Piangero

Track Listings

1. La mamma morta

2. Lenski’s Aria

3. Ma qual mai s’offre, oh Dei

4. Or sai chi l’onore

5. La fleur que tu m’avais

6. Parigi o cara

7. E pur cosi in un giorno…Piangerò

8. Cara Speme

9. Sto stoma - sto stoma

10. Psila sto metopo

11. I kardia tis manas

12. Anastasia

13. O Vasilias kai i Zervopoula

14. Lithi

Editorial Reviews
Montreal, Canada / Nancy Snipper THE MONITOR / 24 Jan 2001
"Small in size and unique in personality Piangero is a musical wonder"

Athens, Greece / Music Magazine Jazz & Tzaz / issue 116 November 2002
"Piangero"is a unique musical jewel of immense Hellenic interest ….

Album Description
In June 2000 we recorded our first CD titled "Piangerò" a collection of Greek and International Opera Arias, Art Songs and Duets. The Compact Disc "Piangerò" was recorded at the Oscar Peterson Concert Hall, Concordia University under the supervision of Dr. Mark Corwin, who is the chairman of the Music Department of Concordia University and has also been an honored judge at the Annual Canadian Juno Awards. He was responsible for the sound recording, production and digital editing of this Compact Disc. Soprano Maria Diamantis and Tenor Dimitris Ilias were the featured soloists of the CD accompanied by The CHROMA MUSIKA SYMPHONY ORCHESTRA made up of 45 musicians. The orchestra was conducted by Maestro Douglas Knight.

Piangero

Customer Reviews:

Manufacturer error.......2007-04-17

I received some Chopin piano music in this Sills CD case, even with the correct logo burned in.
Suspicious...

singer.......2007-01-12

Got this for an aria V'adoro Pupille. Was surprised to find tempo so different from other singers' versions, and she has many added florishes, but it is enjoyable. The recording is from a live performance so there are coughs, etc., as well as wild applause, but a nice addition.

Beverly Sills' trills..........2006-09-06

are fake. How can someone hear them and say that no other singer can match or surpass them? Love her all you wish, she used a false technique to produce the trills (as Bartoli does in her fioritura singing - exciting, but not technically accurate); Sutherland, Streich, Gruberova, and Hempel (Ponselle for that matter) executed TRUE, accurate (and quite pleasing to the ear) trills. Thank you.

The greatest Cleopatra forever.......2004-10-28

Now Beverly Sills definitely ain't a pin-up Cleo like Leonor Varela in the movie disaster from the 90ties but she was a very beautiful woman and had the voice of a sirene in those days, perfect for Handel, as perfect as can be. Her "V'adoro pupille" has to be heard to be believed, it's bursting with seductive colours. Ruth Ann Swenson could learn a thing or two from Sills here when it comes to phrasing and colouring. The "Da tempeste" is flawless, I could listen to it over and over again. Yet, why are there only highlights? Treigle&Sills are so great, they deserve more!

Ignore the ignorant basher.......2003-08-04

This JJ fellow really has a lot of nerves. Lately there's been a diva war between Callas, Sills, and Sutherland and he/she hasn't let up since. To the basher: we have every right to say that Sills is the best singing actress of this century; this is a Sills site! And we do not believe Callas is in the same league. She was a great actress but she had an annoyingly dry, coarse voice, even in her prime.

Tracks:

Aria: Alla Caccia Dell'alme E De' Cori
Recitativo: Ma Sia Crudele O Infida
Aria: Preso Sei Mio Cor Piagato
Recitativo: Qual Per Ignoto Calle
Aria: Quel Passagier Son Io
Recitativo: Deh, Piu Non Regni Nel Tuo Gentil Petto
Aria: Qual Dopo Lampi E Turbini
Piangero Sinche L'onda - Ruggiero
Prelude After Vivaldi (Theorbo Solo)
Aria: Care Selve, Amici Prati
Recitativo: Ben Mal'accorto E Folle All'or Io Fui
Aria: Placido In Letto Ombroso
Largo
Allegro
Largo
Allegro
Recitativo: Perfidissimo Cor! Iniquo Fato!
Aria: Nel Torbido Mio Petto
Recitativo: Cosi Dunque Tradisci Chi Contenta
Aria: Piu Amar Non Spero, No
Di Verde Ulivo - Vitellia
Recitativo: Pianti, Sospiri E Dimandar Mercede
Aria: Lusinga E Del Nocchier
Recitativo: O Ingannato Nocchiero
Aria: Cor Ingrato Dispietato

Customer Reviews:

Jaroussky has a gifted voice.......2006-06-21

In early polyphony, the contratenor was a voice part in melodic counterpoint against the tenor. It was written roughly in the same range as the tenor. In the 15th century, contratenor split into contratenor altus and contratenor bassus, which were respectively above and below the tenor. By the 16th century, however, the term became obsolete as Latin lost popularity. In Italy, the contratenor altus became simply alto; in France, haute-contre; in England, countertenor.

Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.

The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.

Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.

a voice teacher and early music fan.......2006-05-20

The vocal selections on this disc include 2 arias from Vivaldi operas. However, at that time the cantatas and the operas were very closely aligned using the same instrumentation and truthfully it would be difficult to tell the difference between them had I not been previously informed. Jaroussky has excellent vocal technique;in fact in some passages he astounds the listener. His aria :Cor ingrato dispietato (from an opera) displays amazing breath control and clean clear notes. If there is something lacking it is in slow passages that demand more intensity and emotion; age and experience will certainly help!!!And his voice sounds better when the music has a high tessitura. He's a fresh new voice in the world of countertenors. My appreciation knows no bounds for the "Ensemble Artaserse";they are truly excellent and skilled on their instruments; wonderful to hear. This is really a great disc!!!!

