Storia

Track Listings

1. Prelude and Fugue in B-flat Minor, BWV 867 from The Well-Tempered Clavier, Book I: Prelude

2. Fugue

3. Johannes Brahms Ballades, Op. 10: No. 1 in D minor

4. No. 2 in D major

5. Alberto Ginastera Sonata No. 1, Op. 22 (1952): I. Allegro marcato

6. II. Presto misterioso

7. III. Adagio molto appassionato

8. IV. Ruvido ed ostinato

9. Sergey Prokofiev: Romeo Bids Juliet Farewell from Ten Pieces for Piano from Romeo and Juliet, Op. 75

10. Enrique Granados: Quejas ó La Maja y el Ruiseñor (Laments or The Maiden and The Nightingale) from Goyescas

11. Angelo della Picca (b. 1923): Rondo Capriccioso

Editorial Reviews
American Record Guide (January/February 2004)
"...it’s when Amalong gets to Ginastera’s splendid First Sonata that he really cuts loose...particularly dazzling..."

Musicweb UK, January 2004
"Beautifully played piano music featuring a remarkable Ginastera Op. 22 ... Pianist Amalong is a virtuoso of the first order"

Album Description
Recital of works ranging from J.S. Bach to Angelo della Picca. Pianist Philip Amalong. Enhanced CD.

Storia

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

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All Blowout Music | Blowout Music | Stores | Music
Similar Items:

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:

The Very Best of Giuseppe di Stefano

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

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Italian | Languages | Opera & Vocal | Styles | Music
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The Very Best of Franco Corelli
The Very Best of Beniamino Gigli
Giuseppe Di Stefano Sings Neapolitan Songs
Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
The Very Best of Nicolai Gedda

ASIN: B0000A5BXQ
Release Date: 2003-09-02

Tracks:

Addio, Mignon
Ah! Non Credevi Tu
Io Son Solo...Ah! Dispar, Vision
E La Solita Storia (Lamento Di Federico)
Lunge Da Lei...De' Miei Bollenti Spiriti
Fra Poco A Me Ricovero
Tu Che A Dio Spiegasti L'Ali
Son Gia Lontani!...Corre A Valle
Intanto Amici Qua...Viva Il Vino Spumeggiante
Mamma, Quel Vino E Generoso
Recondita Armonia
E Lucevan Le Stelle
Dovunque Al Mondo
Addio, Fiorito Asil
Recitar!...Vesti La Giubba
La Vita E Inferno...O Tu Che In Seno Agli Angeli
Una Parola Sola...Or Son Sei Mesi
Ch'ella Mi Creda Libero
Avete Torto!...Firenze E Come Albero
Non Piangere, Liu
Nessun Dorma

Tracks:

Questa O Quella
Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
La Donna E Mobile
Ah Si, Ben Mio
Di Quella Pira
Di' Tu Se Fedele
Teco Io Sto...Non Sai Tu Che Se L'Anima Mia...Oh, Qual Soave Brivido - Maria Callas
Forse La Soglia Attinse...Ma Se M'e Forza Perderti
Che Gelida Manina
In Un Coupe?...O Mimi, Tu Piu Non Torni - Rolando Panerai
Donna Non Vidi Mai
Oh, Saro La Piu Bella - Maria Callas
No! Pazzo Son! Guardate!
A La Barcillunisa
Cantu A Timuni
'O Sole Mio
Marechiare
Core 'Ngrato
Torna A Surriento

Average customer rating:

Voice of the 20th Century..
The OTHER essential Bjoerling CD; 10 stars! 20!

Jussi Bjorling: Opera Arias
Giacomo Puccini , Umberto Giordano , Francesco Cilea , Giacomo Meyerbeer , Charles Gounod , Jules Massenet , Friedrich von Flotow , Gioachino Rossini , Nils Grevillius , and Jussi Bjorling
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | 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

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Jussi Björling: Opera Arias

ASIN: B000002S05
Release Date: 2002-11-05

Tracks:

Act II: 'Una furtiva lagrima': L'Elisir d'Amore
Act III: 'Ah! si ben mio coll'essere': Verdi: Il Trovatore
Act I: Di tu se fedele': Un Ballo in Maschera
Act I: 'Se quel guerrier': Aida
Act I: 'Recitar!...Vesti la giubba': I Pagliacci
Act I: 'Che gelida manina': La Boh
Act I: 'O soave fanciulla': La Boh
Act I: 'Recondita armonia': Tosca
Act Three: 'E lucevan le stelle': Tosca
Act Three: 'Ch'ella mi creda libero': La Fanciulla del West
Act Three: 'Nessun dorma!': Turandot
Act Three: 'Amor ti vieta': Fedora
Act II: 'E la solita storia': L'Arlesiana
'Mi batte, il cor... O paradiso': L'Africaine
Act III: 'Salut! demeure chaste et pure': Faust
Act III: 'Je suis seul!...Ah, fuyez, douce image': Manon
Act III: 'M appari tutt'amor': Martha
Cujus animan: Stabat Mater

Customer Reviews:

Voice of the 20th Century.........2000-07-13

Björling tops most polls as "singer of the 20th century", and justly so. Whether one prefers his velvety,lyrically smooth voice of the 30s and 40s, or his more full-bodied, darker power-tenor of the late 50s (he was ready to take on Lohengrin and Otello just before his death), no other human voice has left a legacy of Björling's caliber in recording history.

This collection is a wonderful presentation of the young Björling. His voice was said to have a direct appeal to emotions. Listen to "Ch'ella mi creda libero" with its almost extraterrestial "lift" and try to keep the lump in your throat from growing!

