this disc, for a bright future for Mr. Villazon still. He is only seldom a conscientious and musical performer, but as opposed to what the liner notes might say, part of being musical in singing such selections or opera in general, is being specific for each character being portrayed here. Villazon should also take note that his singing is most interesting and also most easy to distinguish from his widely celebrated mentor, when he sings lightly. First impressions are strong - I first anticipated awarding this disc five stars - but unfortunately it just barely deserves four. Sound quality, if a bit heavily miked for climaxes and a bit recessed for the orchestra, especially at closings to arias, is warm and full.

Average customer rating:

OKAY, TAKE ME AWAY.
Great music...stunning recording quality
Incredible
Just Stunning!

Essential Verdi

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Essential Puccini
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The Most Famous Opera Duets
The #1 Opera Album

ASIN: B000056JSW
Release Date: 2001-02-13

Tracks:

Rigoletto: La donna e mobile - Luciano Pavarotti
Nabucco: Va pesiero - Chicago Symphony Orchestra
La forza del destino: Overture - Kirov Orchestra
La Traviata: Un di felice - Joan Sutherland
I Vespri Siciliani: Merce dilette amiche - Maria Chiara
La Traviata: Libiamo ne' lieti calici - Joan Sutherland
Il Trovatore: Di quella pira - Jose Carreras
Il Trovatore: Vedi! le fosche notturne spoglie - Chicago Symphony Orchestra And Chorus
Il Trovatore: Stride la vampa! - Stefania Toczyska
Aida: Ritorna vincitor! - Leontyne Price
Don Carlo: Dio che nell'alma infondere - Carlo Bergonzi
La Traviata: Prelude - Orchestra E Coro Del Maggio Musicale Fiorentino
Rigoletto: Caro nome - Joan Sutherland
Don Carlo: O don fatale - Olga Borodina
Aida: Se quel guerrier io fossi! Celeste Aida - Carlo Bergonzi
Emani: Ernani! Ernani involami - Joan Sutherland
Un Ballo in Maschera: Di tu se fedele - Jussi Bjorling
Un Ballo in Maschera: Morro ma prima in grazia - Margaret Price
Luisa Miller: Quando le sere al placido - Luciano Pavarotti
Aida: Gloria all'Egitto - Chicago Symphony Orchestra

Tracks:

Requiem: Dies irae - Wiener Philharmoniker
La forza del destino: Pace pace mio Dio - Angela Gheorghiu
Rigoletto: Questa o quella - Carlo Bergonzi
Rigoletto: Bella figlia dell'amore - Luciano Pavarotti
Otello: Ave Maria - Renee Fleming
La Traviata: Parigi o cara - Frank Lopardo
Macbeth: Ah la paterna mano - Luciano Pavarotti
Il Trovatore: Squilli echeggi la tromba guerriera - Chicago Symphony Orchestra And Chorus
Don Carlo: O Carlo ascolta - Dmitri Hvorostovsky
Requiem: Ingemisco - Luciano Pavarotti
Simon Baccanegra: Come in quest'ora bruna - Kiri Te Kanawa
Macbeth: Salve o Re! Si colmi il calice - Lucia Aliberti
Aida: O patria mia - Leontyne Price
I lombardi: La mia letizia infondere - Placido Domingo
Aida: Lo sguardo avea degli angeli - Montserrat Caballe
La forza del destino: Solenne in quest'ora - Nikolai Putilin
Macbeth: Patria opressa - Chicago Symphony Orchestra And Chorus
Il Trovatore: Tacea la notte - Katia Ricciarelli
I due Foscari: Dal piu remoto esilio - Odio solo ed odio atroce - Jose Carreras
Don Carlo: Spuntato ecco il di esultanza - Orchestra E Coro Del Teatro Alla Scala Di Milano

Customer Reviews:

OKAY, TAKE ME AWAY........2006-01-20

I don't know opera.

Last summer we had an incredible 20th anniversary trip to Italy. As a side trip from Venice, we planned a night in Verona. Neither my wife or I had been to an opera.

Is this how its supposed to be...

...an incredible star filled night with a three quarter moon, the largest stage and outdoor theatrical production on the planet, all taking place in a roman colleseum (arena) built in 180 a.d., an incredible colorful set and production with a full symphony orchestra and voices that don't come easy. Aida.

Now I know what all the hpye is as you opera fans sure are lucky to have such a beautiful setting for all your productions.

Okay, we got spoiled. But I also found myself getting spoiled on the Italian composer Verdi.

