Alla Romanza

Track Listings

1. Canon in D

2. Andante

3. Andante in em

4. Adagio Concerto in D

5. Allegro

6. Andante

7. Allegro

8. Greensleeves

9. Clair de Lune

10. Gymnopedie #1

11. Pavan Op. 50

12. Romance Op. 17 #3

13. Nocturne Op. 9 #2

14. Ave Maria

Editorial Reviews
Album Description
Some of the World's favorite romantic classics in sparkling renditions with the guitar artistry of Terrence Farrell accompanied with flute, mandolin and keyboards.

Tracks:

Son in F: Adagio - Tracy Scott Silverman & Thea Suits-Silverman
Con in C, 'Elvira Madigan': Andante - Henry Adam Curtis
Zaide: 'Ruhe Sanft' - Richard Schoenherz
Requiem: Lacrymosa - Steve Erquiaga
Con in A: Adagio - Val Gardena
Cosi Fan Tutte: 'Love So Sincere' - Eugene Friesen
Ser No. 13 in G, 'Eine Kleine Nachtmusik': Romanza - Modern Mandolin Quartet
Con in E: Adagio - Chris Botti
Adagio for Glass Harmonica - Todd Boekelheide
Son in A: Rondo - Bela Fleck
Ser No. 12 in c: Andante - Paul McCandless
Rondo In a - Philip Aaberg
Ser No. 10 in B flat: Adagio - Tim Story

Customer Reviews:

Quirky Mozart album winds up charming me.........2006-12-24

This is definately not your grandfather's versions of Mozart. The artists change up the instrumentation and creatively put new life in such classics of "Elvira Madigan", "Ruhe Sanft" and "Eine Kleine Nachmusik". Good enough for a listen if you want to hear someting new.

Original Mozart Style.......2003-04-05

i receive this cd form amazon.com, i love the first clip, the arranged for the music of Mozart are beautyful, very inspirational, nice version of very artist like Bela Fleck, his version of this sonata are magnificent, very original, and other way to hear mozart music, maintenance the essential of the music author, buy this Cd if you love the classic music, and the jazz music same, the fussion are excellent and for sleep moment is nice hear this album

Mozart as you never heard it before........2002-06-14

Just when you think there is nothing more that can be done with Mozart, along comes this album. The interpretations are so fresh and different that I felt I was relearning Mozart. I think he would be very proud.

A Different Mozart -- The right title for a delightful CD........1999-12-16

If you love Mozart, try this album. Interpreters such as Bela Fleck give us a chance to appreciate the enduring beauty of the music, and all of the selections are beautiful in their own way. Each of the pieces is too short for my taste, but that does allow for many different interpreters on the CD. I'll definitely buy the follow up to this album.

This More-zart CD should be 10 stars out of five........1999-08-07

I have been listening to this CD for quite a while and I still like it. It never bores me. First, the transcriptions are done ingeniusly. Second, all the works are done by different musicians and thus the the play styles are all different. This is really QUITE A DIFFERENT More-zart. For example, Ruhe Sanft is an aria in 3/4, but it is beautifully transcribed in 4/4. At first listening, I didn't know what it was, but it sounded like I heard it before, and I couldn't figure it out. Only after I checked the song list and tried second careful listening, I was able to be aware that it was indeed "Ruhe Sanft mein holdes Leben". Every piece in this CD is beatiful. I am sorry that I can give only five stars. I will definitely give it 10 starts out of five. I wish there would be "A Different Mozart II".

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.

Bottesini;Music for Double Bass & Piano Vol.1

Average customer rating:

Tuning aside....
Is just a matter of tunning?
Buy this CD
bottesini is better than mozart
Virtuosic however flawed

Bottesini;Music for Double Bass & Piano Vol.1
Joel Quarrington , and Andrew Burashko
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Bach Unaccompanied Cello Suites: Performed on Double Bass
Giovanni Bottesini: Double Bass Concerto
Tarantella
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Meyer & Bottesini Concertos

ASIN: B0000014FZ
Release Date: 2000-10-06

Tracks:

Elegy in D, No. 1
Allegro Di Concerto, 'Alla Mendelssohn'
Melodia
Bolero
Elegy No. 3, 'Romanza Drammatica'
Introduction and Gavotte
Capriccio di Bravura
Elegy No. 2, 'Romanza Drammatica'
Allegretto Capriccio
Rrie

Customer Reviews:

Tuning aside...........2006-04-01

We can debate the merits of the tuning in 5th all day, but what's important is the music, and Quarrington's tone and his interpretation are both wonderful. This album belongs in the collection of every double bassist, certainly, and probably in the collection of every fan of string music as well.