Jaroussky is exceptional.......2005-09-07

Jaroussky's singing adds to the growing interest in Vivaldian opera. His performance of "Qual Dopo ..." is both a demonstration of the great technique and artistry of his beautiful voice. For those curious to explore his singing range, try his masterful deliverance of arias such as "Tu m'offendi",from La Verita en Cimento, and "Sol da te", from "Orlando Furioso" where he honors the composer with the nuances, adornments, and melodic draws of his voice. This CD would have showcased the cantata genre much better had the musical selection been more diverse in note and tempo. Nonetheless, Jaroussky is at his best!

A pleasant surprise.......2005-05-20

Countertenor is not this reviewer's favorite range of male singer. That's probably so because it is both unfamiliar and underperformed and, when it is sung, never comes off as quite natural to the singer himself. In many respects, it really is an outdated male vocal range that should have gone the way of castrati. Interestingly, it seems to going in just the opposite direction. At least Virgin Classics must think so because last month it released a new CD by countertenor Philippe Jaroussky singing Vivaldi Cantatas, with the Ensemble Artaserse -- and it is surprisingly good. The CD consists of a couple quite beautiful period solo ensemble selections, theorbo etc. (See cut #9 "Prelude to Vivaldi") and vocals that demonstrate the best of what a countertenor sounds like, most notably Piangero Sinche L'onda, Ruggiero. Mr. Jaroussky's voice is both agile and open and his diction is punctuated and enhanced by a smooth delivery that is passionate enough, such that each piece comes off as a personal story that truly captivates the listener. An added plus is the fact that the thematic organization of this CD is even. In other words, you won't be reaching for the "skip" button here. The quality of the recording, too, is excellent. Although many listeners prefer the live aspect of concert performances, the very thing that attracts, can also produce a hollow, almost metallic sound in a live hall. In Cantatas, you won't find any unevenness or harsh selections. You might even find that you are pleasantly surprised by how intriguing it is.

Another Fine Countertenor Lights Up The World!.......2005-04-13

This exciting recording of Vivaldi cantatas for solo voice and instrumental ensemble is one of the more compelling releases of the year to date! While the music of the glorious Venetian Antonio Vivaldi is well known, especially the standard repertoire `The Four Seasons' and the choral works and chamber works - even some operas - the cantatas are rarely performed and this CD of his best ones should change that.

Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.

Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.

This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05

Average customer rating:

Ms. Battle does it again
A charming, lightweight song recital
Kathleen Battle Takes On Carnegie Hall
I'd give this CD 20 stars if I could! Sheer perfection!
Lovely

Kathleen Battle at Carnegie Hall

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Tracks:

Serse: Frondi tenere - Ombra mai fu
Giulio Cesare In Egitto: E pur cosi - Piangero la sorte mia
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte
Ridente la calma
S'il est un charmant gazon
Comment, disaient-ils
Enfant, si j'etais roi
Oh! Quand je dors
Amor
An die Nacht
Vocalise
Zdes' Choroso
V molcan'i noci tajnoj
Ne poj, krasavica
Porgy And Bess: Summertime
Good News
Louise: Depuis le jour
Die Fledermaus: Mein Herr marquis
Over My Head I Hear Music
He's Got The Whole World In His Hand
Swing Low, Sweet Chariot

Customer Reviews:

Ms. Battle does it again.......2006-03-29

Ms. Battle covers musical styles from baroque all the way to spirituals on this CD, and excels at each song she sings. My personal fav's are "Frondi tenere...ombra mai fu" "Mein herr marquis" "Vocalise" "Swing Low" "Piangero la sorte mia". One impression I get when I hear this CD, is that Ms. Battle had fun with each one of these songs. She sounds like she is enjoying singing them and is totally relaxed with full confidence in her voice. So many singers you hear sound tense, but not here. It's hard to explain really, but generally, when a singer is struggling and fighting to sustain a good sound or sing artistically, you can sense it. This CD is would make a wonderful sampler for someone new to Ms. Battle's voice. It is a shame, though, that she is such a "diva". Nevertheless, this is a delightful recording and I would strongly recommend it.

A charming, lightweight song recital.......2005-09-18

This recital is a pale shadow of the great one Battle gave with Levine from Salzburg, so I wasn't satisfied with one track after another of pretty, charming singing without deep musicality or committment. battle is capable of much beter. Her fans will be pleased, and that's about all.

Kathleen Battle Takes On Carnegie Hall.......2005-04-04

Every big artist wants to perform at Carnegie Hall, its' a sign of a true career. For Kathleen Battle, this must have been quite a night. This album captures that great night, solely built around her, in which she sang aria after aria in a spectacular showcase. Handel was a specialty of hers, and the lyric texture and coloratura heights are nearly dizzying. She makes it all seem so effortless. Furthermore, Miss Battle was a magnificent French singer- most coloratura sopranos excell in the French repertoire- as Beverly Sills did and as did Madie Mesple. However, Battle always makes me feel mixed emotions. One the one hand, she does have a classic, lyric-coloratura voice that nearly became extinct after the reign of Beverly Sills and even earlier with the likes of Lily Pons and Amellita-Galli-Curci. Battle has a bright, golden voice, capable of sweetness and refinement without hysterical declamation or any unpleasant sounds. It's such a shame she did not behave proffessionally. The stories were true. She behaved like a diva holding a whip! She was ungrateful and selfish and couldn't work well with her colleagues and co-artists. She was always late to rehearsals, left early, refused to socialize or ride in the same car with her other artists and went far beyond perfectionism- she behaved like she was the greatest thing since sliced bread. But for all these shortcomings, we love her voice. Her fans, and yes she has fans, continue to buy her albums even though she has long disappeared from the world of opera that once tolerated her but said enough is enough........