For me, this set is not only a "take me back to Verona" trip, but a great introduction to Verdi's other works. With some of the biggest names in the opera world in starring roles, I listened to both discs twice the first night they arrived.

And, of course, we are planning a return trip to Verona in the very near future to see some more Verdi...perhaps Nabucco or Otello or Macbeth...I'll even settle for Aida again. It was such a magical experience and a superb introduction to opera and Verdi.

This set continues that magical moment for us and provides a great introduction to a master of the opera...Verdi.

Great music...stunning recording quality.......2002-11-01

This is a marvelous compendium of Verdi's opera works that even the serious opera fan wouldn't turn his nose up at. These are the top contemporary soloists singing with first tier orchestras. When I saw the Decca label, I expected reasonable quality, but this disk is stunningly well engineered. Most of the vocals match the best jazz cds for immediacy and intimacy, and the orchestras are equally well done.

Incredible.......2002-06-05

I don't say incredible about too many things, but Verdi was the zenith of Italian Opera and Solti and the Chicago Symphony and the Vienna Philharmonic are the quintessential ensembles for modern classical performance. Not to mention that most of the voices showcased have their own lines of CDs (Pavarotti, etc.) This CD is the best Verdi album available, and it has EVERYTHING. BUY THIS CD!

Just Stunning!.......2002-01-26

In my opinion this recording is stunning. I am not usually a fan of compilations in classical music, as they're usually watered down representations made under the presumption that the listener would find the full-blown version intimidating or boring. This one, however, is not only an exception in my view, but a recording that deserves a high place of honor in every serious listener's collection. The representation of artists, both vocal and orchestral, is breathtaking and impressive for the span of years. A great big thank you to the people at Decca responsible for putting this collection together, as it is obvious to this listener that a great deal of thought and care went into looking for the most beautiful version of every piece on here. I have purchased two copies, one for home and one for the office, and have gotten two friends similarly hooked. I am also feverishly searching for more pairings of Joan Sutherland and Carlo Bergonzi. In the meantime, I'm on to Essential Puccini!!

Average customer rating:

Not as good as Amore
a voice teacher and early music fan
Verdi
The triumph of mediocrity
no expert

Andrea Bocelli: Verdi
Zubin Mehta , Israel Philharmonic Orchestra , and Zubin Mehta
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Release Date: 2000-09-12

Tracks:

Il Trovatore: Di quella pira (Il Trovatore)
Il Trovatore: Ah si, ben mio (Il trovatore)
Rigoletto: La donna e mobile (Rigoletto)
Un Ballo in Maschera: Di'tu se fedele (Un ballo in maschera)
Un Ballo in Maschera: Ma se m'e forza perditi (Un ballo in maschera)
Rigoletto: Ella mi fu rapita (Rigoletto)
Rigoletto: Possente amor mi chiama (Rigoletto)
Aida: Celeste Aida (Aida)
La Traviata: De' miei bollenti spiriti (La traviata)
La Traviata: oh mio rimorso (La traviata)
I lombardi: La mia letizia infondere vorrei (I lombardi)
Ernani: Merce, diletti amici (Ernani)
Don Carlo: Io la vidi e il suo sorriso (Don Carlo)
Luisa Miller: Quando le sere al placido (Luisa Miller)
La forza del destino: La vita e inferno all'infelice (La forza del destino)

Amazon.com Classical Music Reviews

With this CD devoted solely to operatic arias--by none less than Giuseppe Verdi, the greatest Italian opera composer of all time--pop crossover phenomenon Andrea Bocelli throws his hat into the operatic ring with the big boys. The hat occasionally fits, and occasionally it doesn't. The beauty of the voice is undeniable, as is the relative ease in all registers. But, regardless of what the engineers do, it is clearly a small voice. For "Celeste Aïda"--Radames's great aria from Aïda--Bocelli opens with fine, as-big-as-possible exclamation and sounds confident; the long diminuendo on the aria's final high B-flat is stunning (whether or not the engineers were twiddling with the knobs, we'll never know). The tenor is more at home with Alfredo's Act Two music from La Traviata; he sings with grace and charm, ending the rarely performed cabaletta (a brief and showy piece that usually follows an aria) with one of the longest, most solid high Cs ever recorded. Elsewhere, there are mixed results: "Di' tu se fedele" from Un ballo in maschera is so free of feeling that it seems digitally produced. A big, unnecessary high D at the close of the Duke's cabaletta "Possente amor" from Rigoletto is screamed, and Bocelli sounds at times as if he's about to collapse from exhaustion during a heavy aria from Ernani. But "Ah si, ben mio" from Il Trovatore is beautiful, as is the Luisa Miller aria; Don Carlo also seems to fit Bocelli well. Needless to say, the singer's fans will certainly want to have this--and it might encourage them to try other recordings of music by Verdi. Newcomers and the curious will find plenty to admire, too. The sound itself remains alluring, and Bocelli has taken steps also towards improving his technique. In short, some nice surprises for the opera lover, and many for the Bocelli fan. --Robert Levine

