Verdi:Falstaff

On this CD:

1. Falstaff, opera
Composed by Giuseppe Verdi
Performed by Hungarian State Opera Orchestra with Anna Bonitatibus, Maurizio Comencini, Dilber, Enrico Facini, Julie Faulkner, Franco de Grandis, Roberto Servile, Domenico Trimarchi
Conducted by Will Humburg

Verdi:Falstaff, Music, Roberto Servile, Giuseppe Verdi, Will Humburg, Anna Bonitatibus, Dilbčr, Franco de Grandis, Enrico Facini, Anna Maria Di Micco, Dilber, Enrico Facini, Julia Faulkner, Roberto Servile, Domenico Trimarchi, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Average customer rating: 5 out of 5 stars
  • The Brown-Wrapped Version Just as Good
  • Va, vecchio John. Go, old Jack, go thy ways
  • Indispensable--will we ever see its like again?
  • The benchmark Falstaff
  • Best falstaff in the world.
 Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Giuseppe Verdi , Herbert von Karajan , Tito Gobbi , Elisabeth Schwarzkopf , Philharmonia Orchestra and Chorus , Nan Merriman , Anna Moffo , Rolando Panerai , Fedora Barbieri , Tomaso Spataro , Nicola Zaccaria , and Luigi Alva
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000K4GH
Release Date: 1999-09-21

Tracks:

  1. Falstaff: Act One - Part One: Falstaff!...Ola!
  2. Falstaff: Act One - Part One: So che se andiam, la notte
  3. Falstaff: Act One - Part One: Ma empo d'assttigliar l'ingegno
  4. Falstaff: Act One - Part One: L'onore! Ladri!... lo stesso, si, io, io
  5. Falstaff: Act One - Part Two: Alice!... Med!... Nannetta!
  6. Falstaff: Act One - Part Two: Fulgida Alice! amor t'offro
  7. Falstaff: Act One - Part Two: Ripeti...In due parole
  8. Falstaff: Act One - Part Two: Pst, pst, Nannetta!...Vien qua...Labbra di foco!
  9. Falstaff: Act One - Part Two: Falstaff m'ha conzonata
  10. Falstaff: Act One - Part Two: Torno all'assalto...Torna alla gara
  11. Falstaff: Act One - Part Two: Udrai quanta egli sfoggia magniloquenza altera
  12. Falstaff: Act One - Part Two: Del tuo barbaro dignostico
  13. Falstaff: Act Two - Part One: Siam pentiti e contriti
  14. Falstaff: Act Two - Part One: Reverenza!
  15. Falstaff: Act Two - Part One: Va, vecchio John
  16. Falstaff: Act Two - Part One: Signore, v'assista il cielo!
  17. Falstaff: Act Two - Part One: Ve lo dir' Windsor una dama
  18. Falstaff: Act Two - Part One: Lo conoscete?...Il diavolo lo porti all'inferno
  19. Falstaff: Act Two - Part One: E sogno? o realt
  20. Falstaff: Act Two - Part One: Eccomi qua. Son pronto

Tracks:

  1. Falstaff: Act Two - Part Two: Presenteremo un 'bill' per una tassa al parlamento
  2. Falstaff: Act Two - Part Two: Giunta all'albergo della Giarrettiera
  3. Falstaff: Act Two - Part Two: Gaie comari di Windsor! E I'ora!
  4. Falstaff: Act Two - Part Two: Alfin t'ho colto,raggiante fior
  5. Falstaff: Act Two - Part Two: T'immagino fregiata del mio stemma
  6. Falstaff: Act Two - Part Two: Quand'ero paggio del Duca di Norfolk
  7. Falstaff: Act Two - Part Two: Vien qua. Che chiasso!
  8. Falstaff: Act Two - Part Two: Al ladro!
  9. Falstaff: Act Two - Part Two: Facciamo le viste d'attendere ai panni
  10. Falstaff: Act Two - Part Two: Bella! ridente!
  11. Falstaff: Act Three - Part One: Ehi! taverniere!...lo, dunque, avro vissuto tanti anni
  12. Falstaff: Act Three - Part One: Buono. Ber del vin dolce
  13. Falstaff: Act Three - Part One: Reverenza! La bella Alice...
  14. Falstaff: Act Three - Part One: T'aspetterl Parco Real
  15. Falstaff: Act Three - Part One: Brava! Quelle corna saranno la mia gioia!
  16. Falstaff: Act Three - Part One: Avrn me dei putti
  17. Falstaff: Act Three - Part Two: Dal labbro il canto estasiato vola
  18. Falstaff: Act Three - Part Two: Nossignore! tu indossa questa cappa
  19. Falstaff: Act Three - Part Two: Una, due, tre, quattro, cinque, sei
  20. Falstaff: Act Three - Part Two: Ninfe! Elfi! Silfi! Doridi! Sirene!
  21. Falstaff: Act Three - Part Two: Sul fil d'un saffio etesio
  22. Falstaff: Alto l
  23. Falstaff: Act Three - Part Two: Ahimu puzzi come una puzzola
  24. Falstaff: Act Three - Part Two: Un poco di pausa
  25. Falstaff: Act Three - Part Two: Ogni sorta di gente dozzinale
  26. Falstaff: Act Three - Part Two: Un coro e terniniam la scena...tutto nel mondo urla

Amazon.com essential recording

This Karajan Falstaff has much to recommend it: Fedora Barbieri's Mistress Quickly is a force of nature, Elisabeth Schwarzkopf, only slightly affected, is a liquid, appealing Alice Ford, and Luigi Alva and the young Anna Moffo are ideal as the young lovers, Fenton and Nanetta. But the star--as it should be--is Tito Gobbi in the title role. As is usual with this great singing actor, his characterization comes from within--his is a Falstaff born to be deflated, arrogant and self-deluding on a level that is actually funny. And the nice surprise is what good voice Gobbi's in--he's in charge of all of his vocal colors here and he uses all of them well. Karajan's touch is light and, yes, funny, and he treats the opera as the divine ensemble work it is, all leading up to a superb final scene. A good time is had by all--listeners included. --Robert Levine

Customer Reviews:

5 out of 5 stars The Brown-Wrapped Version Just as Good.......2007-06-12

Now that this is available in the lower-priced brown-wrapped version (shades of an old LP or even 78 sleeve), expect no less in this superb recording. The only sacrifice is the lack of a libretto -- but that's available from EMI at its website. And at this incredibly low price of about $14 (same as the Gobbi-Callas TOSCA) everything that counts is still there -- in spades.

5 out of 5 stars Va, vecchio John. Go, old Jack, go thy ways.......2006-05-08

.
Source: Studio recording made at Kingsway Hall, London on June 21-23 and June 25-29, 1956. Originally issued by EMI on Lps in 1957.

Sound: The booklet accompanying this issue has this to say: "This recording was made in 1956 in the early days of stereo. As a consequence, the listener may notice some slight technical flaws that derive from the original tapes." This set was digitally remastered in 1999 with considerable success. Audiophiles who spend far more time listening to hisses and joins than they do to performances may cavil, but it sounds fine to me.