I'd give this CD 20 stars if I could! Sheer perfection!.......2003-12-07

God made the nightingale, and somewhere down the line, he touched a little girl named Kathleen Battle with what he originally gave to that bird from the beginning of creation. I cannot, for the life of me, believe that a voice could be so beautiful. I hear it, I marvel, but sometimes the sheer incredible beauty of this woman's vocal artistry is mind altering and surreal. Even the nightingale must suffer a moment of jealousy when a Kathy Battle tune is played!(This is bordering on blasphemous I know, and I beg forgiveness!) But Kathy Battle is simply amazing! This CD captures her at her best.
I'm not an opera buff by any means, but I love the human voice and great singing. There is not a bad song in the bunch. Like one reviewer, I too, am not a big fan of the spirituals segment, but I have a higher tolerance for it than she..I can still enjoy them for what they're worth.

Just BUY this CD...buy more than one if you can. One for home and one for your car. Believe me, you will not be disappointed.

P.S. Can someone tell me if this Carnegie Hall recital was also filmed and where I can get a copy of it? I cannot find many filmed recitals of Kathleen Battle anywhere. There used to be many at the Metropolitan Library in NYC, but all they seem to have now are her appearances in operas. I remember seeing a Met recital of her in a red gown on the cover of the vhs box, but they must have retired it. Any Kathy Battle fans out there who can help me get a video collection going, I would be most appreciated! (ryanmarcus1@juno.com)

Lovely.......2003-07-22

Kathleen has a beautiful voice, and it's wonderful to have a CD that includes both traditional opera pieces as well as fun gospel songs. I recommend this!

Average customer rating:

Kathy Rocks Ever!
A wide presentation of the work of an amazing artist
A Great Coloratura Soprano
Great compilation of Kathleen Battle's work
Beautiful Voice

The Best of Kathleen Battle

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Release Date: 2004-11-09

Tracks:

Summertime
I loves you, Porgy
Porgi amor
Welche Wonne, welche Lust
S'altro che lagrime
Una donna a quindici anni
Depuis le jour
E pur cosi / Piangeri la sorte mia
Oui! pour ce soir... Je suis Titania
Ah! tardai troppo... O luce di quest'anima
4. Pie Jesu (Sopran)
Voices of Spring, Op.410 (Frohlingsstimmen) - vocal version
Swing Low, Sweet Chariot / Ride Up in the Chariot
Witness "Oh, Lord, what manner of man is dis?"
Talk About a Child
He's got the whole world in His hands

Customer Reviews:

Kathy Rocks Ever!.......2006-01-01

Oh,yeah!Also here in Brazil she commanded,complained,got her tantrums as well but,she is Kathy;highly gifted,charmingly glamourous,her elegant golden singing beautifully soaring over brazilian audiences and so on.About this cd,I would prefer a completely new one.However,this is a gorgeous compilation,just perfect to Battle beginners or her fans,especially these spirituals that belongs incontestablely to her heavenly throat.I hope much more from Miss Battle just 'cause she is a great performer,in fact nobody or nothing couldn't denies that no matter she's doing backstage.Cowardly,poisonous "kid's rewiews" show us solely how empty is this quarrel.I hope a DG reissue of her beloved,out of print Schubert recital as well.

A wide presentation of the work of an amazing artist.......2005-12-23

This CD provides a sampling of Kathleen Battle's voice and interpretive abilities from coloratura virtuousity (Voices of Spring) to the simple, heartfelt spiritual (Talk about a child).

First of all, there's THAT voice. You hear a voice that is uniquely angelic and capable of expressing a wide range of moods. You hear a voice that glitters like a diamond, skips happily and effortlessly (and in impeccable tune) from note to note like it's nobody's business, one that that reminds you of moonbeams and early morning dew on pink rose petals. You've simply got to her it to believe it.

On this CD, the listener is provided with the the works/composers for which she's well known: Handel Opera (E pur cosi / piangero la sorte mia), Mozart Opera (S'altro che lagrime), Bel Canto Opera (Ah, tardai troppo...), French Opera (Depuis le jour), spirituals, and a few popular songs for sopranos such as Gershwin's Summertime and Faure's Pie Jesu

If you're just popping the CD in, try: (1) Ah, tardai troppo, (2) Voices of Spring, (3) Talk about a child, (4) I loves you, Porgy, and (5) Pie Jesu.

I suppose if you are a fan of heavy, dramatic voices, Kathleen Battle may not be to your liking. But I suspect that if you listen to her, you still might be amazed...

A Great Coloratura Soprano .......2005-04-03

Coloratura sopranos are a dying breed today. The era of Lily Pons and Beverly Sills is long gone and opera audiences favor a more "heavy" coloratura sound- or at least a full lyric one, such as the voice types of Kiri Te Kenawa, Carol Vanness and Renee Fleming. Kathleen Battle was in many ways an artist who payed homage to the coloratura queens of olden days. Only Natalie Dessay, of late, represents that kind of singer. much This album showcases her best work, and she is in fine voice, bringing a luminous and sunny quality to her interpretations, while keeping the dramatic appeal of the text. She was at best a Handel/Mozart/Strauss/Gounod singer, and never fared well in the more dramatic reperotoire of Verdi or Puccini heroines. She never sang Madame Butterfly, which if she had gone through training, she could have nailed, especially because her dramatic aspirations coupled with her soft, vulnerable sound would have suited her as Ciao Ciao San, in the way that Ying Huang interpreted the role. Verdi opera must have frightened her and she could never dream of taking on the roles that Leontyne Price performed, surely an influence in her student days made all the more credible because Leontyne Price was a "sister" African-American. So Leonora, Aida and Suor Angelica were out of her reach. While she sang with Jessie Norman in concert and recitals (like the Spirituals Concert), she must have been secretly or overtly ? jealous of the fact that Jessye Norman had a voice that could swallow the world!! A big, beautiful voice such as Ms. Norman's is closer to the true goddesses of operas in the tradition of Maria Callas, while Battle is more of the "tiny, bright, canary" voice. She ranks among the best of the lighter sopranos- Beverly Sills, and like Sumi Jo today. Her fellow co-artists used to call her the "Singing Mosquito". But she is marvelous in singing Handel oratorio(the only times I've heard her sing live), Mozart- Sussannah, Zerlina, the Countess in Figaro, Gounod- Juliette, Bizet- Micaela, but could never truly master the more difficult Mozart heroines- Dona Ana in Don Giovanni or Fiordiligi in Cosi Fan Tutte or even Konstanza in Die Entfurung, though try she did. In Strauss operas, she made a fine Zerbinetta, though she always oozed a confidence that made it seem as if these difficult pieces were a piece of cake for her. Some arias in this collection appear that way too.