Customer Reviews:

Not as good as Amore.......2007-03-24

This CD came perfectly, I just prefer the Amore CD better.

a voice teacher and early music fan.......2007-02-14

It is said that from the age of eleven years, Guiseppe Verdi (1813-1901) wanted to write operas. He left his post as organist to study music in Milan, a move made possbile by his patron,Barezzi, whose daughter he eventually married in 1836. Shortly thereafter he composed his first opera 'Oberto" which was so successful that his future seemed secure. However, the death of his wife and two babies some time later forced him into a state of depression. The impressario Mirelli gave him the book 'Nabucco' (Nebuchadnezzar) to read, and he immediately began to write music for it. Therewith he embarked on the career which eventually made him the "Grand Old Man" of Italian opera. In modern slang, he was a "natural".From "Oberto", written in his twenties, to "Falstaff", completed when he was eighty, his characteristic integrity and intensity persisted; as he wrote his 30 operas, his powers of expression broadened and deepened. By the time he wrote 'Aida', commissioned by the Khedive of Egypt, Verdi was 56. 'Aida' is often named as his greatest opera. The live elephants used in the production, the authentic costumes and musical instruments copied from ancient Egyptian tombs made an attractive picture, and his music made a "Celeste Aida" of the whole.
Lets face it; Bocelli is no Pavoratti, and perhaps it was not wise to choose some of the arias associated with tenors of his ilk, but Bocelli makes the best of his talents, which are considerable. And he has done a lot to create interest among young voice students,(male) and as a voice teacher I make use of his appearance and his youthfulness to engage their interest, and he does that!!!!I think his record sales tell the tale.

Verdi.......2007-01-03

Excellent Verdi selections. As usual, top tonal quality with excellent breath control. The best tenor to come along with such diversification as to sing just about anything presented to him. A superb choice for the connoisseur of italian operas.

The triumph of mediocrity.......2006-02-04

No, Bocelli is not an awful singer, he is an awful OPERA singer, and it shows here. His colorless, uneducated and bland voice make me wonder why people like him so much. As a baritone in training I'm able to say that my voice teacher's STUDENTS sing much better than this guy.
His tessitura is nowere near adequate for singing any of the arias from Rigoletto, "La donna è mobile" sounds much like a kid would sing it. "Celeste Aida" is one of the worst selections, and one of the most electronically enhanced, as it requires a precise voice placement (which Bocelli doesn't posses) since much of it lies very high in the register, and a heavier, rounder voice; if the role is not adequate for many REAL tenors, it is much less adequate for a pop singer. The "feeling" raving reviewers talk about is nothing more than a voice coming (incorrectly) from the throat, and the "beautiful" high D in "Possente amor" is a beautifully screamed falsetto, the same could be said about "Di quella pira"'s C; what's amazing about all this is the fact that electronic enhancement doesn't make his voice sound better. Some have ludicrously compared him to the likes of Vargas, Domingo, and Corelli, even saying he's better; this is nothing more than ignorance and bad taste.
Maybe his fans are tired of detractors bringing out the big names in their defense, so let's be honest: he's one of the WORST opera interpreters out there, I wish great singers like Mariusz Kwiecen, Matthew Polenzani, and René Pape received the publicity he gets, though it won't happen; at least some consolation lies in the fact that these people are true artists willingly and GLADLY offering their art to the people in order to make a living; I'm sure if Andrea didn't make so much $$$$ with his opera experiment, he would've dropped this travesty long ago.

no expert.......2005-12-17

I'm not a genuine, dyed-in -the-wool opera fan. The sound of the soprano voice makes me grit my teeth. Some of the great tenors are very pleasing, but mostly I'm just not especially enthusiastic or impressed. Actually, I think it's rather stupid for good singers to abuse their voices by bellowing. This was necessary before the invention of amplification, but not any more.
So, obviously, I'm not in the position to compare Bocelli's arias to those of the tenors considered the greats. I can hear that his voice lacks the robustness of the Pavarottis of this world. BUT - I like many of the famous arias, and to my ear, Bocelli's performances, electronically enhanced or not, are melodic and pleasant to the ear. As a result of listening to Bocelli, I've become familiar with some great music that I would otherwise be likely to ignore.
So I listen and enjoy and really don't care about all the criticism.