Cast: Sir John Falstaff - Tito Gobbi; Ford - Rolando Panerai; Alice Ford - Elisabeth Schwarzkopf; Nanetta Ford - Anna Moffo; Meg Page - Nan Merriman; Mistress Quickly - Fedora Barbieri; Fenton - Luigi Alva; Dr. Cajus - Tomaso Spataro; Bardolfo - Renato Ercolani; Pistola - Nicola Zaccaria. Conductor: Herbert von Karajan with the Philharmonia Orchestra and Chorus. Producer: Walter Legge.

Format: Disk 1 - Act I, Part One, tracks 1-4; Act I, Part Two, tracks 5-12; Act II, Part One, tracks 13-20;55:04. Disk 2 - Act II, Part Two, tracks 1-10; Act III, Part One, tracks 11-16; Act III, Part Two, tracks 17-26; 64:38.

Documentation: Libretto in German, Italian, English and French. Short synopsis of the plot. Photographs of the conductor (of course!) and the principal singers. Track list that identifies characters singing, provides timings and the page of the libretto on which the text is to be found. Richard Osborne contributed a brief history of the opera and a gush of adulation for von Karajan. (Not recommended for readers who must control the sugar in their diet.)

Let me be up front with this: I consider "Falstaff" to be one of the two greatest operas ever written. I am fully aware that it is not and has never been especially popular with audiences and I think that a dirty rotten shame.

This is far and away the best stereo "Falstaff." No subsequently recorded Jack Falstaff approached Gobbi in the part: Taddei in Karajan's second stereo version was caught too late in his career; Terfel lost the character amid the mugging; Evans was good but no match for Gobbi in either voice or style; Fischer-Dieskau was inherently mismatched and miscast in Italian opera.

No subsequent recording musters an ensemble of singers that even comes close to the 1956 cast assembled by producer Walter Legge. Beside the extraordinary Gobbi were the equally impressive Panerai as Ford and Anna Moffo as Nanetta Ford. Luigi Alva was certainly one of the best light tenors of the day. Merriman was an old pro as Meg Page, having served under Toscanini in the same role. Barbieri was a tremendous Mistress Quickly. Her hilarious variations on the greeting, "Reverenza," ring in the mind. Schwarzkopf was an exquisite and sharp-witted Alice Ford.

Legge and von Karajan put in a great deal of time and work into preparation of this performance and it all appears in the sound of the set. Seldom has any conductor achieved such accuracy and unanimity of purpose. The Philharmonia Orchestra was at its peak of prowess and sounds tremendous.

All these things fully justify a five star rating.

That said, I feel bound to point out that while Karajan's 1956 recording is the best stereo performance, it is not the best recorded performance. Karajan's handling of any opera always requires something of an acquired taste. The ensemble is good but not perfect. Alva was a fine technician but he lacked fire. Cesare Valetti would have been preferable and Ferruccio Tagliavini better yet. Schwarzkopf, Walter Legge's wife, was wonderful, but no-one would ever mistake her for a true Italian soprano or a natural Verdian. Tebaldi was tied to rival Decca Records and therefore unavailable, but there were other full-voiced sopranos at the time, such as Antonietta Stella or Caterina Mancini. Or Callas.

The best performance is Toscanini's 1950 mono version with Giuseppe Valdengo as the Fat Knight. (Some would argue that Toscanini's pre-war "Falstaff" is better still, but time and recording technology put that one out of the running as far as I am concerned.) Toscanini's cast is very nearly a match for Karajan's and his earthy, fiery conducting makes Herr Doktor K's seem restrained and over-refined.

A 1949 performance, in mono naturally, has strong claim to be regarded as at least an equal of the 1956 Karajan. It was led by Mario Rossi, a conductor who could find the fun in the score that sometimes eluded Karajan. It's excellent all-Italian cast included the Falstaff of the young Giuseppe Taddei, who understood the character as well as Gobbi and possessed a better singing voice.

5 out of 5 stars Indispensable--will we ever see its like again?.......2005-09-29

The legendary producer Walter Legge was adored by musical artists because he demanded only the very best from them and ignored any resistance from corporate higher-ups complaining about costs or from the artists themselves, who often wound up recording late in the day after dozens of takes. Now we can be grateful that Legge went the extra mile. His opera recordings, especially the ones under Karajan, have rarely been equalled and never surpassed. In later lifeKarajan himself tried to repeat these early triumphs but never succeeded in artistic terms.

The other reviewers here have pointed out all there is to say in praise of this classic EMI Falstaff. The only reservation would be with Gobbi's voice, which isn't plush or rich and exhibits a fast beat. These shortcomings are more than compensated for by his vocal acting.

For what it's worth, Karajan recorded a second Falstaff on Philips with an aging Giuseppe Taddei in the lead, and it was not half as successful overall. Other eminent conductors, among them Giulini, Bernstein, and Abbado, have tried to find magic in this elusive score. The Giulini is too straitlaced, the Bernstein has a woefully wrong Fischer-Dieskau in the lead, and the Abbado showcases Bryn Tefel's signature portrayal, currently the best in the world if you like his extreme overacting, but the rest of the cast is forgettable. Karajan and Legge got everything right five decades ago, and in that they are unique.

5 out of 5 stars The benchmark Falstaff.......2004-07-16

Reference recordings are the touchstone by which all others are judged. The Callas-Gobbi Tosca is the universal example of a recording whose excellence so towers over the field as to bend the artistic vision of every subsequent laborer in the operatic vineyard in homage, conciously or not. Such recordings are extremely rare. Perhaps two dozen at best. By such rigorous standards this 1956 recording of Verdi's miraculous final Opera falls short of attaining the lofty status of Reference recording. Rather, it occupies that second tier of presumptive best for a large number (but not all!) of Opera devotees to whom the status of favorite recording is defended with a rabid zeal best reserved for fanatic warriors and religious zealots. Opera fans are a tough crew prepared to defend their favorites with a level of Mutually Assured Destruction not seen since the Cold War. It can get positively radioactive in the lobby of the Met between acts. I know. I've seen it.

There is a Golden-Age warmth to this recording. EMI had perfected the business of Vocal recordings in the 1950's. Something in the water, perhaps. One can hear it in all
of EMI's classic Opera recordings of the era. Even the ones in Mono (for which we can thank Producer Walter Legge's alleged hatred of stereophonic sound). Recorded in London's Kingway Hall in June 1956 there is a Midsummer's magic in the sparkle with which Gobbi inhabits the role of Falstaff. Recording during those long days was an inspiration not to be ignored. Everything about this Opera screams "more light!" As if the 80 year old Verdi willed himself youth through art. Karajan in his youth - well before illness slowed him considerably - had a clarity of style I have always admired. Listen to the way the woodwinds cavort throughout this recording. They seem to speak, commenting on the action. Sometimes they merge with women's voices with truly magical effect. Afterall, this is an Opera of texture, of delicacy of sound prefiguring Webern by 30 years. In this it is truly modern: pointing the way to a new century while simultaneously (and literally) ending an era.