Is just a matter of tunning?.......2004-04-19

I think that double bass technique is much more wide than a change of tunning, specially if you think that (for example)the 90% of the Elegie in D is played in ONLY ONE string. I think that other technical matters(Bow driving, fingering, vibrato)and musical matters(knowledge of Bottesini's language in relation to the instrument's possibilities) allow performers to make the audience forget about the instrument and enyoy this pure, simple and passioned music. This was what Bottesini did in his time; he could SING whith his instrument. Bottesini's playing was very close to "Belle Canto Italiano", he was a lover of the opera (his mother was a soprano and he was a close friend of Giusseppe Verdi). In my opinion Rinat Ibragimov is who is closest to this human, warm, passioned voice. I think that we must listen to all versions of Bottesini's works and discuse about these matters. Thanks.

Buy this CD.......2004-02-17

I am baffled at the conclusions of an earlier reviewer, for reasons of both historical innacuracy as musical ignorance. It is, first of all, a relatively modern idea that the bass must be tuned solely in fourths. The instrument, a descendent of the extinct "bass violion" (not the violone as is commonly misconcieved) was originally tuned in fifths, and players such as Dragonetti often experimented with their tunings. Regardless, this is still a bass--by tuning in fifths Quarrington has created such a sound more beautiful than Karr, Badila, or Levinson (ugh) could ever achieve. Secondly, music is not history, and therefore is not bound by "historical correctness." How can progress (like the music Joel has published here) ever be made without altering precendents? Joel often uses the solo tuning key (the key Bottesini intended)anyway--it is actually "incorrect" to play the music in orchestra tuning, if such a distintion must be made.

My point is that this is the new level of bass playing. Buy this cd.

bottesini is better than mozart.......2003-03-06

I'M Spanish and i don't speak very well english. I think bottesini is the best composer in the world. In this CD Joel Quarrington is fantastic, but Andrew is normal. This songs "expresan"(in Spanish) very much things. The first time I listen this CD I don't like it very much, but now I'm amazed. I play the double bass, and "insisto" Joel Quarrington is fantastic. I'm ungry because doesn't exist the Vol 2 of Bottesini music.

Virtuosic however flawed.......2002-07-07

Taking nothing away from Joel, this CD is technically as close to perfection as one could wish for. His playing has a warm appealing tone.

However, it's not a TRUE bass sound is it?, after all, he plays on an instrument tuned in 5ths, not 4ths, and this results in the need to alter the key of the music - meaning it isn't historically correct.

Virtuoso bassists such as Badila, Levinson and the great Gary Karr play these pieces much more convincingly, and much more musically, and although they may not appear on the cheap labels, they are a worthwile find.

Album Description

The Complete Caruso: Volumes 1 - 12

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

Todd Kosovich

Average customer rating:

The Complete Caruso

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001TSWQO
Release Date: 2004-11-09

Average customer rating:

Music For Reading

Manufacturer: Classical Heritage
ProductGroup: Music
Binding: Audio CD

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Tracks:

The Four Seasons: Spring: Allegro
Air On The 'G' String
Brandenburg Concerto No. 5: Allegro
Canon In D
Jesu, Joy Of Man's Desiring
Eine kleine Nachtmusik: Allegro
'Moonlight' Sonata: Adagio Sostenuto
String Quintet In E Major, Op. 13, No. 5: Minuet
Nocturne In D-Flat Major, Op. 27-2
Trois Gymnopedies: Lent et Douloureux
Nocturne In G Major Op. 37-2
Adagio For Strings

Tracks:

Brandenberg Concerto No. 3: Allegro
Royal Fireworks Music: La Rejouissance
Messiah: Hallelujah Chorus
La Mer: From Dawn Until Noon On The Sea
Lieutenant Kije: Troika
Symphony No. 4: Introduction
Polovtsian Dance No. 17: Excerpt - Borodin
On The Beautiful Blue Danube: Excerpt
The Nutcracker: Waltz Of The Flowers
Pictures At An Exhibition: Promenade
Lohengrin: Prelude - Wagner
Symphony No. 9, 'From The New World': Largo
William Tell Overture: Finale
Piano Sonata No. 2 in B-flat minor, Op. 35: Funeral March
Nocturne In G Minor, Op. 37-1

Tracks:

Xerxes: Largo
Bassoon Concerto In B-Flat Major: Andante Ma Adagio
Impromptu In F-Sharp Major, Op. 36
'Emperor' String Quartet, No. 3: Poco adagio
Waltz No. 3 In A Minor, Op. 34, No. 2
Nocturne In C-Sharp Minor, Op. 27-1
Egmont: Overture
Cavalleria Rusticana: Intermezzo
'Water Music' Suite: Alla Hornpipe
Adagio For Strings And Organ
Orchestral Suite No. 2: Minuet And Badinerie
Concerto For Two Violins And Orchestra: Vivace
Oboe Concerto: Adagio
Prelude And Fugue In C Major

Tracks:

Claire de Lune
Piano Concerto No. 21: Andante ('Elvira Madigan' Theme)
Pavan For A Dead Princess
Pathetique Sonata: Adagio Cantabile
Prelude No. 15 In D-Flat Major
Arabesque No. 1
Nocturne
Thais: Meditation
The Afternoon Of A Faun: Prelude
Fur Elise
Peer Gynt: Dawn
Horn Concerto No. 2 In E-Flat Major: Andante
Horn Concerto No. 3 In E-Flat Major: Romanza
Clarinet Concerto In A Major: Adagio

Average customer rating:

Classics at the Movies: Drama

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B00004TC42
Release Date: 2002-01-01

Tracks:

Theme From Schindler's List - Williams
Bouree - Schindler's List - Wolfgang Rubsam
Barcole - Life Is Beautiful - Offenbach
Romanza - The Truman Show - Idil Biret
Turkish March - The Truman Show - Jeno Jando
Romance D'Amour - Forbidden Games - Norbert Kraft
Pilgrims' Chorus - Meeting Venus - Slovak Philharmonic Choir
Adagio Un Poco - Dead Poets Society - STEFAN VLADER
Allegro-Andante - Dead Poets Society - Handel
Adagio For Strings - The Elephant Man - Barber
Moment Musical No. 2 - Au Revoir Les Enfants - Jeno Jando
Stars And Stripes Forever - Bulworth - Sousa

Figlia Del Reggimento / Emilia Di Liverpool

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Figlia Del Reggimento / Emilia Di Liverpool
Donizetti , Moffo , Campora , Sutherland , and Mannino
Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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Auber: Fra Diavolo; Donizetti: La Figlia del Reggimento

Average customer rating:

FASCINATING: DISCOVER A RARELY PLAYED GEM
Four High C's?

Auber: Fra Diavolo; Donizetti: La Figlia del Reggimento

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B000BO0GQ8
Release Date: 2006-01-10

Tracks:

Ouverture
Introduzione: 'Del vin Giu Tracanniamo'
Quintetto: 'Qual Chiasso!'
Strofe: 'Quell'uom Dal Fiero Aspetto'
Terzetto: 'Del Capitan Alla Salute!'
Duetto: 'Bellissima Miledi'/Terzetto: 'Ah! Bravi! Bravi! Bravi!'
Finale I: 'Ascoltate!'/'Che Vuol Dir Questa Marcia Guerriera?'
Recitativo Ed Aria: 'Domani Il Rito Sara Compiuto-Gia Per La Danza'
Terzetto: 'Andiam, Mia Moglie, A Riposare'
Barcarola: 'Agnese La Zitella, Si Giovin Come Bella'
Aria E Scena: 'Si, Domani Noi Sarem Marito E Moblie'
Finale II: 'Non sarebbe Prudente Investigar'
Intermezzo, Recitativo Ed Aria: 'Ho Rivisto Gli Amici-Seguir Vegg'io I Miei Colori'
Coro: 'De' Fiori E Questa-O Santa Vergine'
Interludio-Tarantella (Saltarella)
Finale III: 'Andiam, Andiam, Fanciulle Belle'/'Vittoria! A Te Si Renda Onore'