Verdi: I Lombardi Alla Prima Crociata / Gavazzeni, Pavarotti, Scotto, et al

Average customer rating:

Great for Pavarotti fans but the rest....?
Good performance at low cost
Should also have been recorded in studio!
Marvelous company

Verdi: I Lombardi Alla Prima Crociata / Gavazzeni, Pavarotti, Scotto, et al
Gianandrea Gavazzeni , Luciano Pavarotti , Renata Scotto , Ruggero Raimondi , and Umberto Grilli
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Tracks:

Oh Nobile Esempio - Chorus Of The Rome Opera
A Te Nell'ora Infausta - Chorus Of The Rome Opera
Sciagurata! Hai Tu Creduto - Ruggero Raimondi
Tutta Tremante Ancor - Anna Di Stasio
Salve Maria! - Renata Scotto
Vieni! Gia Posa Arvino - Mario Rinaudo
E Dunque Vero! - Chorus Of The Rome Opera
O Madre Mia... La Mia Letizia Infondere... Como Poteva Un Angelo - Luciano Pavarotti
E Ancor Silenzio - Hermit
Sei Tu L'uom Della Caverna? - Umberto Grilli
Stolto Allah! - Chorus Of The Rome Opera
La Bella Straniera - Chorus Of The Rome Opera

Tracks:

O Madre Dal Cielo - Renata Scotto
Gerusalem! Gerusalem! - Hermit
Dove Sola M'inoltro... Teco Io Fuggo - Renata Scotto
Che Vid'io Mai? Si! Del Ciel Che Non Punisce - Umberto Grilli
Qui Posa Il Fianco - Renata Scotto
Qual Volutta Trascorrere - Renata Scotto
Componi, O Cara Vergine - Chorus Of The Rome Opera
In Cielo Benedetto - Luciano Pavarotti
Qual Prodigio... Non Fu Sogno! In Fondo All'Alma! - Renata Scotto
O Signore, Del Tetto Natio - Hermit
Al Siloe... Quali Voci! - Renata Scotto
Guerra! Guerra! - Chorus Of The Rome Opera
Questa E Mia Tenda - Umberto Grilli
Te Lodiamo - Chorus Of The Rome Opera

Customer Reviews:

Great for Pavarotti fans but the rest....?.......2006-08-16

Mediocre sound, not as good as some other contemporary Opera d'Oro releases, makes listening to this a bit of a trial and despite a thrilling performance from Pavarotti, the other two major singers are a mixed bag. Some of the supporting roles are frankly poor ( though Grilli's Arvino is neat and pleasing on the ear). Scotto displays astonishing technical skill and her coloratura is exciting but the fundamental quality of her sound is glaring and shrill, while Raimondo is rather dull and "woofy". The conducting is good, as is invariably the case with that seasoned campaigner, Gavazzeni. I prefer to stick with the clear sound of the Philips early Verdi edition conducted by Gardelli; Raimondi is clearer and more dramatic here, the young Domingo is in fine voice and Deutekom, despite some odd mannerisms, no more irritating or less accomplished than Scotto.

Good performance at low cost.......2005-01-11

Source: Live performance in Rome, 1969.

Sound: Pretty good for a live recording made 35-plus years ago. The audience is generally quiet. Coughs are muffled and outbursts of enthusiastic applause do not excessively overlap the music.

Format: Disc 1, Act I and most of Act II, 12 tracks, approximately 56 minutes. Disc 2, conclusion of Act II, Act III and Act IV, 14 tracks, approximately 67 minutes. Opera d'Oro is at its most perverse here. A single track, less than 11 minutes in length, starts off disc 2 with the end of Act II. Why it is not included on disc 1, where there is plenty of space to accommodate it, I cannot fathom.

Documentation: No libretto. Nothing on the performers, conductor or circumstances of the recording. Two short pages on the history of the opera and two pages devoted to a summary of the plot by act. The track listing does not identify who is singing, nor does it give timings.