Sure it's tuneful. The tunes are shorter. It's as simple as that. Don't be put off by the lack of bang-up aria. The entire Opera is a song. Schwarzkopf, Merriman and Moffo (What a cast!) are suberb. They have rarely sounded so youthful yet wise. Vocal quality (to my ear at least) sounds easy and natural for each member of the cast. I cannot find a hint of Scarpia in Gobbi's performance. That's quite a feat since Gobbi is not a Falstaff that comes quickly to mind when discussing casting this role. Everything falls comfortably into place in this classic recording. It is a personal touchstone Opera performance.
In a review of Gardiner's recent recording of this Opera, I mention Toscanini's justifiably lauded performance as occupying one of the antipodes of Falstaff performance practice. Karajan's is unquestionably the other. Lighting the way for all that comes after. Not bad for a long day's work. I love this record. 5 out of 5 stars with no debate.

5 out of 5 stars Best falstaff in the world........2003-12-29

This is the best falstaff in the world bar none. As the Gramophone puts it aptly, it stands peerless in the catalogue. Enough said!!
Verdi without Words: Grand Opera for Orchestra
Average customer rating: 4 out of 5 stars
  • The Music Behind The Grand Opera: Verdi Spectacular
  • Dreadful Sound Engineering
  • Karaoke fans - eat your heart out!
  • Great, but you are not really singing the tune !
  • HIGHLY RECOMMEDED.....
 Verdi without Words: Grand Opera for Orchestra

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003D03
Release Date: 1995-01-24

Tracks:

  1. Grand Entrance ...'Su! Del Nilo Al Sacro Lido'
  2. 'Celeste Aida'
  3. Triumphal Scene 'Gloria All'Egitto'
  4. 'Ave Maria'
  5. 'Vedi! Le Fosche Notturne Spoglie'
  6. 'Di Quella Pira'
  7. Prelude
  8. Introduction To Act I
  9. 'Brindisi'
  10. Waltz
  11. 'Un Di Felice'
  12. La Traviata: 'Sempre Libera Degg'io'
  13. 'Di Provenza Il Mar, Il Suol'
  14. 'Questa O Quella'
  15. 'Caro Nome'
  16. 'La Donna E Mobile'
  17. 'Un Di, Se Ben Rammentomi'
  18. 'Tutto Net Mondo E Burla'
  19. 'Va, Pensiero' (Prisoners' Chorus)

Customer Reviews:

5 out of 5 stars The Music Behind The Grand Opera: Verdi Spectacular.......2005-10-04

This recording is a delight for fans of classical music. In opera, the singing/words/text is married to the music, but it is the music above all that must create moods and evoke sentiment- whether it is pity, romance, jealousy, rage, pomp, melancholy, heartbreak, ecstasy, passion, mystery, etc. Eric Kunzel and his Pops Orchestra performs a wonderful array of Verdi music scores from his most famous grand operas. This album opens with Aida and there is much to admire here. The Triumphal March is a spectacle-scene which features parades of dancing girls and wild animals as Radames returns victorious. This music is famous for its prominent use of trumpet and chorus. Its orchestral version is equally bombastic. The Anvil Chorus from Il Trovatore is another smash Verdi hit, a chorus piece but on orchestra, it is very catchy as well. Further to these fine works, the album features music from Verdi's Otello and La Traviata. This is a fine intro to opera for those who wish to begin by listening to the orchestral music first.

1 out of 5 stars Dreadful Sound Engineering.......2005-06-17

Such beautiful Verdi and tis a shame to have to fiddle with the volume control on every single track (and even within the track). One will be inaudible, the next will blare.

4 out of 5 stars Karaoke fans - eat your heart out!.......2002-12-29

This disc, containing selections of Verdi's most famous operatic works, is a must buy for fans of Opera that want to "try out their pipes".

What Opera fan hasn't at least sung a few bars of "La Donna e mobile" while in the shower? This 70 minutes of Opera greats from the pen of Verdi under the able direction of the Cincinati Pops orchestra under the baton of Erich Kunzel will make most opera fans dreams come true.

There are no words on any of these numbers - making it a cross between a Karaoke disc and Verdi's greatest hits. It contains some selections from "Aida", "Othello", "Il Trovatore", "La Traviata", "Rigoletto", "Falstaff", and "Nabucco".

My only "complaint" is that the lyrics to the numbers were not included in the liner notes. That would have made this the world's first Opera Karaoke.

Still worth listening to for the majesty of the music behind the words - music that is often overshadowed by the singers. Worth a look for inclusion in any opera fan's classical library.

4 out of 5 stars Great, but you are not really singing the tune !.......2002-05-24

"Celeste Aida"
1. Cincinnati Pops did not play the recitativo. Something is missing, if you are an opera freak.
2. The second verse does not include "Il tuo bel cielo vorrei ridarti", which will mislead a whistling person.

"La donna e mobile"
In the second verse, the "refrain" (la donna e mobil qual piu mal vento ...) is replayed. This gives a "queer" feeling for a singing person who is used to practicing singing it "the way it should be sung".

5 out of 5 stars HIGHLY RECOMMEDED............2002-03-13

I LIKE OPERA WITHOUT THE WORDS AND THIS IS ONE OF THE BEST I HAVE
PURCHASED LATELY (AND I HAVE BOUGHT MANY LATELY). CARMAN WITHOUT
WORDS IS ALSO VERY ENJOYABLE, AS ARE ALL THE "OPERA WITHOUT WORDS" CDS OUT TODAY. I HIGHLY RECOMMEND THIS CD TO ADD TO ANY
COLLECTION OF CLASSICAL MUSIC..
Bryn Terfel - Opera Arias / MET, Levine
Average customer rating: 4.5 out of 5 stars
  • Look out world
  • What fun!
  • I LOVE YOU, BRYN!
  • awesome..
  • Why do people think this guy can SING???
 Bryn Terfel - Opera Arias / MET, Levine
Wolfgang Amadeus Mozart , Richard Wagner , Jacques Offenbach , Charles Gounod , Alexander Borodin , Gaetano Donizetti , Gioachino Rossini , Giuseppe Verdi , James Levine , Bryn Terfel , and The Metropolitan Opera Orchestra
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GP8
Release Date: 1996-04-09

Tracks:

  1. Le nozze di Figaro: Non pirai, farfallone amoroso
  2. Don Giovanni: Deh, vieni alla finestra
  3. Don Giovanni: Madamina, il catalogo uesto
  4. Cosi fan tutte: Rivolgete a lui lo sguardo
  5. Die Zauberfl Der Vogelfer bin ich ja
  6. Tannher: Wie Todesahnung Drung deckt die Lande...O du mein holder Abendstern
  7. Der Fliegende Holler: Die Frist ist um
  8. Les Contes d'Hoffmann: Allez!...Pour te livrer combat...Seintille, diamant
  9. Faust: Vous qui faites l'endormie
  10. Prince Igor: Ni sna ni otdycha izmucennoj duse
  11. Don Pasquale: Bella siccome un angelo
  12. La Cenerentola: Miei rampolli femminini
  13. Macbeth: Perfidi! All'anglo contra me v'unite!
  14. Falstaff: Ehi! paggio!...L'Onore!