The-37 "O Paradiso" is a fantastic display of power blended with beauty - which is also the case with the Tosca arias presented here.

"Che Gelida Manina" is by many regarded as Björling's signature aria, just as "La Boheme" was said to be his signature opera. The -36 version here shows Björling aged 25 with wonderful silvery tone and grasp of message, problems with Italian pronounciation or not.

Björling never lapsed into self parodic sobbing or exaggerated shouts or gliding "loops" to get a message across. He insisted on sticking to what the composer actually had written down...and within these vocal restraints, Björling still managed to portray an unexplored universe of human feelings. "Vesti La Giubba" is a good example of this: no sobbing or bitter laughter but downright hartbreaking nonetheless. True art!

His -44 studio version of "Nessun Dorma" makes an interesting comparison with his -59 recording from the complete Turandot. Touch and go which one to go for as the second or third best version of "...Dorma" ever in recording history. The shining beacon is in my opinion from a radio concert in Sweden in 1944, where Björling for once actually DOES go beyond the strict readings of the work. His final B just stretches on and on and on into eternity - read heaven.

As for his famous ringing high notes, his final D flat on Cujus Animan may be THE one most beautiful sound I've ever heard from a human being!

If you do not have any Björling CDs, this may be a perfect introduction to his art.

And where to go from there? Well,"O Paradiso" is one of many excellent collections from the 50s. There's also a Norwegian compilation called "jussi's Beste" (which sold to platinum in Norway 35 years after his death...). This CD contains among other highlights the wonderful Christmas song "O Helga Natt", in which the final high note is sung with such force that it threatens to blow your speakers to oblivion, never mind your ears...(if it is the last sound I will ever hear, it is OK by me...).

If you want a complete opera recording, you just have to invest your hard earned cash (or bank credit as is the case with me) on Beechams "La Boheme".

Someone said elsewhere that once you have listened to Björling, you may never want to listen to any other tenor...ever: HOW VERY TRUE!

The OTHER essential Bjoerling CD; 10 stars! 20!.......1999-03-15

Along with the "Pearl Fishers Duet" CD, to me this is the other essential Bjoerling. (The more than 2 dozen friends who've received those 2 CDs as a gift can testify to that!)

The "Vesti" is completely heartbreaking, maybe because there's none of the histrionic sobbing that usually accompanies it. And of course there is that 1945 recording of "Nessun dorma!", which I have seen referred to as one of the 5 greatest recordings of all time. The arias from Tosca are also outstanding. The only addition that would make this perfect CD "even more perfect" would be the inclusion of the Gonoud "Ah! Leve-toi, soleil!"

Although I have loved classical music since I was a kid, until Jussi every tenor I ever heard sounded like an opera parody. Jussi is different; he doesn't make you think "Now there's a guy taking a deep breath and singing loud." To steal a line from Amadeus, when he opens his mouth you "hear the voice of God"; absolute, divine beauty, untainted by ego or eccentricity. that seems to flow without strain or effort.

Tracks:

La Gioconda: Cielo e mar
Marta: M'appari
Don Carlo: Io l'ho perduta!
L'arlesiana: E la solita storia
I Pagliacci: Vesti la giubba
I Pagliacci: No, Pagliaccio non son!
Andrea Chenier: Un di all'azzurro spazio
Andrea Chenier: Come un bel di di maggio
TOSCA: Recondita armonia
Il Trovatore: Ah! si, ben mio
Otello: Dio! mi potevi scagliar
Otello: Niun mi tema

Customer Reviews:

No one like him today.......2006-03-12

Jon Vickers is an amazing singer. Here is a man who had a relatively short voice and one that was very inflexible by nature. Yet in spite of these shortcomings he stands as one of the greatest artists of his era. Those who think of him as a Wagnerian tenor should sample this recording and hear his masterful way of spinning a line in the Italian repertoire. His Otello was spectacular, his Canio a psycholigical thriller. His Chenier an elegant and tortured soul, his Rhadames heroic in the true sense of the word. This recording is a gem!

One of the Most Important Singers in the History of Music!.......2004-07-02

Dear Amazon,

I just got my combination order of Vickers Italian Arias and his 75th Birthday Tribute. If you ever feel generous and want to send people stuff for free, just send me everything you have of Jon Vickers.

Maybe I love him and the choral music of Robert Shaw too much but they were both just too magnificant at their art.

Now for review number five. For all who wounder what the big historicl hype is on Vickers, get this CD and anything from his recording of Messiah with Sir Thomas Beecham in 1959 through the 60s and up to 1978. Don't get me wrong! The man is my hero as a singer. I think everything he did throughout his career was marvelous up and on through his graceful retirement in 84, but it is this period in which you will get the best idea of this legendary voice from an artist who came from humble and unlikely beginings.

Listen to his extraordinary interpretations! Theres an incredable depth and forward inner probing into the heros he brought to life.

Here, he is given stirling support from one of the masters, Tullio Serafin, conducting the Rome Opera House Orchestra.

Oh Boy!!!

Get this recording of one of the most exciting singers of this or any age.

One of the greatest tenors of the century.......1999-01-22

Jon Vickers retired some years ago, but the legacy of the recorded voice has gave us an example of great singing, and Vickers proves to be one of the greatest singing actors that the century has produced; possesor of a big, plangent voice, ringing top notes and smooth phrasing, and the fact that he sang many heroic tenor roles (Radames, Siegmund among others) does not mean he cannot fine down his sound for a gentle "Recondita armonia". I reccomend this CD to all opera fans who really want to listen great tenor singing of high quality. I wish that this release would have included "Celeste Aída" from the 1960 recording with L. Price. A word of praise also for the excellent playing of the Rome Opera House Orchestra under the great Tullio Serafin.