"I Lombardi alla Prima Crociata" is Verdi's fourth opera and the follow-up to his great success with "Nabucco." It achieved considerable acclaim and became the first of his operas to be performed in the United States. His second opera, the excellent, Donizetti-inspired comedy, "Un giorno di regno." had inexplicably failed. For his fourth attempt, he took inspiration from a far more powerful composer, one G. Verdi. While "I Lombardi" is very much "Nabucco-lite," it is on the path that leads straight through "Ernani" to reach its apotheosis in "Il trovatore." Verdi, himself, was not happy with this opera. Years later he came back to it for a major re-write with a new libretto in French, creating "Jerusalem," which comes close to being an entirely separate work.

This set provides a good performance of "I Lombardi" by the Rome Opera. It features Renata Scotto, who offers the sort of all-out soprano assault on the Verdian heights that was common up to the end of the sixties and all too rare now. My wife thinks Scotto lets her vibrato get away from her in some of the harder-driving passages. I can't say that it bothers me at all.

Luciano Pavarotti was just about at his vocal prime when this recording was made and his voice is well-captured. For those unfamiliar with "I Lombardi," be forewarned that his character, Oronte, appears first in Act II and dies in Act III, thus leaving half the opera Luciano-free. His performance is basic Pavorotti 101. He sounds like a superstar tenor firmly placed downstage to stand and deliver. For all of you who love Luciano Pavorotti, this is just the sort of thing you'll adore. For myself, I prefer a tenor who can provide the impression that he might have some notion of the plot of the opera in which he is singing, but that is a matter of personal taste.

The third principal singer is Ruggero Raimondi, far the best of the three in this performance. His big, full, dark, focused voice is dramatically dead-on from beginning to end and he provides the backbone of the whole affair.

The orchestra and chorus are good enough, but not as well-captured sonically as the lead singers.

Gavazzeni's conducting is brisk and offers the kind of snap and crackle that fits this early Verdi work.

This is a good performance of "I Lombardi" at a bargain price and worth five stars to anyone not over-concerned with bells and whistles.

Should also have been recorded in studio!.......2002-08-07

I Lombardi may not be early Verdi's best opera but it certainly has some exciting moments. All studio recordings have flaws in my opinion. The Phillips Gardelli for example has Deutekom, whose vibrato is not always pleasing, and Domingo who is strong but not ideal for early Verdi operas. The more recent Levine recording is probably a safer choice but Pavarotti, though still impressive, has aged.

This live recording has everything one could ask for. A great conductor and three famous artists, all in their prime (1969). Many thought that this repertoire was too heavy for Scotto's instrument but she proved to be ideal! Her high notes are perfectly pitched and the audience certainly enjoys them! Moreover, she can be expressive and moving when needed. The young Pavarotti shines. I've also heard Carreras in the same role and I find Jose's interpretation warmer but Luciano with his high notes is also a miracle. Raimondi, with his authentic italian sound is a pleasure to listen to.

The sound quality is great. This is one of the ODO recordings defenitely worth having! Of course don't expect libretto or indication of time for each track...it's ODO, remember? Just enjoy this wonderful, legendary performance.

Marvelous company.......2001-09-10

It is rather difficult to find an opera with more tangled libretto. Offered interpretation is really miracle: You hear magic voices and cannot think about the subject. I am sure, it is impossible to image Giselda the best then Scotto. Dimitrova's performances of this party were very nice, but such sharmant and beauty are unavoidable for her voice. Scotto is great and I have not got any other comments for his masterpieces work. Pavarotti shows one of the best example of his vocal. Raimondi is marvellous as well. The best argument of my statements is terzetto in Finale III. It cannot be described. It is necessary to listen.
Gavazzeni is one of my favourite conductors and this performance is an excellent example of his style. It is a great pity he has not repeated his achievement in studio.

The Complete Recordings, 1902-1920 (Box Set)

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Get It While You Can
Essential edition for opera lovers

The Complete Recordings, 1902-1920 (Box Set)

Manufacturer: Naxos
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Bach: Cantatas, Vol. 22
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ASIN: B00030B92K
Release Date: 2004-11-23

Album Description

The Complete Caruso: Volumes 1 - 12

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

Todd Kosovich

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The Complete Caruso

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ASIN: B0001TSWQO
Release Date: 2004-11-09

Angela Gheorghiu & Roberto Alagna - Verdi per due

Average customer rating:

Verdian voices that love each other
Sensitive, compelling performances
A well presented and very listenable album