Customer Reviews:

5 out of 5 stars Look out world.......2006-01-20

Maestro Terfel throws down the vocal gauntlet in this tour de force offering of selected opera arias and dares any male singer, future or current, to pick it up. From the elegance and humor of Mozart, to the giddy delights of Rossini, and the vocal power of Verdi, Bryn Terfel diplays clearly why he is the preeeminent bass-baritone of our age. Short of some misguided forays into American Musical Theater, there seems to be nothing that this proetean singer cannot do. James Levine leads the bravura Met Orchestra with equal parts style and substance. A must have for a fan of great singing and artful music making.

4 out of 5 stars What fun!.......2005-11-22

This is definitely the best recording of the selections chosen from "le Nozze de Figaro" I have ever heard. Terfel has a wonderful sense of musical humour, and is able to make his voice do seemingly, whatever he likes. In fact I think one could liken his voice to a big red bouncy ball, it's so round and fun to play with, you can tell that he himself has fun using it. However this is the only one of his albums I have really fallen in love with, in spite of listening to quite a few. Some of the same pieces are on his other cds, but not as well-sung as in this one.

5 out of 5 stars I LOVE YOU, BRYN!.......2005-06-03

Terfel is amazing. The voice is warm, wide and sensous, and the acting is top-notch. This recital is the best recording I have heard of him outside full operas, where he is (of course) at his best. Every peice on it is a gem, but especially the first five Mozart arias. You will never hear a better Catologue Aria. I make it a point to listen to his at least once a week.
If you are an opera lover and (God forbid!) have not yet stumbled upon Terfel, this is an excellent introduction. And by the way, you needn't be a singer to appreciate his voice - I know very little of the technicalities of singing (about as much as a year in the church choir can give you), but I play the violin and we violinists are very keen on singers who know what they are doing. In the words of my violin teacher, Terfel is "charming!"

5 out of 5 stars awesome.........2004-03-10

this is an awesome cd. if you're a fan of Bryn Terfel, you should buy this. you'll enjoy every song in this cd. I also recommend his recital dvd.

ps) don't listen to what the guy under my review said. i don't think this person knows how to sing.

1 out of 5 stars Why do people think this guy can SING???.......2004-02-09

It baffles me that people think that Bryn Terfel is a great singer. It sounds like he is SINGING HOLDING HIS NOSE CLOSED. Absolutely AWFUL. Just because you can sing LOUD and POWERFUL does NOT mean you are GOOD. I would rather listen to my dishwasher running than this stuff!! The TONE of the voice is what matters to MOST people, and this guy doesn't have it. If you want to hear a beautiful voice, do yourself a favor and go buy Josh Groban's new CD, Closer. You won't regret it!!
Story Of Verdi In Words And Music
Average customer rating: Not rated
    		Story Of Verdi In Words And Music

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

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    ASIN: B000001KDJ
    Release Date: 1995-04-16

    Tracks:

    1. La forza del destino: Overture
    2. Aida: Ballet
    3. Otello: Drinking Song
    4. Otello: Ave Maria
    5. La forza del destino: Overture
    6. Requiem: Requiem aeternam
    7. Un Ballo in Maschera: Eri tu, Che Macchiavi
    8. Nabucco: Chorus Of The Hebrew Slaves
    9. Aida: Ballet
    10. Rigoletto: La Donna e Mobile
    11. Requiem: Agnus Dei
    12. Anvil Chorus
    13. La Traviata: Libiamo (Drinking Song)
    14. La Traviata: Sempre Libera
    15. La forza del destino: Solenne in Quest'Ora
    16. La forza del destino: Pace, Pace, Mio Dio
    17. Aida: Celeste Aida
    18. Aida: O Patria Mia
    19. Requiem: Dies Irae
    20. Otello: Opening
    21. Falstaff: L'Onore! Ladri!
    22. La Traviata: Addio Del Passato
    23. Il Trovatore: Stride la Vampa
    24. Nabucco: Chorus Of The Hebrew Slaves
    25. Aida: Chorus And Triumphal March From Act II
    26. La forza del destino: Pace, Pace, From Scene 4
    27. Aida: Qui Radames verra, From Scene 3
    Angela Gheorghiu - Arias
    Average customer rating: 4.5 out of 5 stars
    • To me, her best
    • One of Gheorghiu's best recitals
    • exquisite!
    • Angela Gheoghiu is Wonderful
    • A Pleasant Surprise
    		 Angela Gheorghiu - Arias
    Giuseppe Verdi , Jules Massenet , Alfredo Catalani , Vincenzo Bellini , Giacomo Puccini , Arrigo Boito , Charles Gounod , Gaetano Donizetti , John Mauceri , Angela Gheorghiu , and Orchestra del Teatro Regio di Torino
    Manufacturer: Decca
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B00000429G
    Release Date: 1996-04-16

    Tracks:

    1. Falstaff: Sul fil d'un soffio etesio
    2. Chbin: Aubade: Vive amour qui reve
    3. La Wally: Ebben?... Ne andrntana
    4. Hdiade: Il est doux, il est bon
    5. I Capuleti e i Montecchi: Eccomi... Oh! quante volte
    6. La Boh: Donde lieta usci al tuo grido d'amore
    7. Mefistofele: L'altra notte
    8. Faust: Air des bijoux
    9. Don Pasquale: Quel guardo il cavaliere
    10. La Boh: Si. Mi chiamano Mimi
    11. Valurile Dunarii: Muzica

    Customer Reviews:

    4 out of 5 stars To me, her best.......2007-07-01

    I have several CDs of Gheorghiu. This is the one I prefer. I also have the DVD of her and her husband in Elisir. It was entertaining, but like in her Casta Diva disc, I didn't think her coloratura passed muster. I thought her singing in the Verdi disc was anemic. Every time she bursts into Tu che le vanita, I immediately and always think of Callas. That was one of the things that hooked me on opera in the first place, though I'm not a big fan of Callas. It just isn't there when Gheorghiu does it, though that's only one aria on the disc. I think Gheorghiu is a little overrated (still), and I think it came about when she burst on the scene in lovebird duets with her husband. But in this recital, I think she does an adequate job, and I still have her other CDs (and more amazing, bought them in the first place). She has a pretty voice and uses it well enough I think in at least this recital.

    5 out of 5 stars One of Gheorghiu's best recitals.......2007-01-09

    I have played this CD numerous times since buying it many years ago. Whilst not 'perfect' to some, I still think it is one of Gheorghiu's best recitals recorded.

    5 out of 5 stars exquisite!.......2006-11-02

    In this recording Ms. Gheorghiu shows why she is one of the most extraordinary voices of our time. Her phrasing, musicality and expression is impecable. I seriously recommend this CD to anyone who wants to know how an opera singer is supposed to be heard.