Kathleen Battle has long since disappeared from the opera world, singing off and on. Her last singing engagement was for the soundtrack to the Japanese action saga "House of Flying Daggers" in which she sings in a very Japanese/poetic style. Before that she sang in Mythodea opposite Jessie Norman in a massive choral work by Vangelis, and also in Disney's Fantasia 2000. Her constant bitchiness, diva antics and disrespect to conductors and singers became too much and finally Joseph Volpe fired her from the Met. She had stayed there for so long because James Levine took a shine to her. As a singer, she was a perfectionist and in her body of work it shows. But she displayed a nasty diva temperament that does not sit well today. In the 80's, she would come to rehearsals late, would criticize everyone from conductor to costuma makers and even once disrespected the much older and experienced Rosalind Elias, a beloved mezzo at the Met. While I think that Volpe did the right thin in firing Battle, I think that Battle's voice is glorious and would buy her albums, even if she mostly poses as if she were in Vogue cover shots.

Great compilation of Kathleen Battle's work.......2005-03-26

This is a great compilation CD of recordings made by Battle, which are currently deleted by Universal Music.
The selections are first rate and capture the artistry of Kathleen Battle perfectly, a shimmering, silvery, clean and clear voice which has captivated millions of people worldwide

Beautiful Voice.......2005-02-24

I find it hard to give anything under 5 stars for any work including Miss Battle. Her technique and mastery of the female voice is quite remarkable. I am a HUGE fan of the soprano voice and I have found no one who posses the talents, skills, and interpretations of Battle. I would like to have seen more variety in this compilation CD. Her Rosina, Zerbinetta, Semele, other such roles were obviously ignored in the making of this CD. I think anyone will be hard pressed to find any lyric/coloratura soprano who amounts to the skill level of Miss Battle. Talent is talent, and she's got plenty of it. A person's attitude has nothing to do with their abilities as a performer, and I am tired of people knocking Miss Battle because of the stigma with which she is attached. Personally, she has never done anything to me nor the number of others who criticize her for her actions which took place over a decade ago. You cannot say that this woman does not posses mad skills. She is a lovely woman who has accomplished great things. I would gladly buy any CD that carries the name "Kathleen Battle".

Average customer rating:

The Rediscovery?
AMAZING
Rediscovering Leontyne Price
Masterful Recital Performance From Price at Her Peak
Love Leontyne But Stick To The Studio Gems.

Rediscovered (Dig)
Leontyne Price
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs

ASIN: B00006HCUX
Release Date: 2002-09-10

Tracks:

Applause
Care selve
Bel piacere
Avanti al tuo cospetto; Piangero la sorte mia
He, Zigeuner, greife
Hochgeturmte Rimaflut
Wisst ihr, wann mein Kindchen
Lieber Gott, du weisst
Brauner Bursche f - hrt zum Tanze
Roslein dreie in der Reihe
Kommt dir manchmal in den Sinn
Rote Abendwolken ziehn am Firmament
mamma morta
Tu vois le feu du soir
Main dominee par le coeur
C'est ainsi que tu es, Paganini
Je nommerai ton front
Nocturne, Op. 13 No. 4
The Daisies, Op. 2 No. 1
Sleep Now, Op. 10 No. 2
Winter Song
In the Wand of the Wind
His Name So Sweet
My Soul's Been Anchored in the Lord
Lord, I Just Can't Keep from Cryin'
He's Got the Whole World in His Hands
Chi il bel sogno di Doretta
Summertime
Ecco: respiro appena; Io son l'umile ancella
Vissi d'arte

Customer Reviews:

The Rediscovery?.......2007-05-17

Few sopranos in their prime have consistently
balanced vocal beauty and power as well as Price did.
I'm sure her smooth legatos were the envy of
her contemporaries, and those since. However,
I do not think this album is the best recording
of her live recitals.

Vocally, Price is in great form. I have no
complaints with the voice. My issue is with the
performance as a total package, in it's entirety.
The ambiance and general "feel" of this recording
is odd. To me, it sounds like Price was coaxed into
entertaining a groups of friends after a high society
dinner party; It's as if someone had suggested after dinner,
"Leontyne, why don't you regale us with a few classical
arias?"

Truthfully, this sounds like a completely impromptu performance.
The pianist is on autopilot, banging through each aria
in a fevered, sometimes overbearing bravura. Price
displays excellent musicianship by adjusting to
the volume and varying tempos without compromising
superb artistry. At times, it appears that Price and the
pianist are battling for artistic control. The
audience is obviously in love with her, as well they
should be. They are not reserved in their thunderous
applause and whistles. I personally prefer to hear Price
backed by full orchestra. The rendition of Spirituals
are well sung and sound more appropriate with the piano accompaniment.
"Vissi d'Arte" is regal and elegant, in grand fashion.
"Chi il bel sogno" from La Rondine is a richly
legato master work.