Average customer rating:

You'll Love This
The greatest tenor after Caruso at his best
A priceless musical document
The greatest lyric tenor ever, at the start of his career.

Giuseppe Di Stefano: The Early Years

Manufacturer: Bongiovanni
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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Giuseppe di Stefano the Early Years, Vol. II

ASIN: B00000448G
Release Date: 1996-08-01

Tracks:

L'arlesiana: E' la solita storia del pastore
L'amico Fritz: Ed anche Beppe amo
TOSCA: E lucevan le stelle
La Boheme: Che gelida manina
L'Elisir d'Amore: Una furtiva lacrima
Manon: Sogno
I pescatori di perle: Mi par d'udir ancora
Werther: Pouquoi me reveiller
Elegie
Si vous l'avez compris
Ninna nanna della vita
Santa Lucia
Musica proibita
Santa Lucia Luntana
Torna a Surriento
L'Elisir d'Amore: Voglio dire...lo stupendo elisir
L'Elisir d'Amore: La ra, la ra, la lera
L'Elisir d'Amore: Adina, credimi
L'Elisir d'Amore: Venti scudi
Il Tabarro: Hai ben ragione
Il Tabarro: Dimmi: perche, gli hai chiesto... Vorrei tenerti

Customer Reviews:

You'll Love This.......2002-01-19

Production values are awful, and sound quality is pretty bad. For all the world, it sounds like a silent film piano player with a guy singing...but I tell you, it's just about the greatest thing you've ever heard.

Around the third time I listened to this, I actually began to like the flaws; they became endearing. Reminds me of those 1/4 inch thick Carusso records I started out with, lo these many moons ago. Perfection...? Hell, it's for sure nothing here is flawless. It's just, well...flawless. Giuseppe at his youthful, incomparable best. Strong buy.

The greatest tenor after Caruso at his best.......1999-04-16

This record shows Di Stefano was in his prime at the age of 23 in 1944. Incomparable beauty of timbre, clarity of diction, sureness of interpretation, and amazing technical feats reminiscent of 19th century bel canto tenors. This recording should finally assure Di Stefano of his long deserved place as one of the top 5 tenors of the century.

A priceless musical document.......1999-01-14

This is not simply a collector's item. These imperfect recordings, made by an unknown POW in a war camp, reveal di Stefano's stunning natural talent perhaps even more completely than his more polished later singing. His boyish voice here is glowing, his interpretations fresh and fearless. You simply have to hear his "Mi par d'udir ancora" (better known as "Je crois entendre encore") on this recording, the most compelling account of this aria I've ever heard. He sings it in a full voice, with measured sprinklings of mezza voce, while most tenors just croon this aria in a pitiful falsetto. For me di Stefano, even at his most inexperienced, is the ultimate tenor benchmark.

The greatest lyric tenor ever, at the start of his career........1998-12-27

This is what the tenor voice is all about, there has never been a voice like this. Hear this great tenor at his the very beginning of his career. Listen to the beauty that the human voice can produce. Di Stefano puts everthing into every song/aria on this recording. The quality of sound on this disc may not be great( 2 Stars), but the performance is outstanding. If you are an opera fan, and particularly fond of tenors, this recording is a must.

Average customer rating:

Great verismo instincts, but has Cura declined since 1999?
Verismo at it's best
Hurrah for Yu Qiang Dai
what a waste!
Disappointing after his Puccini CD

Verismo

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Jose Cura - Puccini Arias / Domingo
Verdi Arias
Anhelo: Argentinian Songs
Artist Portrait Jose Cura
Boleros

ASIN: B00000K2WD
Release Date: 1999-09-14

Tracks:

Pagliacci: Prologo
Pagliacci
Pagliacci: Intermezzo
La Boh:
Loreley
Andrea Cher
Andrea Cher
Andrea Cher: Fedora
Andrea Cher: Marcella
Adriana Lecouvreur
Adriana Lecouvreur
L'arlesiana
Germania
Cavalleria Rusticana: Preludio e Siciliana
Cavalleria Rusticana: Addio alla madre
Lodoletta
Guglielmo Ratcliff

Amazon.com

The thirtysomething Argentinian tenor José Cura has been making quite a name for himself, and he is nothing if not controversial. His appeal is undeniable: matinee-idol good looks, a big, interesting, healthy, dark voice, great musical intelligence, and a gift for communication. But he is often badly prepared on stage and was recently severely booed at opera's mecca, La Scala. His last recording, in which he played Samson, found the top of his voice in tentative shape. But if the remarkable work here is indicative of what he can do, let's just hope that he stays on track. The disc opens, very unconventionally, with the Pagliacci "Prologue"--an aria for baritone! Cura sings it with great feeling and a truly burnished tone--indeed, he sounds like a baritone with easy top notes. But it is his tenorizing that is truly fine here. A series of arias by Mascagni, from the little-known Lodoletta to Cavalleria Rusticana (a truly sensitive reading of Turiddu's plea to his mother) is superb, well-nuanced, and richly told. The "Improvviso" from Andrea Chenier is simply magnificent, which makes one wonder why his phrasing is so choppy in the same character's final act aria, "Com'e un bel di di maggio." This brings up another issue: Cura is also the conductor here. Granted, this makes certain that he'll be singing precisely as he pleases, but more often than not, a conductorial voice is different from--and complementary to--the singer. Cura's judgment calls can be off, as they are in this second Chenier solo. But the singing's the thing, and Cura proves himself again and again--the Adriana, L'Arlesianna, and Fedora arias are also exhilarating. This is a major release, and tenor lovers will enjoy the singing as much as they will the unusual program. --Robert Levine

Customer Reviews:

Great verismo instincts, but has Cura declined since 1999?.......2007-04-16

On the strength of this superb CD of verismo arias, one would expect Jose Cura to have replaced Alagna as the 'fourth tenor.' He has a robust lower range, which he displays to remaarkable effect by singing the baritone aria, 'Si puo,' that raises the curtain in Pagliacci. The darkness of Cura's tone can be unsettling--I found him a strange Alfredo in La Traviata, for instance--but a lot of verismo demands powerful chest tones, and Cura has a fine tenor extension, if you think of it as that. Caruso began from a similar basis, I believe. And despite the criticisms, his conducting is quite acceptable--I doubt that anyone would have complained if the identity of the conductor hadn't been revealed on the cover.