    5 out of 5 stars Angela Gheoghiu is Wonderful.......2006-08-06

    I love this album I can listen to her all day long.

    5 out of 5 stars A Pleasant Surprise.......2006-02-24

    I purchased this CD for one specific selection, and to my surprise found that I thoroughly enjoyed the entire recording! Ms Gheorghiu has a wonderful voice and knows how to "sell" an aria!!
    The Very Best of Thomas Hampson
    Average customer rating: 4 out of 5 stars
    • SImply Untrue
    • an extra star for all the guest artists
    • An Homage to a Great Artist
    • superb vocals
    		 The Very Best of Thomas Hampson
    Marc Barrard , Thomas Hampson , Csaba Airizer , Georges Bizet , Charles Wakefield Cadman , Stephen Foster , Charles Gounod , Edvard Grieg , Charles Tomlinson Griffes , Imre (Emmerich) Kalman , Erich Wolfgang Korngold , Franz Lehar , Gustav Mahler , Jules Massenet , Giacomo Meyerbeer , Gioachino Rossini , Franz Schubert , Robert Schumann , Johann II Strauss , Ambroise Thomas , Giuseppe Verdi , Richard Wagner , Carl Maria von Weber , Antonio de Almeida , Antonio Pappano , Eugene Kohn , and Fabio Luisi
    Manufacturer: EMI Classics
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B0006VYEI2
    Release Date: 2005-04-26

    Tracks:

    1. La Ran La Lera...Largo Al Factotum
    2. O Sainte Medaille...Avant De Quitter Ces Lieux
    3. Ce Breuvage...Vision Fugitive
    4. C'est Toi...Au Fond Du Temple Saint - Placido Domingo
    5. La Fatigue Alourdit Mes Pas...Comme Une Pale Fleur
    6. Ecoute!...Dieu, Tu Semas Dans Nos Ames
    7. C'est Mon Jour Supreme
    8. Tout Est Desert...Son Regard
    9. Ove Son Io?...Vada In Fiamme
    10. Perfidi! All'Anglo Contro Me...Pieta, Rispetto Amore
    11. Di Provenza Il Mar, Il Suol
    12. E Sogno? O Realta?
    13. Komm!
    14. Der Garten Des Herzens
    15. Lied Des Venezianischen Gondoliers
    16. Le Lazzarone
    17. L'Ultimo Ricordo

    Tracks:

    1. Mein Sehnen, Mein Wahnen
    2. Wo Berg' Ich Mich?...So Weih' Ich Mich Den Rachgewalten
    3. Wie Todesahnung...O Du Mein Holder Abendstern
    4. Gruss Op.48 No.1
    5. Im Wunderschonen Monat Mai
    6. Aus Meinen Tranen Spriessen
    7. Die Rose, Die Lilie
    8. Ich Will Meine Seele Tauchen
    9. Ich Grolle Nicht
    10. Gute Nacht
    11. Die Post
    12. Blicke Mir Nicht In Die Lieder
    13. Ich Atmet' Einen Linden Duft
    14. Ich Bin Der Welt Abhanden Gekommen
    15. Von Der Schonheit
    16. O Vaterland, Du Machst Bei Tag
    17. Als Flotter Geist
    18. Komm, Zigany
    19. An Old Song Re-Sung
    20. At Dawning (I Love You) Op.29 No.1 - Armen Guzelimian
    21. Jeanie With The Light Brown Hair
    22. Beautiful Dreamer

    Album Description

    Details TBA. EMI. 2005.

    Customer Reviews:

    5 out of 5 stars SImply Untrue.......2006-08-16

    The previous review is simply a gross falsification. I have been an obsessed opera fan for a long time, and Thomas Hampson is a truly special singer. He is not the possesor of the largest or most interesting voice, which he will tell you and indeed says so all the time. His commitment to text, his willingness to search out parts to fit his voice, and his dedication to art song make im invaluable to Americans as a ture Troubador. His light Baritone was ideally suited to Figaro and to Valentin and the art song he loves. He must stretch to sing Verdi, where his voice sounds dry and small but many singers have chanced Verdi at their peril, and his innate ablity to inhabit a song, here evidenced in Di Provenza overcomes fact that it is out of his fach. You misinformed opinion of Hampson is mean and strangly bitter. I love Opera, but I do not love every singer, which doesn't mean I debase their very artistic existance. I have seen Hampson live, and have loved him (in Thias) and somewhat disliked him (in Simon Boccanegra) As for him being pretentious, somwetimes I find him mannered, but always charming. SOmetimes Intellectualism can appear pretentious, but surely you wont hold an opera singer to the charge that he must be unintellectual. what a vitriolic review, please buy this Cd, it merits repeated listening to a true American SINGER,

    2 out of 5 stars an extra star for all the guest artists.......2006-05-08

    The title of this album is an oxymoron. Or a sick joke. I can't decide. Sure he has made millions by luring the uninitiated listener into his web of deceit and conceit, but don't be fooled any longer. How fortunate Hampson has been to sing for and with great artists to shoulder his heavy load.

    5 out of 5 stars An Homage to a Great Artist.......2005-10-30

    EMI is wisely creating a series of recordings to gather the moments of artists that showcase the very reasons they become so highly regarded. Usually these collections are produced late in careers or even posthumously, but in the case of THE VERY BEST OF THOMAS HAMPSON the artist is still one of the more active and premiere singers of our day. Yet while he doesn't still perform all of these inclusions, it is wonderful to have excerpts from various successful recordings to remind us of the artistry that Hampson represents.

    The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.

    But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.

    Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05

    5 out of 5 stars superb vocals.......2005-08-07

    Mr.Hampson really gets the chance to showcase his wonderful baritone voice in this "Best of" collection which includes excellent selections from his various other CDs. I like the diversity of the selections featuring operatic arias,works from classical composers, and folk songs. For Thomas hampson fans, as well as fans of the baritone voice, this CD is for them.
    Verdi: Greatest Hits
    Average customer rating: 4 out of 5 stars
    • A sound compilation of Verdi's famous works
    		 Verdi: Greatest Hits

    Manufacturer: Sony
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000002A2B
    Release Date: 1994-08-09

    Tracks:

    1. Aida: Grand March
    2. Rigoletto: La donna e mobile
    3. Il Trovatore: Anvil Chorus
    4. La forza del destino: Overture
    5. Aida: Celeste Aida
    6. Don Carlos: O don fatale
    7. La Traviata: Drinking Song
    8. La Traviata: E strano!... Ah, fors'e lui
    9. Falstaff: L'onore!...L'onore! Ladri
    10. Aida: Ritorna vincitor
    11. Luisa Miller: Quando le sere al placido
    12. Nabucco: Slave Chorus
    13. Manzoni Requiem: Dies irae
    14. Simon Boccanegra: Come in quest'ora bruna
    15. Don Carlos: E lui!...desso!...l'infante

    Customer Reviews:

    4 out of 5 stars A sound compilation of Verdi's famous works.......2007-05-05

    This disc, along with all of the Sony Classical catalog, has very good sound quality, little if any background noise (aside from applause at the beginning or end of a track), and very respectful interpretations of the works of a master.