While Leontyne Price's vocal performance on this album is
top-notched, I would only recommend this "rediscovered" performance
as a collection keepsake. For some reason, I can't part
from the feeling that perhaps this recording was never
meant to be released. It's not bad, but by no means is it
definitive of Leontyne Price's remarkable contributions
as an operatic legend.

AMAZING.......2007-02-13

Leontyne Price. Do I need to say anything more. That astoundingly wonderful voice, tremendous dramatic range --- earthy, angelic, strong, tough, tender, playful, loving --- a performer that never grows stale, always fresh and new.

Rediscovering Leontyne Price.......2005-07-28

This magnificent recording is a collection of rare and beautiful arias sung by the gifted lyric-dramatic soprano Leontyne Price, the very first successful black opera diva, who reigned supreme in the 60's and 70's. While there are many full-length operas starring Price, this compilation album is quite refreshing because it's new and lovingly remastered from the original tapes/LPs. Among the arias are Bel Piacere- a Handel piece full of gorgeous ornamentation, Care Salve from Falla's Atlantida, very beautiful and majestic. Other songs include Summertime from Porgy and Bess and songs by Samuel Barber. Leontyne Price had versatility. While she was famous for her Aida, Leonora in Trovatore, Leonora in Forza Del Destino, as Tosca, and as many of the dramatic Verdi and Puccini roles, she sung roles that were modern and thrilling- Cleopatra in Antony and Cleopatra was one. She sang Lieder, she sang Gospel, she was a one-woman opera. This recording is a fitting tribute to her artistry. However there are many other fine compilation albums out there that far surpass even this new one - the best is The Prima Donna Collection, Leontyne Price in Concert, An Evening With Leontyne Price, The Best of Leontyne Price and The Ultimate Leontyne Price.

Masterful Recital Performance From Price at Her Peak.......2005-01-21

World-renowned soprano Leontyne Price can be an intimidating presence on any stage but not on this live concert recording. She lends a warm, lovely presence and of course, her unparalleled voice, to this eclectic program, which amazingly at the age of 38, represented her Carnegie Hall recital debut in 1965. It's hard to imagine her sounding any better than this at any point in her career, and just as importantly, the program reflects her heightened awareness of what serves her powerful voice best. It's a wonderful record of an obviously triumphant evening, and in what must be one of the recording industry's most monumental oversights, it languished in the RCA vault for thirty-seven years.

Price starts with three opera arias from Handel, all very clean in delivery and one especially noteworthy, "Piangerò la sorte mia" from "Giulio Cesare in Egritto". She is simultaneously opulent and regal while displaying a strong sense of pathos as Cleopatra contemplates her fate. The ten-minute Brahms "Zigeunerlieder, Op. 103" is stunning for the freshness she provides with her flexible quicksilver tones, all delivered in her very expressive German. The four Poulenc selections are delivered in a such a delicate manner that it can only be described as buttery, and as such, perfect for the Gallic verses. And her big opera moment comes with Giordano's "La mamma morta" from "Andrea Cénier" sung with her requisite passion. Regardless though, Price really soars with the American selections where her voice takes on an added dimension of humanity. She begins this portion with three stellar selections from Samuel Barber, all shimmering showcases for her voice: the haunting "Nocturne, Op. 13 No. 4", the light and airy "The Daisies, Op. 2 No. 1" and the near spiritual "Sleep Now, Op. 10 No. 2". These segue seamlessly into two lush pieces by the relatively unknown Lee Hoiby, who wrote specifically for Price. For me personally, the high points of the entire recording are the four spirituals, which she sings with an unearthly combination of roof-raising conviction and clarion tones. She concludes with classic arias from Puccini and Cilea and of course, her definitive version of George Gershwin's "Summertime". This is as fulfilling a recital as you could possibly hear from this wondrous singer. Essential listening.

Love Leontyne But Stick To The Studio Gems........2004-03-04

I have been an admirer of the great Price since I was a boy of 10 after discovering her tremendous recoding of "Carmen" with the greats Corelli, Freni, and von Karajan. In my humble opinion, the greatest period of her voice was the 50's-60's, where her incredible force and power were nicely balanced with a lyric openness and clarity. This live recording stems from that most golden period, before the more unattractive Price qualities came into play in the early-mid 70's - a major tendency to scoop and slide, a lack of crisp enunciation, and a cloudy timbre. Be that as it may, I was disappointed with this performance on a whole. Simply put, with the exception of the Spirituals, I find Ms. Price's performance uncommitted and almost like she is rushing through from one number to the next. This might be the "fault" of her accompanist, David Garvey. In every instance where a duplicate version exists in a studio recording by Ms. Price, I wholeheartedly prefer those over these live ones. Usually artists are even more committed and intense when performing before the public. I simply do not find that intensity here. My advice - stick to the great studio recordings or, at least, different live recordings, of which I know exist but have not as of yet purchased.

Average customer rating:

Exciting Singing!
Lyric or coloratura? The best of both worlds
A Soprano of Exceptional Beauty of Voice, Mind, and Body
'She makes hungry where most she satisfies.'