With nothing but praise for this gorgeous recital, I'm sorry to report that Cura's promise seems unfulfilled eight years later. He hasn't made outstanding opera sets to date, although he has certainly made some glamorous DVDs. The voice has darkened further and the top notes aren't as secure. He doessn't express joy with his voice, which can make his portrayals rather somber. His dramatic flair seems subdued also. I don't keep up with every detail of Cura's career, but presently he seems overshadowed by Villazon, a much less powerful but equally artistic tenor. Let's hope the lull is only temporary.

Verismo at it's best.......2005-03-25

I am amazed at the many utterly and overly negative comments posted regarding this CD.

Let me be clear about this. Jose Cura is NOT, nor will he EVER be, a lyric tenor!
It is my impression that too many reviewers of this particular CD are not quite aware of the this fact, and tend to compare Cura to other, far more lyrical tenors.

See, that's the beauty of Grand Opera. The composers wrote different operas for different voice types. Cura's voice is perhaps the penultimate spinto voice of the modern opera scene.
It is upon this very precept that I base my evaluation of this CD.

Now, on the actual CD.
With the exception of the fact that, indeed, Cura should have left the conducting to someone more qualified other than himself, this CD offers the listener the best Verismo selections available by a contemporary tenor.

In reviewing the comments regarding this CD I am reminded of the terrible critizism leveled upon the late Mario delMonaco during his lifetime.
Judging by contemprary reviews of the late Maestro, his was the worst tenor voice ever, and save for the sheer volume of his voice, and his Hollywood looks, he would never have had a career.
It wasn't until after delMonaco retired, and moreso until after his death, that the very critics that once denounced him as unworthy of his status, hailed him as one of the greatest dramatic tenors of all time!

I say this only to illustrate my point regarding the bad press this CD has received.
Having said this, Cura does an excellent job with this material.
His voice and phrasing often harkens memories of both delMonaco and Corelli, yet his interpretation is uniquely is own.

My favorite selections here are "Vesti La Giubba" from I Pagliacci, "Amor Ti Vieta" from Fedora, "Lamento Di Frederico" from L'arlesianna and "O Lola" as well as "Addio alla Madre" from Cavalleria Rusticana.
These selections highlight Curas prowess as the pre-eminent dramatic tenor of today beyond reproach.

On a final note, I often see that Cura is being hailed as Domingos' successor in both vocal quality and acting ability.
That's utter hogwash in that Curas' voice is much closer to that of delMonaco in both weight and power and acting wise, I doubt that we'll soon see another tenor as prodigiously gifted as was Domingo in that regard.

Jose Cura is a great DRAMATIC tenor folks. There's nothing lyrical about him and that's precisely why I appreciate his style and, subsequently, this CD.

Hurrah for Yu Qiang Dai.......2005-01-28

It was a big shock to hear Yu Qiang Dai's debut cd. He is, I think, the best lirico-spinto tenor nowadays. He has a lovely voice, which is very well produced. The center is wonderful, the lower notes are good, the high notes are shining and of fantastic quality... the singing through the passage is very well handled. He is an itelligent musical interpreter and singer, with an interesting and appealing line and sense of style. Very good dynamic changes. He offers some of the absolutely best renditions of some arias (nessun dorma and cielo e mar, for example) that I have heard in many years.

He still has to work his Italian (specially the consonants) and his French. But there were great historical tenors with bigger idiomatical problems.

Despite taking spinto repertoire, Yu never pushes, never tries to make the voice sound darker than it is, everything is always under control, and he takes the chance to give very stylish renditions (for example, of una furtiva lagrima), which is strange for tenors who "want to sing spinto".
The tenor is a fantastic discovery, one of the best ones around. Actually, all my criticism goes to EMI and the production of the CD: no choirs, no solists (for example, for the aria of Cavalleria, where the mother should sing her line), and the acoustic "atmosphere" has made some people to doubt if Yu's voice is really as big as it seems (people who saw his Cavaradossi at Covent Garden say that it is very big, actually).
Not a the best production job by the people of EMI, but five stars (ten if possible) for the singer. Simply wonderful.

what a waste!.......2004-06-06

Initially I was excited: at last, I thought, here is a voice of Del Monaco weight but with infinitely more variety and color. But upon repeated hearing, I came to the conclusion that the varied tone was often simply the result of a poorly modulated voice in which the top and the bottom blended poorly at times with the mid-range. Worse yet, his foolish decision to serve as his own conductor does not serve him well. Often, as in the Fedora aria (which should have suited his voice well) he winds up chopping off the end of phrases because of his choice in tempos or perhaps the difficulty of accompanying oneself. Many of the interpretations are mannered--a good producer or conductor could have helped him avoid these lapses of judgement. The decision to lead with Tonio's prologue (a baritone aria) is embarrasing. Although he does indeed have a baritonal-sounding tenor at times, this doesn't make him a baritone by any stretch of the imagination. As a result, the aria is not even remotely satisfactory--it requires vocal resources a tenor just doesn't have (as well as dramatic resources Cura also does not reliably offer). I'm happy to have the arias from Lodoletta and Germania in modern sound (the Marcella aria really needs another voice type) and in spite of my criticism there are moments of real beauty in Cura's voice. Yet what a pity that humility, self-discipline,and good taste were not given to him in equal parts with beauty of voice. After a month with this record I begin to long for the direct, unselfconscious if rather crude sound of del Monaco. Any number of comparably voiced tenors of the last twenty years, like Giacomini or Martinucci, who were never recorded as much as they deserved were vastly superior to Cura in musicality and self-awareness. Behold the power of a pretty face!