Tracks:

Sinfonia
Introduzione: 'Silenzio, Silenzio! Destrezza Ed Ardir!'
Duetto: 'Eccola Qua... Cospetto S'e Gentile!'
Recitativo E Cavatina: 'Eccomi Finalmente-Feste? Glorie? Omaggi? Onori?'
Recitativo: 'Ho Piacer D'Esser Teco Senza Alcun Testimonio'
Coco E Soli: 'Andiam, Andiam! Il Bravo Non C'e Da Far'
Recitativo E Duetto: 'A Viva Forza L'Han Condotto Via'/'Che? Voi M'Amate?'
Recitativo: 'Corpo D'Uno Spingardo!'
Coro: 'Rataplan, Rataplan, Rataplan'
Cavatina: 'Amici Miei, Che Allegro Giorno!'
Scena E Romanza: 'Suo Padre Me L'Accorda'/'Convien Partir, O Miei Compagni D'Arme'/Finale I
Introduzione
Recitativo: 'Ecco Le Carte Che Il Notaro Invia'
Terzetto: 'Sorgeva Il Di Del Bosco In Seno'
Recitativo: 'Giusto Voi, Capitan'
Aria: 'Le Ricchezze Ed Il Grado Fastoso'
Terzetto: 'Stretti Insiem Tutti Tre, Qual Favor!'
Recitativo: 'Che Vedo! Un Ufficiale!'/Tirolese
Finale II: 'Giusto Ciel! Quali Grida!'

Customer Reviews:

FASCINATING: DISCOVER A RARELY PLAYED GEM.......2006-11-03

I completely disagree with the previous reviewer. I found this CD extremely enjoyable. These are really abridged versions of both operas: Auber's Fra Diavolo (in italian, originaly in French) and Donizetti's La Figlia del Reggimento (in Italina, though orignal also in French).
First of all, even though "La Figlia" was written originaly in French (Le Fille du Regiment), until 2 or 3 decades ago it was mostly known and played in the Italian version. The French version has been appearing more often since the 60s and 70s, a great example of the French opera comique, a form mastered by Donizetti.
Auber's Fra Diavolo was an amazing discovery for me. Auber was one of the most popular composers in 19th Century Paris. His operas are very lively and beautifully melodic He was a master of the opera comique format, and even of french grand opera (his 'La Muette de Portici' is considered the first well-defined example of the grand opera form). Fra Diavolo can be compared with Rossini's comic operas, only that in a french style. The arias and ensembles are richly melodic and quite interesting. The opera made me a fan of Auber, and made me find out more about his work. I was only familiar with "la Muete" (a serious opera). But he might have been better suited for the "opera comique" format. 'Manon Lescaut', 'Le Domino Noir', 'Le Cheval de Bronze' are just a few examples of his comic operas. They are gems that in recent decades have been rediscovered and good recordings of them do exist (available here on Amazon).
I would really recommend any fan of Rossini, Donizetti and other composers of opera buffa to buy this CD. Do get it, give it a chance. It will introduce you to a new and just as fascinating comic opera form. It is fascinating to notice the influence of Rossini and italian opera buffa in general, but then you can also tell that they are also very french at the same time. Just like me i am sure you will end up being a fan of french oprea comique, and maybe even also exploring other of the opera comic composers, such as Adams, Offenbach, Messager, Boieldieu, Gretty and many more.

Four High C's?.......2006-03-07

If you want a very truncated version of Donizetti's "Daughter of the Regiment" sung in Italian (original is in French), with the famous tenor aria, which should contain 9 high C's, cut in half (thus only 4 high C's are sung) then by all means get this two CD set.....but why would you? I wouldn't even call this a highlights CD, as so many of the selections are truncated. Despite some nice singing and orchestral playing, this recording is to be avoided. Not the genuine article. Oh yeah, there also is Auber's "Fra Diavolo" on disc one if you care....I didn't.

Average customer rating:

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Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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ASIN: B0006TPDY8
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