Angela Gheorghiu & Roberto Alagna - Verdi per due
Giuseppe Verdi , Berliner Philharmoniker , Claudio Abbado , Angela Gheorghiu , Roberto Alagna , London Voices , and Berlin Philharmonic
Manufacturer: Angel Records
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Roberto Alagna & Angela Gheorghiu - Duets & Arias
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ASIN: B00000DFNW
Release Date: 1998-11-03

Tracks:

E Dessa! ... Un Detto, Un Sol ... - Angela Gheorghiu
Ma Lassu Ci Vedremo - Angela Gheorghiu
Oh Belle, A Questa Misera ... - London Voices
All'Armi! ... Che Ascolto! - London Voices
Cielo Di Stelle Orbato ... - Angela Gheorghiu
Vieni A Mirar La Cerula - Angela Gheorghiu
Gia Nella Notte Densa - Angela Gheorghiu
Pensando A Me! ... E Dolce Raggio Celeste Dono - Angela Gheorghiu
Giovanna, Ho Dei Rimorsi ... - Angela Gheorghiu
E Il Sol Dell'Anima ... - Angela Gheorghiu
Che M'Ami, Deh, Ripetimi - Angela Gheorghiu
Addio! Speranza Ed Anima - Angela Gheorghiu
La Fatal Pietra Sovra Me Si Chiuse ... Immenso Ftha ... - London Voices
O Terra, Addio - London Voices
Qual Mare, Qual Terra Da Me T'Ha Diviso ... - Angela Gheorghiu
Qui Nel Bosco? Solinga? Smarrita? ... - Angela Gheorghiu
Lassu Risplendere Piu Lieta E Bella - Angela Gheorghiu
Miserere ... Quel Suon, Quelle Preci - London Voices
Libiamo, Ne' Lieti Calici - London Voices

Amazon.com

Today's most glamorous husband-and-wife opera team offer a recital in which energy and enthusiasm more than compensate for lack of polish. Seldom do artists on a studio recording throw themselves into each "scene" as if they were onstage actually performing an opera, as these two do here. Abbado and the Berlin are second to none when it comes to accompanying Verdi, and when needed, extra soloists and chorus are included to complete the production. Although a number of Verdi's most famous moments are included, lesser-known music (e.g., I Lombardi and I Masnadieri) proves equally challenging and dramatic. Fine sound, from the Jesus Christus-Kirche in Dahlem (Berlin). --Paul Turok

Customer Reviews:

Verdian voices that love each other.......2003-12-09

Although French tenor Roberto Alagna and Romanian soprano Angela Gheorghiu are each formidable artists in their own right, when they sing together they create something truly extraordinary. Much of this is no doubt due to the couple's real-life marriage, although even many operatic married (or otherwise romantically involved) couples rarely give the sense that their voices and artistries are 'married' the way these two do. Their voices are just astonishing - his warm earth and sun darkening into bronze, hers melting sweetness and starlight. Even more important is their musical sensitivity and complete immersion into the drama. All these qualities make Alagna and Gheorghiu ideal Verdi interpreters even if their voices are smaller and more lyric than what many would think of as right for the composer. To put the icing on the cake, the singers have Claudio Abbado's magisterial support in the pit, full of authority, imagination, finesse and sensitivity.

The disc begins with the final Carlo-Elisabetta duet from 'Don Carlo'. This is my favorite opera and I believe that the 'ma lassu ci vedremo' section which concludes this selection is one of Verdi's greatest inspirations. Needless to say, I am extraordinarily picky about the way it is performed, and it is glorious - full of sublimated passion and pain, tenderness and resignation. The title role (in French) is already one of Alagna's greatest stage and recording triumphs, and Gheorghiu is so musically and dramatically intense that you would never believe she learned the duet at Abbado's suggestion 3 days before the recording!

Best of all, however, is the great love duet from 'Otello'. Never before have I heard this music sung so beautifully or with such tenderness and nuance, the lyric voices really making the romance between Otello and Desdemona believable. Admittedly this is probably the most lyric section of the score, and whether Alagna is up to the some of Otello's big outbursts, even in a small theater, is debatable, though Gheorghiu is an ideal Desdemona. Still, Alagna's astonishing pianissimo swell on 'Vien, venere splende' is alone worth the price of the entire disc. No less fine is the ravishing high note with which Gheorghiu ends the scene from 'Simon Boccanegra', where the singers easily go from tender serenade to dramatic urgency to seductive radiance.