Disappointing after his Puccini CD.......2001-05-20

I was favorably impressed with Cura's debut recital of Puccini arias (recorded June 1997), and on the strength of that favorable impression I bought his Verismo arias CD (recorded July 1999) and his Verdi arias CD (recorded Feb. 2000). I found both disappointing; neither is up to the standard of the Puccini disc. What is alarming is that I believe there has been audible deterioration in his voice in the short period of only two and three years between recording the Puccini disc and recording the next two. He is singing heavy roles usually, and advisedly, taken on by tenors later in their careers (e.g., Samson, Otello), and I hope this promising tenor won't sing himself out prematurely.

Average customer rating:

A primer of great singing
Outstanding
A collection made with taste and savvy
One of the Great Bargains

Prima Voce Treasury of Opera, Vol. 1

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

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The Prima Voce Treasury of Opera, Vol. 2
The Golden Age of Singing, Volume One 1900 - 1910
The Golden Age of Singing: Vol. 3 1920-1930
The Golden Age of Singing, Vol. 4; 1930-1950
Golden Age of Singing Vol.2 (1910-20)

ASIN: B000042NZP
Release Date: 2000-02-15

Tracks:

Adriana Lecouvreur: Poveri Fiori - Claudia Muzio
L'Africaine: O Paradiso - Giacomo Lauri-Volpi
Aida: Se Quel Guerrier Io Fossi... Celeste Aida - Enrico Caruso
Aida: Ritorna Vincitor - Rosa Ponselle
Andrea Chenier: Un Di All'azzuro Spazio - Giovanni Martinelli
Andrea Chenier: La Mamma Morta - Claudia Muzio
Andrea Chenier: Come Un Bel Di Di Maggio - Giovanni Martinelli
L'Arlesiana: E La Solita Storia - Tito Schipa
Atalanta: Care Selve - Eide Norena
Attila: Dagli Immortali Vertici - Igor Gorin
Un Ballo In Maschera: Di Tu Se Fedele - Enrico Caruso/Metropolitan Opr Chor
Un Ballo In Maschera: Eri Tu, Che Macchiavi - Mattia Battistini
Un Ballo In Maschera: Saper Vorreste - Luisa Tetrazzini
Il Barbiere De Siviglia: Largo Al Factotum - Riccardo Stracciari
Il Barbiere De Siviglia: Se Il Mio Nome - Tito Schipa
Il Barbiere De Siviglia: Una Voce Poco Fa...Io Sono Docile - Conchita Supervia

Tracks:

La Belle Helene: Au Mont Ida Trois Deesses - Jussi Bjorling
La Boheme: Che Gelida Manina - Beniamino Gigli
La Boheme: Si, Mi Chiamano Mimi - Claudio Muzio
La Boheme: Donde Lieta Usci - Nellie Melba
Boris Godunov: Varlaam's Song - Feodor Chaliapin
Cagliostro In Wien: Zigeunerkind, Wie Glanzt Dein Haar - Lotte Schone
Le Cid: Enfant Cheri...Le Tambour-Major - Pol Plancon
Carmen: L'amour Est Un Oiseau Rebelle (Habanera) - Conchita Supervia
Carmen: Pres Des Remparts De Seville (Seguedille) - Conchita Supervia
Carmen: Chanson Du Toreador - Lawrence Tibbett/Metropolitan Opr House Chor
Carmen: La Fleur Que Tu M'avais Jetee - Giacomo Lauri-Volpi
Carmen: Je Dis Que Rien Ne M'epouvante (Micaela's Aria) - Eide Norena
Cavalleria Rusticana: O Lola, C'hai Di Latti La Cammisa (Siciliana) - Tito Schipa
Cavalleria Rusticana: Voi Lo Sapete - Claudia Muzio
Cavalleria Rusticana: Viva Il Vino Spumeggiante - Giacomo Lauri-Volpi
Cavalleria Rusticana: Addio Alla Madre - Enrico Caruso
La Cenerentola: Non Piu Mesta - Conchita Supervia

Tracks:

Les Contes D'Hoffmann: Les Oiseaux Dans La Charmille - Mabel Garrison
Le Coq D'Or: Hymne Au Soleil - Eide Norena
La Dame Blanche: Reverie De Georges Brown - David Devries
Dinorah: Ombra Leggiera - Amelita Galli-Curci
Dinorah: Ah! Mon Remords Te Venge - Pasquale Amato
Don Carlos: Ella Giammai M'amo - Ezio Pinza
Don Carlos: O Carlo, Ascolta - Mattia Battistini
Don Cesar De Bazan: A Seville, Belles Senoras (Sevillana) - Amelita Galli-Curci
Don Giovanni: Deh Vieni Alla Finestra - Ezio Pinza
Don Giovanni: Il Mio Tesoro - John McCormack
Don Pasquale: Sogno Soave E Casto - Tito Schipa
Don Pasquale: Quel Guardo Il Cavaliere - Amelita Galli-Curci
L'Elisir D'Amore: Quanto E Bella, Quanto E Cara - Beniamino Gigli
L'Elisir D'Amore: Una Furtiva Lagrima - Tito Schipa
Die Entfuhrung Aus Dem Serail: Wer Ein Liebchen Hat Gefunden - Alexander Kipnis
Die Entfuhrung Aus Dem Serail: Durch Zartlichkeit Und Schmeicheln - Eide Norena