    Giuseppe Verdi was one of the 19th centuries most influential composers of operas and orchestrated music. Verdi's operas are very, well 'user-friendly', if you are new to opera. I am slowly learning to appreciate operas after a decade of love for classical music without vocals.

    This is a very good CD for those looking to break in to operatic scores. It has large, haunting compositions for chorus, solos, duets, trios and a good mix of orchestrations with no vocals, perfectly showcasing Verdi's gift as a composer.

    Performers on the album include Luciano Pavarotti, Jose Carreras, Dietrich Fischer-Dieskau and other well known and talented artists as well as some of the most famous, gifted and revered orchestras in the world.
    Ramón Vargas - Verdi Arias
    Average customer rating: 5 out of 5 stars
    • Ramón - Tenor Extraordinaire!
    • bel canto at 5 stars plus
    • Truly "Bel Canto!"
    • Splendid!
    • The 'wrong' voice does right by Verdi
    		 Ramón Vargas - Verdi Arias
    Giuseppe Verdi , Edoardo Müller , and Ramón Vargas
    Manufacturer: RCA
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B00005B6FX
    Release Date: 2001-09-25

    Tracks:

    1. Ernani: Part II. Scena Ed Aria: Padre, Con Essi Intrepido/Odi Il Voto, O Grande Iddio
    2. I Due Foscari: Act I. Scena E Cavatine: Qui Ti Rimani Alquanto/Dal Piu Remoto Esiglio/Odio Solo, Ed
    3. Alzira: Act II. Scena Ed Aria: Miserandi Avanzi/Irne Lungi Ancor Dovrei/Non Di Codarde Lagrime
    4. Attila: Act III. Romanza: Oh, Dolore! Ed Io Vivea
    5. Macbeth: Act IV. Scena Ed Aria: O Figli, O Figli Miei!/Ah, La Paterna Mano
    6. I Masnedieri: Part I. Scena Ed Aria: Quando Io Leggio In Plutarco/O Mio Castel Paterno/Nell'argilla.
    7. Jerusalem: Act II. Scene Et Air: L'Emir Aupres De Lui M'appelle/Je Veux Encore Entendre
    8. Luisa Miller: Act II. Scena Ed Aria: Oh! Fede Negar Potessi/Quando Le Sere Al Placido
    9. Rigoletto: Act II. Scena Ed Aria: Ella Mi Fu Rapita/Parmi Veder Le Lagrime/Scorrendo Uniti Remota
    10. Il Trovatore: Part III. Scena Ed Aria: Ah! Si, Ben Mio, Coll'essere/Di Quella Pira L'orren
    11. Les Vepres Siciliennes: Act IV. Romance: A Toi Que J'ai Cherie
    12. Falstaff: Act III. Aria: Dal Labbro Il Canto Estasiato Vola

    Amazon.com

    The Mexican lyric tenor Ramón Vargas displays an impressive range of Verdian skills in this selection of arias from 12 operas. His tone is open and full, with well-placed high notes and a vigorous delivery, while technique and style combine in a solid bel canto approach. There's some particularly graceful phrasing in the Ernani extract, while the more dramatic Luisa Miller aria is given an especially forthright reading, with the character's disbelieving anger at his emotional betrayal conveyed with spirit.

    Vargas is good with words, too. His interpretation of Macduff's aria of loss from Macbeth benefits from committed diction, and he produces some lovely effects throughout this number. Equally memorable are items in French from Les Vêspres siciliennes and Jérusalem (Verdi's 1847 Parisian revision of the 1843 I Lombardi). These are among several rarities included--alternative arias Verdi wrote for later productions of some operas, while Alzira must be one of the least known of all his works. The English translations in the booklet are clumsy, but Vargas's singing is going to give a lot of pleasure. The accompaniments from Edoardo Müller and the Munich Radio Orchestra are topnotch. --George Hall

    Customer Reviews:

    4 out of 5 stars Ramón - Tenor Extraordinaire!.......2003-04-10

    First, let me start by saying that I agree with the review by Joy Fleisig of this CD. She was right on the mark with everything. A gorgeous sounding light tenor who did a great performance of Verdi which I didn't think would turn out as good as it did. Ramón gives us exquisitely beautiful pianissimos, but Joy Fleisig was right, there were a few slightly weak and closed throated sounding high notes, but they are made up with a middle range to die for and a rich lower register. Ramón does need to add greater drama and needs to give more character to the roles.

    Ramón does a particularly exciting ending to "Nell'argilla maledetta" from Verdi's "I masnadieri". He is also very good in "Ah! Si, ben mio" and "Di quella pira" from Il trovatore. However, in "Di quella pira", Ramón does sound a little weak at the very end of the aria. On the other hand, Pavarotti actually sounds a little strained at the ending of "Di quella pira"(Decca 417 713). If you want to hear "Di quella pira" the way it should be done, listen to Carlo Bergonzi on Decca (289 467), wow, what a thrilling ending that shakes the rafters. In my opinion Ramón needs to open up his throat more during those high notes to let them loose. It sounds like he is trying to protect his voice.

    I wanted to give this CD a 4 ½ star rating but there are no half stars, so I am forced to give it a 4 star rating because it is not quite good enough for 5 stars.

    I would love to hear Ramón expand his light tenor repertoire to do Tamino in the Magic Flute and other Mozart operas and Handel's Oratorios which his voice is perfectly suited for.

    Also, and more importantly, my wish is for Ramón to do Puccini's "La Boheme" and to come out with a CD of Puccini arias and a CD of verismo arias. Can Ramón create the power and, more so, the DRAMA to do versimo? That is yet to be seen. I would like to hope so, because I love listening to Ramón's honey sounding voice.

    5 out of 5 stars bel canto at 5 stars plus.......2003-01-18

    This guy really knows how to sing. I give this cd 5 stars plus.

    5 out of 5 stars Truly "Bel Canto!".......2002-12-29

    Ramon Vargas is a wonderful, musical singer. I used to limit myself to the "biggies" such as Pavarotti, Bjoerling, Corelli etc., but I am so glad I have broadened my scope to include non-"legendary" voices.
    For, while a tenor like Ramon Vargas may not have the sheer natural vocal endowment to become a "legendary" tenor for the ages, he certainly has the ability in the here-and-now to sing with surpassing beauty and exquisite musicality. He gives these arias a freshness that is, well... refreshing!
    He also sings in a very self-effacing and humble manner-- being more interested in letting his voice serve the music rather than his own ego. This type of singing is, for my money, where it's at and you sometimes dont get it with the "legends", perhaps because they know they are "legendary"!

    Ramon Vargas sings purely and without artifice and it is moving. I will buy more of his CDs for sure. Buy and enjoy.