Isabel Bayrakdarian ~ Cleopatra
George Frideric Handel , Johann Adolf Hasse , Carl Heinrich Graun , Johann Mattheson , Tafelmusik Baroque Orchestra , Isabel Bayrakdarian , and Jeanine Lamon
Manufacturer: Cbc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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Vivaldi: Griselda

ASIN: B000641ZEK
Release Date: 2004-10-19

Album Description

In 2002, the beautiful Canadian-Armenian soprano Isabel Bayrakdarian scored a major success when she appeared as Cleopatra, Queen of Egypt, in Handel's opera Giulio Cesare for the Canadian Opera Company. As one critic observed at that time, "Cleopatra is one of Handel's most superb, and psychologically intricate, creations. The luminous Bayrakdarian has made a wonderful beginning in a role she will surely take to the great stages of the world—at first childishly seductive, then calculating, and ultimately revealing a profound nobility and vulnerability." For her third CD for CBC Records, Ms. Bayrakdarian has chosen arias from four works focusing on the Egyptian femme-fatale.

Customer Reviews:

Exciting Singing!.......2006-11-12

This is a wonderful recital, drawing together as it does arias for Cleopatra from 4 different composers. And the last grouping, from Johann Matheson, have never been recorded before.
Bayrakdarian is a lovely young singer with a fresh voice and amazing technique. She charges in with her first aria, Tra le procelle assorte from Graun's Cleopatra e Cesare, singing at breakneck speed and daring, seemingly relishing every challenge the composer has placed in her way. Listening to it is a giddy experience.
She is obviously very confident of her skills, but she does smudge the coloratura in many of these selections, especially - and distressingly - in the Handel pieces. Her singing of of the two most famous arias for Cleopatra from Handel's Giulio Cesare is perhaps the only real disappointment for me in this disc. Perhaps because they are so well-known, and perhaps because my listening will always be haunted by the memory of Beverly Sills' seductive brilliance in the role, Bayrakdarian's singing here seems somewhat cautious and uninvolved.
Much better by far are the Mattheson numbers with which she finishes up. They are dramatic and unusual and Bayrakdarian, seemingly relishing the German language and the personality that language reveals in her, sings them with a passionate commitment and emotional nuance not heard in the previous selections.
Except for the Handel excerpts, this would have my highest recommendation. She is obviously ans exciting young singer who has the potential for a great career.

Lyric or coloratura? The best of both worlds.......2006-01-21

This is probably one of the best voices of our generation: Isabel Bayrakdarian combines flawless technique, power and emotive ability to make for a remarkable listening experience. With great intelligence she dives into the meaning of each phrase and imbues it with nuanced sensitivity. She often sings at breakneck, punishing speed, but is never pulled along by the Tafelmusik Baroque Orchestra (under Jeanne Lamon); indeed, she commands at every turn. One almost fears she will skid off the page! I have heard versions of these pieces by other fine artists, but at a considerably slower pace, and without her discernment.

In attacking every beautifully shaped and defined note with gusto and perfect control, Ms. Bayrakdarian's interpretations are almost too lush and expressive for a Baroque repetoire, but who cares? She is alternately tender, breathless (hear the fluttering heartbeat when she sings "palpitar" in "Sento, Mio Dolce Amore"), loving, fiery, impassioned, and defiant. Her understanding of the material is clearly displayed. And even as her upper register is brilliant, bright and focussed, her lower range is quite dark toned and rich; the voice has lovely bloom.

If there is any criticism, it is that trills are not well defined when juxtaposed to her rapid, but subtle, vibrato. Not a big issue, however.

Strongly recommended, as are her other recordings.

A Soprano of Exceptional Beauty of Voice, Mind, and Body.......2005-01-07

Isabel Bayrakdarian. Note the name and watch a new star rise. This young soprano has it all right now - a voice that is agile, well supported over a very wide range, and technically as sophisticated as the best of her colleagues. To these attributes she adds physical beauty and an obvious intelligence that makes her a candidate for not only the opera stage, but also the more difficult recital hall.

Not many singers (with exceptions such as Upshaw, Graham, Hunt Lieberson for example) have the courage to confine a recording to a single topic, presenting a few works that are identifiable to the public, but introducing oddities from the repertoire that by any standards merit attention. Bayrakdarian sensitively chooses arias and songs based on the character of Cleopatra and in doing so offers an in depth study of one of histories more fascinating females. Yes, she does include 'Piangero' from Handel's "Giulio Cesare" and her interpretation is as elegant and beautifully sung as any on record. The excerpts by Graun and Hasse stand solidly well in execution and attention to vocal detail.

The collaboration is provided by Jeanne Lamon and the Tafelmusik Baroque Orchestra and is strong on interpretation and support of the soloist. This is an album to cherish as it likely will be one of many that this gifted young soprano will hopefully be creating. Grady Harp, January 2005

'She makes hungry where most she satisfies.' .......2004-12-04

Isabel Bayrakdarian, a Canadian soprano not yet thirty, has turned the opera world on its head in the last few years. She is a woman of stunning physical beauty whose assured vocal technique, intelligence and stage presence have created admirers throughout the world. How fitting that she would record a program that comprises fourteen arias from four 'Cleopatra' operas (out of an estimated total of about seventy written on the subject of that legendary beauty). Bayrakdarian is possessed of a silvery coloratura with spot-on intonation, easy flexibility and varied coloration that perfectly fit the demands of the florid baroque arias presented here. What's more, most of these arias are not well known and there is not a clunker among them. The four operas represented are 'Cleopatre e Cesare' (Berlin, 1742) by Carl Heinrich Graun (c. 1703-1759), 'Marc'Antonio e Cleopatre' (Naples, 1725) by Johann Adolf Hasse (1699-1783), 'Cleopatra' (Hamburg, 1704) by Johann Mattheson (1681-1764), and, best-known, 'Giulio Cesare in Egitto' (London, 1724) by George Frideric Handel (1685-1759).

Graun, Kapellmeister under Frederick the Great, wrote over twenty Italian operas for his patron's new opera house in Berlin. Of the three arias from the first of these presented on this disc, the most striking is the first, 'Tra la procelle assorto' ('In the midst of the tempest') in which Cleopatra responds to the fury of a thwarted suitor. Jeanne Lamon and her chamber orchestra, Tafelmusik, provide appropriately agitated string figurations to support Cleopatra's stern but philosophical rebuff, voiced in roulades of coruscating fioriture.