Tracks:

Ernani: Come Rugiada Al Cespite - Giovanni Martinelli
Ernani: Ernani! Ernani, Involami - Rosa Ponselle
Ernani: Infelice! E Tu Credevi - Ezio Pinza
Ernani: O,De' Verd' Anni Miei - Giuseppe De Luca
Eugene Onegin: Letter Scene - Lotte Lehman
Eugene Onegin: Lontan, Lontan (Lenski's Aria) - Dmitri Smirnov
Faust: Salut! Demeure Chaste Et Pure - Giacomo Lauri-Volpi
Faust: Il Etait Un Roi De Thule - Conchita Supervia
Faust: Ah, Je Ris De Me Voir Si Belle (Jewel Song) - Eide Norena
La Favorita: A Tanto Amor - Mattia Battistini
La Favorita: O Mio Fernando - Sigrid Onegin
La Favorita: Spirito Gentil - Beniamino Gigli
La Figlia Del Reggimento: Convien Partir - Toti Dal Monte
Die Fledermaus: Mein Herr - Lotte Schone
Die Fledermaus: Czardas - Elisabeth Rethberg

Tracks:

La Forza Del Destino: Alzatevi...La Vergine Degli Angeli - Rosa Ponselle/Ezio Pinza
La Forza Del Destino: Solenne In Quest'ora - Beniamino Gigli/Giuseppe De Luca
La Forza Del Destino: Invano, Alvaro...Le Minaccie, I Fieri Accenti - Giovanni Martinelli/Giuseppe De Luca
La Forza Del Destino: Pace, Pace Mio Dio - Claudia Muzio
La Gioconda: Ah! Pescator Affonda L'esca - Titta Ruffo
La Gioconda: Cielo E Mar - Jussi Bjorling
La Gioconda: Suicidio - Rosa Ponselle
Grafin Mariza: Gruss Mir Wein Wien - Richard Tauber
Guillaume Tell: Sombre Foret (Cavatina) - Eide Norena
Les Huguenots: Une Dame Noble Et Sage - Mario Ivogun
Les Huguenots: Bianca Al Par - Giacomo Lauri-Volpi
Iris: Apri La Tua Finestra - Antonio Cortis
Jocelyn: Caches Dans Cet Asile (Berceuse) - Alma Gluck
Lakme: Ou Va La Jeune Hindoue (Bell Song) - Amelita Galli-Curci
Das Land Des Lachelns: Von Apfelbluten Einen Kranz - Richard Tauber

Tracks:

A Life For The Tsar: I Do Not Grieve For That - Antonina Nezhdanova
Linda Di Chamounix: O Luce Di Quest' Anima - Marcella Sembrich
Lodoletta: Flammen, Perdonami - Mafalda Favero
Lohengrin: Euch Luften, Die Meine Klagen - Kirsten Flagstad
Lohengrin: In Fernem Land - Miguel Fleta
Louise: Depuis Le Jour - Ninon Vallin
Lucia Di Lammermoor: Cruda Funesta Smania - Mariano Stabile
Lucia Di Lammermoor: Ardon Gl'incensi - Frieda Hempel
Lucia Di Lammermoor: Tu Che A Dio Spiegasti L'ali - John McCormack
Lucrezia Borgia: Il Segreto Per Esser Felici (Brindisi) - Ernestine Schumann-Heink
Luisa Miller: Quando Le Sere Al Placido - Giacomo Lauri-Volpi
Die Lustigen Weiber Von Windsor: Nun Eilt' Herbei - Maria Ivogun
Die Lustige Witwe: Lippen Schweigen (Ballsirenen-Walzer) - Richard Tauber
Madama Buterfly: Un Bel Di Vedremo - Rosa Ponselle
Manon: Il Sogno (En Fermant Les Yeux) - Jussi Bjorling
Manon: Obeissons, Qukkand Leur Voix Appelle (Gavotte) - Amelita Galli-Curci
Manon: Dispar, Vision - Tito Schipa

Amazon.com

This spectacular collection of more than 90 arias sung by 46 of the greatest singers of the century consists of recordings made between 1906 and 1943. Naturally, they are in far from high fidelity, but this is more charming than disturbing. And all the greats are here: from the tenors Enrico Caruso, Beniamino Gigli, John McCormack, and Jussi Bjoerlong, to the sopranos Rosa Ponselle, Amelita Galli-Curci, Claudia Muzio, and Kirsten Flagstad, to mezzos Conchita Supervia and Ernestine Schumann-Heink, to baritones Giuseppe de Luca and Mattia Battistini, and basses Ezio Pinza and Feodor Chaliapin--to mention a few. The six and a half hours of listening is a veritable primer in Grand Opera; a short synopsis of each selection is included. This set lives up to its name--it is indeed a treasury. --Robert Levine

Customer Reviews:

A primer of great singing.......2006-11-07

The Prima Voce Treasury of Opera Vol 1 contains arias and a few duets from operas A- M ( Adriana Lecouvreur- Manon)sung by singers of the first half of the 20th Century. Vol 2 continues with excerpts from operas M-Z ( Manon Lescaut - Die Zauberflote).All the tracks are taken from the Nimbus Prima Voce catalogue, using their controversial re-recording technique, which many people dislike for the over reverberant sound.Personally, I find the transfers more acceptable than the strident, edgy transfers of some other companies.