    5 out of 5 stars Splendid!.......2002-12-20

    Indeed, this disc is a treasure of tenor singing. Ramon Vargas once again demonstrates his mastery of Verdian line (listen to Alzira on Philips under Luisi for a complete role). He has a voice that easily lends itself to recordings; it's light, but incredibly bright, clear, and focused. He pays a great deal of attention to the texts, it's remarkably easy to understand every word. One thing that stood out for me was the care with which Vargas approaches every phrase, I am certain he worked relentlessly on polishing each note, each line, to make it just right. In this day & age when half-baked "tenors" are popping up everywhere, it's marvelous to hear a singer whose love and care for the music is so genuine.
    Like several folks here, I find Vargas most at home at purely lyric repertoire. But the way Verdi created some of his characters, it's not obvious under what vocal fach do they fall. Case in point - the Troubadour. The part is essentially lyric, but there are some outbursts, such as relating the duel with the Count, or Di Quella Pira that call for dramatic delivery. Lyric tenors have a bit more freedom in Verdian roles than spinto or di forza tenors in a sense that they can negotiate the legato lines with dazzling control, yet some, like Vargas, are able to muster enough power to deliver exciting dramatic moments. Yes, there might a slight lack of dramatic punch to some moments, but all selections impress with a great deal of commitment.
    The absolute favorite for me on this CD is "Quando la sere al placido", thankfully sang without the "ohime" at the end. The scene from "I Masnadieri" is fantastic too with some insightful vocal acting. Vargas makes his Duca really sympathetic in "Parmi veder le lagrime", just keep telling yourself "it's the bad guy!" He even adds some nuance at the end (before Borsa et al march in), but, alas, does not sing "per te che le sfere agl'angeli" on a single breath (that makes Duca sound possessed, which he is). Can't wait for the full version, hopefully with Hvorostovsky in title role.
    Do yourself a favor and get this disc, there are treasures to be discovered there and old favorites done in fresh ways to be enjoyed.

    5 out of 5 stars The 'wrong' voice does right by Verdi.......2002-05-10

    For the past 10 years or so, the marvelous Mexican tenor Ramon Vargas has been one of the leading lights of the bel canto repertory. His voice has the sweet, rich, juicy quality shared by many contemporary Mexican and South American tenors. By and large, Vargas has until now limited himself to roles for light voices. Now that he has turned 40, he has decided that he is ready to move on into the fuller lyric repertory, including Verdi. While I do think Vargas' big, bright voice is a bit light for a lot of the 'major' Verdi roles, most of the repertory he sings on this disc suits him to a tee, and at least on record or in a small theatre is well worth hearing. I also give him credit for singing comparative rarities, including alternates for arias from `Ernani', `Attila' and `Les Vepres Siciliennes'.

    There are a great many opera fans who, unfortunately, judge fitness for singing Verdi only on the volume and power of the voice, and most of these people would not consider a lyric tenor, certainly a light lyric tenor like Vargas, appropriate to sing Verdi's music. Verdi himself might actually disagree. The 'big' sound that we now associate with Verdi has more to do with 20th Century performance practice than with what was actually done in Verdi's time. Verdi's early work essentially is bel canto in style, far more similar to Bellini and Donizetti than to his later work. In fact, the alternate `Ernani' and `Attila' arias Vargas sings were written for the noted Rossini tenor Nikolai Ivanoff - at Rossini's request.

    The `Ernani' selection (which Verdi later reworked into `Ah si, ben mio' in `Il Trovatore') actually does show a slight degree of strain, with some passagio notes and even high notes on the 'o' vowel sounding pinched and nasal, but this is rarely evident anywhere else on the CD. Actually, this nasality is also common among the new generation of Hispanic tenors. With "I Due Foscari", Vargas is in marvelous vocal fettle once again. His rendition of the aria and cabaletta from "Alzira" makes me eager to hear the recording of the entire opera he has made. Throughout the disc he sings with superb legato, great sensitivity, fine diction, and excellent technique. Certainly Vargas' bel canto experience makes coloratura passages easy for him. It is a pity that so few tenors today have these virtues in Verdi, and it is particularly a joy to hear them in the `Il Trovatore' excerpt, even though I think the entire role is beyond Vargas on stage. All the sixteenth-notes in `Di quella pira' are beautifully articulated and he has a fine trill. `Rigoletto', in which I have seen Vargas three times at the Met, seems to be my `unlucky' opera with him - difficult to believe considering his superb performance here. Not only does he sing both verses of `Possente amor' with great elan, but he gives the Duke a sympathetic characterization he rarely gets today. He also produces genuinely sweet, heady tone in the `Falstaff' aria. Finally, Vargas shows great aplomb with the two French selections from `Jerusalem' and `Les Vepres Siciliennes', more so than in the previous work I have heard from him in that language.

    I very much appreciate that this CD gives us extended scenes instead of just arias, giving Vargas ample chance to interact with other singers and chorus, especially in `I Masnadieri'. Although James Anderson does a fine job with all the comprimario tenor parts, the shrill and wobbly Annegher Stumphius proves herself totally wrong for the 'Trovatore' Leonora even in her limited contribution. I suspect the production team realized this because they didn't record 'Il dolci suoni mistici'. The men of the Munich Radio chorus do a fine job, although they are miked from a bit too far away and that hurts their diction a bit, especially in the 'Rigoletto' scene.

    Conductor Eduardo Muller is sympathetic to and supportive of Vargas and keeps the music going at an exciting clip. He also has the Bavarian Radio Orchestra shine in some brief prelude passages. He conducted some very fine performances of 'Rigoletto' and 'I Puritani' at the Met, and I eagerly await his 'La Cenerentola' there in September 2002.

    There are only a few negative points. With the exceptions of Fenton and the Duke of Mantua, roles that he has sung often onstage, Vargas really doesn't make any of these characters that different from each other. Admittedly most Verdi heroes are noble, troubled, and hot-headed, but the situations they deal with here aren't always identical. Along those lines, I wish Vargas had done slightly more with dynamics, especially since we do hear some lovely diminuendi in several selections. It would have been nice, for example, if he had contrasted the two verses of 'Quando le sere al placido' a bit more. None of this is enough to detract from a firm recommendation.

    Full texts and translations are provided. There is also an essay on how both Verdi and his compositions are very different than a lot of contemporary myths would indicate, brief notes on the composition of each opera and synopses of the arias (these last a bit scrunched together), and biographies of Vargas and Muller.