Hasse, who started out as a tenor, studied in Italy and composed his Cleopatra opera while there. The name role in his 'Marc'Antonio e Cleopatra' was sung by the celebrated castrato Farinelli, and strangely, the role of Marc Antony was sung by a female mezzo! The opera ends with Cleopatra's plaintive song of resignation at her suicide along with her lover, Antony, after their defeat at Alexandria at the hands of the Roman emperor Octavian. Bayrakdarian catches the sadness and resoluteness of the Egyptian queen.

Mattheson, like Hasse, was also as much a singer as a composer and he was the undisputed king of opera in his native Hamburg. He sang Marc Antony in his own Cleopatra opera (subtitled 'The Unlucky Queen of Egypt'). Unlike the other operas here, his Cleopatra sings in German. In her Act III aria 'Was ist der Liebe Brauch?' ('What is love's custom?), after learning of Antony's suicide, Cleopatra feigns compliance by telling the conquering Octavian she will marry him and accompany him to Rome. One can easily imagine this seductive aria convincing Octavian, and Bayrakdarian's tonal allure makes it all the more effective.

Easily the most familiar aria here is 'V'adoro pupille' from Handel's 'Julius Caesar.' It has been recorded many times by illustrious sopranos, including such luminaries as Beverly Sills and Joan Sutherland. In this aria Cleopatra, in the guise of 'Virtue' mounted on a throne, sings to Caesar 'I adore you, o eyes, the darts of love; your sparks sweetly pierce my breast.' It starts with a beguiling cavatina, has a brief restless middle section and then returns to the bewitching opening melody. Bayrakdarian sings it simply and intimately as if to be heard by only one listener, Caesar.

Obviously I have not written about the other arias included here, choosing instead to make a few remarks about an aria from each of the four operas represented. Be assured that similar artistry in Miss Bayrakdarian's singing is found throughout this 66 minute disc.

Strongly recommended.

Scott Morrison

Arleen Auger - Handel · Bach Arias / The Mostly Mozart Orchestra · Gerard Schwarz

Average customer rating:

Transcendent
Glorious Voice Performing Baroque Arias of Handel and Bach

Arleen Auger - Handel · Bach Arias / The Mostly Mozart Orchestra · Gerard Schwarz
George Frideric Handel , Johann Sebastian Bach , Gerard Schwarz , Arleen Auger , and The Mostly Mozart Orchestra
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

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

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ASIN: B0000006VM
Release Date: 1992-12-11

Tracks:

Messiah: Rejoice Greatly
Giulio Cesare: Piangero
Atalanta: Care Selve
Alexander's Feast: The Prince, Unable To Conceal His Pain
Alexander's Feast: Softly Sweet In Lydian Measures
Rinaldo: Lascia ch'io pianga
Samson: Let The Bright Seraphim
Messiah: He Shall Feed His Flock
Non sa che sia dolore: Ricetti Gramezza
Klavierbuchlein fur Anna Magdalena Bach: Bist du bei mir
Weichet nur, betrubte Schatten
Weichet nur, betrubte Schatten: Sich uben im lieben
St. Matthew Passion: Blute nur
St. Matthew Passion: Ich will dir mein Herze schenken

Customer Reviews:

Transcendent.......2002-05-15

This is some of the most beautiful singing I have heard anywhere. Auger fuses technique, emotion, and baroque sensibility into a phenomental whole.

In particular, listen to "Come Unto Him" from Messiah. I have more than 30 complete Messiahs and this section is the best of the best of the best. Her original ornamentation is so transcendant, it's hard to imagine why anyone does it any other way.

My only regret is that she didn't record "Redeemer" on this disc.

Glorious Voice Performing Baroque Arias of Handel and Bach.......2000-01-21

This is one of the first recordings of Auger and Gerard Schwarz together...and it remains one of my all-time favorites. Auger is in fine voice...bright and luminous, but never shrill and piercing as some other noted sopranos have been in this same reperitoire.

Auger is an American artist who is first class, especially in perforamnce of the pieces contained in this recording. Gerard Schwatz is dynamic and bold in his approach, so the result is electric.

Auger displays beautiful technique throughout, especially in the Handel arias. Her stylish ornamentation is well within Baroque practice. This being said, the listener / purchaser of this recording is in for a real treat....

Augers singing of PIANGERO from Julius Caesar is perfaps the finest I have ever heard, and the simplicity and beauty of CARE SELVE is breathtaking. The selections from Messiah are handeled beautifully as well, along with selections from Alexanders Feast, Rinaldo and Samson.

I think her reading of the Handel is stronger than her interpretation of the Bach selections, however, even keen listeners will readily agrre that these too are performances of an extremely high character.