Opinion about any compilation of this sort is a personal matter. I find the choice of singers predictable and unimaginative and at times rather strange: Lauri-Volpi is not a representative Don Jose nor Faust for example.Overall though the standard of singing is very high.

The accompanying booklet contains well written potted biographies of the singers featured on the CDs.

This compilation is a very good primer of great singing from the past for someone starting out in this field but not for anyone who is already steeped in historic recordings, except perhaps to listen to in the car, which is what I bought it and Vol2 for.

Outstanding.......2001-09-12

As it happened, I bought Vol. 2 of this collection before Vol. 1, and everything I said in my review of Vol. 2 applies equally here. The breadth and depth of the operas and the singers are incredible, and the price for 6 CDs is an amazing bargain. The sound is remarkable, especially considering that some of the recordings are nearly 100 years old, though most are from the 20s and 30s. Highly recommended, whether you are new to opera or a seasoned veteran!

A collection made with taste and savvy.......2001-03-10

The English just know how to do things in good taste and I must say, the elements of this Prima Voce collection have been carefully selected and arranged. Arias are grouped so that you have two or three from the same opera together. This is a sensible arrangement and each singer selected for those particular arias is one who sings it very well and in a unique way. I had already been collecting single singer albums from Prima Voce when I discovered this Treasury compilation and wish now I had bought it first, because you get a good sampling of all the great singers in their catalog and will hear artists of whom you may not have been aware. From this Treasury collection you will hear singers that especially please your ear and then you might buy albums just of them. For me, this set confirmed those choices of favorites such as Claudia Muzio and Tito Schipa. Best of all, the six CDs make for a pleasing listening experience as a whole. I listen to them while I drive. There aren't any bad performances here and quite frankly there are few contemporary artists that can match or top these. It's a great way to establish an historical foundation for your recordings if you are building a collection of singers.

One of the Great Bargains.......2000-06-23

This is one of those rare bargains that one dreams about. I discovered it while browsing and I could not believe that one could have six disks for less than the normal cost of two. Nor is this an economy issue, transferred from what I assume is original pirate recordings along the lines of Gala and Opera d'Oro and even Myto. The transfers are clean and the collection is nonpareil. In all transfers I miss texts. But the music itself is glorious, the selection intelligent, and the artists the stars of the opera world. Unlike other collections arranged in chronological order, these use a simple alphabetic sequence of operas, so one can follow in one's own libretto or score more easily. The recordings appear to bridge the two world wars. If this is indeed volume one, I cannot wait for two.

Average customer rating:

A Worthy Trovatore
Strangely fascinating!

Verdi: Il Trovatore

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Verdi: La Forza del Destino
Cilea: Adriana Lecouvreur
Mascagni: Cavalleria Rusticana
Puccini: La fanciulla del West
Puccini: La Bohème (Tebaldi, Prandelli, Erede)

ASIN: B00006LENP
Release Date: 2003-02-11

Tracks:

All'erta! All'erta! - Giorgio Tozzi
Di Due Figli Vivea Padre Beato - Giorgio Tozzi
Che Piu T'arresti?
Tacea La Notte Placida E Bella In Ciel Sereno
Di Tale Amor, Che Dirsi Mal Puo Dalla Parola
Tace La Notte! ... Il Trovator! - Ugo Savarese
Deserto Sulla Terra ... Anima Mia!
Infida!...- Qual Voce! ... Di Geloso Amor Sprezzato ... Un Istante Almen Dia Loco il Tuo Sdegno Alla Ragione
Vedi! Le Fosche Notturne Spoglie ... Chi Del Gitano I Giorni Abbella? (Anvil Chorus) - Coro Del Maggio Musicale Fiorentino
Stride La Vampa! ... Mesta E La Tua Canzon - Mario Del Monaco
Soli Or Siamo; Deh, Narra Quella Storia Funesta ... Condotta Ell'era In Ceppi - Mario Del Monaco
Non Son Tuo Figlio? - Mario Del Monaco
Mal Reggendo All'aspro Assalto ... L'usato Messo Ruiz Invia! - Mario Del Monaco
Perigliarti Ancor Languente Per Cammin Selvaggio Ed Ermo! - Mario Del Monaco
Tutto E Deserto - Giorgio Tozzi
Il Balen Del Suo Sorriso ... Quel Suono! ... Ardir!... Andiam ... Per Me, Ora Fatale, I Tuoi Momenti Affretta - Giorgio Tozzi
Ah!... Se L'erro T'ingombra, O Figlia D'Eva, I Rai ... Perche Piangete?
E Deggio... E Posso Crederlo? ... Urgel Viva!

Tracks:

Or Co' Dadi, Ma Fra Poco Giocherem Ben Altro Gioco - Giorgio Tozzi
Squilli, Echeggi La Tromba Guerriera - Giorgio Tozzi
In Braccio Al Mio Rival! ... Che Fu? ... Innanzi, O Strega - Giulietta Simionato
Giorni Poveri Vivea ... Tu Vedi Chi L'infame, Orribil Opra Commettea ... Deh, Rallentate, O Barbari, Le Acerbe Mie Ritorte - Giulietta Simionato
Quale D'armi Fragor Poc'anzi Intesi?
Ah! Si, Ben Mio; Coll'essere Io Tuo, Tu Mia Consorte - Mario Del Monaco
L'onda De' Suoni Mistici ... La Zingara, Vieni, Tra Ceppi Mira
Di Quella Pira L'orrendo Foco ... All'armi! All'armi!
Siam Giunti: Ecco La Torre
D'amor Sull'ali Rosee Vanne, Sospir Dolente
Miserere ... Quel Suon, Quelle Preci Solenni ... Ah, Che La Morte Ognora E Tarda Nel Venir
Tu Vedrai Che Amore In Terra Mai Del Mio Non Fu Piu Forte
Udiste? Come Albeggi, La Scure Al Figlio, Ed Alla Madre Il Rogo - Ugo Savarese
A Te Davanti. - Qual Voce!
Mira, Di Acerbe Lagrime Spargo Al Tuo Piede Un Rio
(Vivra!... Contende Il Giubilo I Detti A Me, Signore...)
Madre?... Non Dormi? ... Vedi?... Le Sue Fosche Impronte - Mario Del Monaco
Si; La Stanchezza M'opprime, O Figlio - Mario Del Monaco
Che!... Non M'inganna Quel Fioco Lume?
Parlar Non Vuoi?
Ti Scosta... - Non Respingermi
Prima Che D'altri Vivere... Io Volli Tua Morir! ... Sia Tratto Al Ceppo!