The Tomb Scene from 'Aida' is also very effective, although it is true that Gheorghiu's is a more lyric voice than I would like for Aida, her excellent recording of 'O patria mia' on her 'Verdi Heroines' album notwithstanding. Alagna is about as light as I would go for Radames, but as it is really a spinto and not a true dramatic role, he copes very well, darkening his tone. Both artists, as usual, are totally alert to the drama, and this makes up for them possibly having the 'wrong' voices. I only wish this pair of lyric singers could have sung the final B flat in 'si schiude il ciel' pianissimo, as did Zinka Milanov and Jussi Bjorling - I believe Gheorghiu obliges and Alagna doesn't.

Another real treat is the rarities - how many 'love duet' albums include scenes from 'I Lombardi', 'I Vespri Siciliani' or 'I Masnadieri'? Again, all so marvelously sung - especially the rousing cabaletti - that we are convinced these are by no means the 'lesser' works that many critics claim, although it is a pity that the 'Vespri' selection isn't in the original French.

Turning back to more familiar music, having heard Alagna sing the Duke in 'Rigoletto' first at the Met under the flaccid Carlo Rizzi and then on the Sony recording under the hard-driving, pedantic Riccardo Muti, I was delighted to hear how fresh-voiced, dashing and impetuous he sounds in 'E sol dell'anima' here. Clearly all he needs is the right conductor! Gheorghiu's voice is a bit more mature than most people would think of for Gilda, but fully conveys her longing for her lover and her growing sexual awareness. The 'Miserere' from 'Il Trovatore' is also splendid, although not quite as intense as the version on their complete recording. A spirited and ravishing rendition of the famous drinking song from ýLa Traviataý brings the disc to a delighful close.

Besides the luxurious support of the Berlin Philharmonic (as Gheorghiu put it in an interview, 'the Rolls Royce of orchestras'), London Voices makes a splendid choral contribution in their four selections. There is also excellent work from contralto Sara Mingardo, better known in baroque repertory, as Giovanna and Amneris, as well as from the singers who take on Ceprano and Borsa in the 'Rigoletto' excerpt.

The documentation has full texts and translations plus excellent notes written by British voice maven John Steane, who points out the considerable musical and dramatic variety that exists among love duets, even ones written by the same composer. Unfortunately, there is no biographical information at all of any of the artists, let alone typical CD gush (so much for 'the overhyped Alagnas'!). The pictures in the booklet's interior are wonderful, with the couple relaxing in a Berlin park, but the cover's attempt to be 'romantic' is hokey - they look like airbrushed mannequins.

As with most of their other operatic recordings, Alagna's and Gheorghiu's work here is a must listen to anyone who cares about this music or the human voice. You will rarely hear this music served so well by contemporary artists. It turns out this disc is essential for a less pleasant reason as well - I have just read the horrible news that EMI has decided not to continue making studio opera recordings, making it extremely unlikely that we will ever hear Alagna and Gheorghiu together in this repertory on disc again. What a tragedy not only for the singers but also for Verdi, and all the more reason to cherish the beauty we have here.

Sensitive, compelling performances.......2003-06-09

Mr. and Mrs. Alagna sound wonderful in this collection of Verdi duets. The case can be made that Alagna is a lyric tenor, and shouldn't be singing the dramatic roles like Otello and Radames, however, he brings a pleasant, warm tenor that when needed, rises in plangency to the demands of the moment. In the future, he may indeed expand to become a dramatic tenor. In any case, his singing is in no way lacking. Angela Gheorghiu has already reached the status of compelling Verdian soprano, in my mind. She sings with drama, force, and elan.
The duets from I Lombardi and I Masnadieri are particularly nice, as they are not often heard. Bravos all around to Abbado and the Berliner as well.
This is a thoroughly enjoyabled disc.

A well presented and very listenable album.......1999-10-25

Since I first listened to Alagna and Gheoghiu I have always felt that Gheorghiu is the superior artist of the two. This album is presented with gusto and enthusiasm. Both are putting their souls into the music, although Alagna can be a bit brash at times, not unlike Del Monaco a few years ago. In Rigoletto it sounds more like intended rape than seduction! The duet from Otello is beautifully done - it could well be one of their future complete recordings. Overall a well recorded album with favourites as well as lesser known selections. Well worth the buy for admirers of the singers.