Tracks:

JS Bach: Cantata No. 140: Wachet auf, ruft uns die stimme
Purcell: Oedipus: Music for a While
Handel: Acis and Galatea: O Ruddier Than the Cherry
JS Bac: Bist du bei mir
Vivaldi: Gloria in D major: Gloria in Excelsis Deo
Handel: Semele: Where'er Ye Walk
Handel: Giulio Cesare: Piangero la sorte mia
Handel: Theodora: Defend Her, Heav'n
Handel: Berenice: Si, tra I ceppi e le ritorte la mia fe risplendera
Handel: Judas Maccabaeus: See the Conqu'ring Hero Comes
Handel: Messiah: Comfort Ye My People
Handel: Messiah: Ev'ry Valley Shall Be exalted
Handel: Messiah: O Thou that Tellest Good Tidings to Zion
Handel: Messiah: Behond, I Tell You a Mystery/The Trumpet Shall
Handel: Messiah: He Shall Feed His Flock
Handel: Messiah: Hallelujah

Tracks:

Handel: Samson: Let the Bright Seraphim
Scarlatti: L'onesta negli amori: Gia il sole dal Gange
Schutz: Musikalische Exequiem: Motet "Herr, wenn ich nur dich hab"
JS Bach: Sheep May Safely Graze
Handel: Serse: Ombra mai fu
JS Bach: Susser Trost, mein Jesu kommt
Monteverdi: L'Incoronazione di Poppea: Pur ti miro
JS Bach: Jesu, Joy of Man's Desiring
Purcell: The Indian Queen: I Attempt from Love's Sickness to Fly
Giordani: Caro mio ben
Vivaldi: Bajaset: Anch'il mar par che sommerga
JS Bach: Komm, susser Tod
Purcell: Dido and Aeneas: Dido's Lament: When I Am Laid in Earth
JS Bach: St. Matthew Passion: Ich will bei meinem Jesu wachen
JS Bach: St. Matthew Passion: Erbarme dich, mein Gott
JS Bach: St. Matthew Passion: Wir setzen uns mit Tranen nieder

Handel - Giulio Cesare / Larmore · Schlick · Fink · Concerto Köln · Jacobs [Highlights]

Average customer rating:

Something is missing...
Wonderful Arias, But Where Are The Choruses?

Handel - Giulio Cesare / Larmore · Schlick · Fink · Concerto Köln · Jacobs [Highlights]
George Frideric Handel , René Jacobs , Jennifer Larmore , Bernarda Fink , Concerto Köln , Barbara Schlick , Derek Lee Ragin , and Furio Zanasi
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Release Date: 2001-06-12

Customer Reviews:

Something is missing..........2005-08-18

Lovely performance, but I was very disappointed by finding out that the lovely aria V'Adoro, Pupille is missing!! Such a great pity. I went to the complete recording on Amazon, and I listened to the track (number six, cd two). I found out, the tempo was quit slow. But I was still very disappointed of course.
Anyway, this cd is lovely, buy it!

Wonderful Arias, But Where Are The Choruses?.......2002-08-10

This is actually a 5-star performance and recording of "Giulio Cesare", but for me, a Handel CD of all arias is missing a significant element of Handel's genius. Would it really have reduced the great music if a few choruses had been included on this 78 minute disc? It would only have made it more enjoyable to my ears!

Average customer rating:

Battle's wonderful voice is perfect for Handel's Arias
Delectable!

Handel: Arias

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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The Bach Album

ASIN: B000002RPV
Release Date: 1991-10-25

Tracks:

Acis And Galatea: Oh, Didst Thou Know...As When The Dove (Galatea
Giulio Cesare: E Pur Cosi In Un Giorno...Piangero La Sorte Mia (Cleopatra)
Joshua: Oh! Had I Jubal's Lyre (Achsas)
L'Allegro, Il Penseroso Ed Il Moderato: Sweet Bird (Penseroso)
Messiah: Rejoice Greatly, O Daughter Of Zion!
Solomon: Ev're Sight These Eyes Behold (Queen Of Sheba)
Solomon: May Peace In Salem...Will The Sun Forget To Streak (Queen Of Sheba)
Alcina: Ah! Mio Cor! (Alcina)
Alcina: Tornami A Vagheggiar (Morgana)

Customer Reviews:

Battle's wonderful voice is perfect for Handel's Arias.......2005-11-14

This is a wonderful CD. Kathleen Battle's voice is so amazingly sweet, never harsh, always bird-like, flute-like, and sublime in its beauty.

"Oh, didst thou know ...As when the dove" from Acis and Galatea is wonderful in its simplicity of lyric and complexity of voice. Battle's enuciation is wonderful, a soprano that you can actually understand.

"E pur cosi in un giorno...Piangero la sorte mia" from Giulio Caesar is a great treat with Battle singing this wonderful aria as sung by the character Cleopatra.

"Oh! had I Jubal's lyre" is based on the Biblical story of Joshua. Battle's voice rejoices as she sings the part of Achsas in love with the character Othniel.

"L'Allegro, il Penseroso ed il Moderato", like many of the works on this CD, has illusions to some bird like animal. In this piece Paul Davies plays the flute and establishes the "Sweet Bird" to which Battle replies. It is based on the poems of Milton. The soprano sections mimic and compliment and reflect on the flute which first leads and then follows the sorprano. The flute plays the role of the nightingale and Battle does a wonderful job of immitating the bird.

"Rejoice Greatly" from Handel's Messiah is superb. You have heard it many times, but Battle's version is so CLEAR.

"Every sight these eyes behold" and "May peace in Salem...Will the sun forget to streak" are both from Solomon and Battle sings the role of the Queen of Sheba. The violins are perfect compliments to Battle in these pieces, with a wonderful summary by the violins at the end of "May peace...".

From the opera Alcina she sings "Ah! mio cor!" and "Tornami a vagheggiar".

You will never tire of this CD, with Battle's great voice and Handel's beautiful compositional complexity, it is just great.

Delectable!.......2001-07-16

Interesting selection of Handel arias beautifully performed and recorded. Marriner and the Academy are at their best, and Kathleen Battle's golden voice caresses the music with often ravishing effect. Her interpretations are passionate but tasteful, and her occasional tendency to sound little-girlish is at a minimum. Flawless coloratura!

If you've never heard the aria from Samson: "Will the sun forget to streak?" [sounds a little strange to modern-day ears, but not in context] YOU MUST HEAR THIS CD! It is the most hauntingly beautiful piece. I only wish Battle and Marriner would record another recital of Handel.

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