Customer Reviews:

A Worthy Trovatore.......2006-05-13

I decided to buy a used copy of this half century old Trovatore on the strength of the earlier review posting. I'm certainly glad I did.

First, there is the pleasure of hearing Tebaldi in a role that wasn't central to her repertory. Having heard her Violetta on an early '50s Decca recording of Traviata I was not expecting much in the way of florid singing. I was pleasantly surprised. True, some of the runs are sketchy and the tone isn't always ideally equalized when she goes for the high notes, but Tebaldi isn't far behind the fabled Milanov, a favorite in this role. Tebaldi's italianate timbre is a decided plus. A few days ago I played the first act aria and cabaletta for some friends without any identification. After some puzzled looks, someone commented that whoever it was, she was great and though she sounded like Tebaldi, the florid singing was too good for it to be her. Needless to say, they were all pleasantly surprised.

I think Simionato is simply the finest Azucena on disc - whether here or in the legendary Salzburg broadcast of a few years later.

Del Monaco isn't an intellectual tenor by any stretch of the imagination, but this is elemental, viscerally exciting singing. I'll give up the subtle nuances for a vital, heroic Manrico like this.

Savarese is a competant Di Luna. He's certainly not offensive, but there's not much here to convince the listener he belongs in the company of the great exponents of the role. I have to admit that I think the role's showpiece, "Il balen" is a problem for any interpreter. I think organ grinder every time I hear it.

It's always a pleasure to hear the young Tozzi's richly overtoned voice as Ferrando.

Erede is no Karajan (or Mehta) but he gives us a well routined reading of the score. Finally, the sonics of this 1956 recording are very impressive early vintage stereo. Despite its occasional flaws, I quickly have become very attached to this venerable Trovatore.

Strangely fascinating!.......2004-01-01

This old Trovatore recording has aspects that would normally make one avoid it. However, I find myself listening to it more and more and actually enjoying it more than other, more popular recordings of this opera.

Mario Del Monaco is, as expected, a heroic Manrico. He rarely sings piano and knows little about elegant phrasing but the sheer vigour and ring of his voice strikes in magnificiently! Only F. Corelli equals Mario in force and exciting high notes. Musically, Corelli is certainly more creative but I've always found Del Monaco's voice more handsome. Tastes differ, though. Del Monaco is particularly thrilling in "mal reggendo, all'aspro assalto", "ah! Si, ben mio" and "Di quella pira" even if he could hold the last note longer in the cabaletta.

The casting of Renata Tebaldi as Leonora is for most opera fans controversial. She is a spinto with little agilty; it's interesting to see what such a voice can offer. Indeed, she barely manages the florid parts and the highest notes sound effortfull. In this part she's nowhere near Caballe, Milanov, Callas or even Price. However, there are other moments that no other soprano in my experience has ever sung so idiomatically. In "mira, di acerbe lagrime" for example, the way she sings those long phrases using her glorious spinto instrument is unique. She firmly grasps each note and the result is intoxicating! Same with Miserere and the proceeding Manrico - Leonora encounter. Dramatically her outbreaks are few. However, Tebaldi was THE FIRST who made me realise that Leonora is a woman in love!

If one can argue about the performances of Tebaldi and Del Monaco, little can be said about Simionato's Acuzena. Along with Barbieri and Cossotto she's one of the best interpreters of this wonderful role, probably Verdi's greatest mezzo part. The weakest link of the cast is Ugo Savarese's routine Conte di Luna. If only Bastianini had joined this recording instead. Tozzi does an OK job as Ferrando. Erede conducts well but nothing really memorable. Decca's early stereo sound certainly impresses; pity that EMI and RCA didn't adopt stereo so early as well.

Tracks:

Introduzione
Impressioni Di Settembre
E' Festa
Dove...Quando... (Pt. 1)
Dove...Quando..., Pt. 2
Carrozza Di Hans
Grazie Davvero

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1. Prelude and Fugue in B-flat Minor, BWV 867 from The Well-Tempered Clavier, Book I: Prelude
2. Fugue
3. Johannes Brahms Ballades, Op. 10: No. 1 in D minor
4. No. 2 in D major
5. Alberto Ginastera Sonata No. 1, Op. 22 (1952): I. Allegro marcato
6. II. Presto misterioso
7. III. Adagio molto appassionato
8. IV. Ruvido ed ostinato
9. Sergey Prokofiev: Romeo Bids Juliet Farewell from Ten Pieces for Piano from Romeo and Juliet, Op. 75
10. Enrique Granados: Quejas ó La Maja y el Ruiseñor (Laments or The Maiden and The Nightingale) from Goyescas
11. Angelo della Picca (b. 1923): Rondo Capriccioso