Average customer rating:

A Portrait of Pavarotti

Manufacturer: Decca
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

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

Classical | Box Sets | Stores | Music

The Decca Records Store | Specialty Stores | Music
ASIN: B00005OLDD
Release Date: 2001-09-18

Tracks:

La Boheme: Che Gelida Manina
La Boheme: O Soave Fanciulla - Luciano Pavarotti/Rolando Panerai/Mirella Freni
La Boheme: In Un Coupe... O Mimi, Tu Piu Non Torni - Luciano Pavarotti/Rolando Panerai
Madama Butterfly: Bimba, Bimba, Non Piangere - Luciano Pavarotti/Mirella Freni/Christa Ludwig
Madama Butterfly: Viene Le Sera - Luciano Pavarotti/Mirella Freni/Christa Ludwig
Madama Butterfly: Vogliatemi Bene - Luciano Pavarotti/Mirella Freni
Madama Butterfly: Addio Fiorita Asil - Luciano Pavarotti/Robert Kerns
Manon Lescaut: Ma Si Vi Talenta... Tra Voi Belle
Manon Lescaut: Donna Non Vidi Mai
Manon Lescaut: Presto! In Fila... No, No Pazzo Son! - Luciano Pavarotti/Frederico Davia/James Courtney/Metropolitan Chor
Tosca: Recondita Armonia
Tosca: Mario! Mario! Mario! - Luciano Pavarotti/Richard Van Allen/Mirella Freni
Tosca: Or Lasciami Al Lavoro - Luciano Pavarotti/Mirella Freni
Tosca: E Lucevan Le Stelle
La Fanciulla Del West: Che'ella Mi Creda
Turandot: Non Piangere Liu... Ah Per L'Ultima Volta - Luciano Pavarotti/Montserrat Caballe/Nicolai Ghiaruov/Tom Krause/Pier Francesco Poli...
Turandot: Nessun Dorma! - Luciano Pavarotti/John Alldis Chor

Tracks:

I Lombardi: La Mia Letizia Infondere
Macbeth: O Figli Ah, La Paterna Mano
Luisa Miller: Il Foglio Dunque! - Luciano Pavarotti/Fernando Pavarotti
Luisa Miller: Quando Le Sere Al Placido
Rigoletto: Questa O Quella
Rigoletto: Ella Mi Fu Rapita... Parma Veder
Rigoletto: La Donna E Mobile
Il Trovatore: Quale D'armi Fragor - Luciano Pavarotti/Joan Sutherland
Il Trovatore: Ah Si Ben Mio - Luciano Pavarotti/Joan Sutherland/Graham Clark
Il Trovatore: L'onda De'suoni Mistici - Luciano Pavarotti/Joan Sutherland/Graham Clark
Il Trovatore: Di Quella Pira - Luciano Pavarotti/Joan Sutherland/Graham Clark/London Opr Chor
La Traviata: Libiamo (Brindisi/Drinking Song) - Luciano Pavarotti/Joan Sutherland
La Traviata: Lunga Da Lei... De' Mici Bollenti Spiriti - Luciano Pavarotti/London Opr Chor
Un Ballo In Maschera: La Rivedra Nell'Estasi - Luciano Pavarotti/Kathleen Battle/Robert Lloyd/Malcolm King
Un Ballo In Maschera: Di Tu Se Fedele - Luciano Pavarotti/Kathleen Battle/Robert Lloyd/Malcolm King
Un Ballo In Maschera: Forse La Soglia... Ma Se M'e Forza Perderti
La Forza Del Destino: Fratello
Aida: Celeste Aida
Aida: Pur Ti Riveggo - Luciano Pavarotti/Maria Chiara
Requiem: Dies Irae: Ingemisco
Otello: Gia Nella Notte Densa - Luciano Pavarotti/Kiri Te Kanawa

Tracks:

Don Giovanni: Dalla Sua Pace
L'Elisisr D'Amore: Una Furtiva Lagrima
I Puritani: A Te, O Cara - Luciano Pavarotti/Nicolia Ghiaaurov/Giancarlo Puccardi/Joan Sutherland
Martha: M'appari
L'Africaine: O Paradiso
Carmen: La Fleur Que Tu M'avais Jetee
Werther: Pourquoi Me Reveiller
Fedora: Amor Ti Vieta
Cavalleria Rusticana: Mamma, Quel Vino E Generoso - Luciano Pavarotti/Ida Bormida/Julia Varadyy
Pagliacci: Vesti La Giubba
Mattinata
Soiree Musicales: La Danza
Return To Sorrento
Core 'N Grato
Rondine Al Nido
Mamma
Funiculi Funicula
Non Ti Scordar Di Me
La Mia Canzone Al Vento
O Sole Mio

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