    Although I enjoyed this album immensely, I advise Vargas to proceed further into this and similar repertory with extreme caution. I admit that I'm not entirely pleased that he is taking on heavier Verdi than this (the Italian version of 'Don Carlo' and the Requiem), albeit in relatively small spaces. If Roberto Alagna, whose voice is a size larger than Vargas' and whose middle voice is more solid and baritonal, must go very slowly and carefully into this repertory, all the more so for Vargas. Still, this is one of the loveliest tenors of our time, who merges a beautiful voice with grace and dignity.
    Sumi Jo - Bel Canto / Arevalo · ECO · Carella
    Average customer rating: 5 out of 5 stars
    • The artistry of Sumi Jo
    • Nice Collection, Pure Voice. Slightly Weak High Notes
    • Angels sings like this...
    • This is a tribute to Bel Canto
    • Another Sutherland, yet even better...
    		 Sumi Jo - Bel Canto / Arevalo · ECO · Carella
    Gioachino Rossini , Vincenzo Bellini , Giuseppe Verdi , Gaetano Donizetti , Federico and Luigi Ricci , Giuliano Carella , Sumi Jo , Octavio Arevalo , and English Chamber Orchestra
    Manufacturer: Erato
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000005E5A
    Release Date: 1997-09-16

    Tracks:

    1. Semiramide: Bel raggio lusinghier
    2. La Sonnambula: Care compagne
    3. Falstaff: Sul fil d'un soffio etesio
    4. I Puritani: Son vergin vezzosa
    5. I Capuleti e i Montecchi: Eccomi in lieta vesta...Oh! quante volte, oh! quante
    6. Linda di Chamounix: O luce di quest' anima
    7. Tancredi: No, che il morir non e
    8. I Puritani: Qui la voce sua soave
    9. Crispino e la Comare: Io non sono piu l'Annetta
    10. La Traviata: E strano, e strano

    Customer Reviews:

    5 out of 5 stars The artistry of Sumi Jo.......2007-02-28

    This CD shows Sumi Jo's bel canto technique off to good effect. She has a light agile voice that exemplifies top notch coloratura singing (and I know that bel canto and coloratura are not the same). Indeed, she probably must be rated as one of the best coloratura sopranos of the current era.

    Some samples of her work. . . .

    "Bal raggio lusinghier," from Rossini's "Semiramide" is enchanting. She displays, as always, an agile voice with a lovely quality to it. Her technique is good; this is fun to listen to. She hits a nice high note at the end.

    From Bellini's "I Puritani," we have "Son vergin vezzosa." There are iconic versions of this, first, from Joan Sutherland, and, second, from Beverly Sills. However, Sumi Jo's rendering of this work stands well in comparison. She sings this at a quick pace, as seems appropriate. She shows a nice trill; her florid singing is nicely done. She hits high notes cleanly, although one appears a bit thin and strained--but that's a mere quibble. The repeat is very well done.

    "O luce di quest'anima," from Donizetti's "Linda di Chamonix," is also well sung. The opening portion is prettily sung. The cabaletta picks up the pace. She shows off nice appoggiaturas and her singing is, as always, very agile. She displays a decent trill before the final high note.

    And then there is one of the great showpieces for coloratura sopranos, "Qui la voce. . .Vien diletto," from Bellini's "I Puritani." "Qui la voce" is poignantly and touchingly sung, showing some nice characterization. The cabaletta is smoothly and agilely sung the first time through. Her voice sounds quite sweet in the slower parts of this segment. The repeat features nice ornamentation, including a good trill here and there. Her repeat is not as florid as some, but it is nonetheless nicely done. The final high note is hit dead on.

    Finally, from Verdi's "La Traviata," "E strano". . ."Sempre libera." This has been well sung by many who came before her, such as Renata Scotto and Anna Moffo from decades ago. Her singing seems to represent a nice characterization of the doomed Violetta. The early parts are well sung and expressive. "Sempre libera," of course, picks up the pace. And so does Jo. She handles the demands of this music well. She, once more, manifests considerable vocal agility. The repeat is fine, with some nice runs and a final high note well done.

    In short, this is a good representation of the work of Sumi Jo. For what it's worth, in my estimation, she rates very high among the current crop of coloratura sopranos, alongside Natalie Dessay, for instance. With singers such as these, the current generation of coloratura sopranos ranks well against their historical predecessors.


    4 out of 5 stars Nice Collection, Pure Voice. Slightly Weak High Notes.......2003-04-09

    I don't want to say more about her since she is too famours to introduce. I just bought two of her cds recently, which I had big expection for her.

    Undoubtly, she has beautiful voice and wonderful coloratura style, I was amazed by the flexiblity in her voice. However I was slightly disappointed by the weakness in her high notes. It seems that she never has strong high notes, and those high notes can't last as long as Dilber's or Organasova's.

    Sorry to say this to the pretty Sumi.

    5 out of 5 stars Angels sings like this..........2002-06-18

    This is, without doubt, the most beautiful bel canto recital disc since Dame Joan's Art of the Prima Donna. Sumi Jo is without equal in this repertoire today. Her interpretations are immaculately rendered and her technique (just incredible) is beyond reproach.

    This disc is worth ever penny because it contains the best Elvira ever recorded. Sumi's angelic (albeit small) voice floating above a chamber orchestra creates one of the most intimate operatic portraits of Elvira in recent history. Callas gave us penetrating pyscholgical insights into Elvira, Dame Joan gave us vocal fireworks, but Sumi Jo IS Elvira. She's simply exquisite.

    5 out of 5 stars This is a tribute to Bel Canto.......2002-01-06

    This record is realy a Tribute to Bel Canto.
    When we talk about bel canto, we have to refer Sutherland. Dame Joan had (has) the most beautiful voice I've ever heard. The range of her voice is incredible and I have to desagree with the reviewer that says that Sutherland lower range was heavy. It was strong, not heavy. With that voice range she could do any kind of reportoire.

    Now, let's talk about Sumi Jo. Miss Jo is realy a coloratura Soprano and in bel canto she is the best we have now. All the high notes are very clean and she has no difficulties to reach them. Qui la voce sua soave is very good, I even prefer this interpretation over Sutherland's.

    Well, she is not Sutherland, but she is with no doubt a Tribute to Bel Canto.

    5 out of 5 stars Another Sutherland, yet even better..........2000-12-28

    As I have explained in another review I wrote of Sumi Jo's music, she has become one of my favorite sopranos. I started out with Dame Joan Sutherland, La Stupenda herself in her recital disk "The Art of the Prima Donna." A fantastic CD. And I must say that it has been hard to find other sopranos that could do as well as Dame Joan in such traditional bel canto repertoire. You know how it is, once you hear one version, it's hard to find another that is better. And although some of the arias on this CD are different than you find on Sutherland's, they are just as great, if not better. What one finds with Sumi is a gorgeous voice, clear and pure throughout(not mushy and heavier as Sutherland had in her lower range... Ahhh!! I can't believe I admitted it... I hate to put Sutherland down), and the enunciation is never a problem. So what is there to complain about?... Nothing really, except maybe if her top note wasn't a high F, and instead a C above high C, and then I wouldn't like Natalie Dessay just for her high notes(she has a high A flat I believe). But a high F is more than enough for any bel canto piece as Sutherland showed us throughout her career(I just love high notes, the higher the better).

    Now that I've settled with my love of the voice... the recording itself is to be talked about. Bel raggio lusinghier from Rossini's Semiramide is the first track. A different interpretation than Sutherland, but gorgeous. All throughout this recording, Sumi Jo shows us just how effortless her coloratura is, and this track especially conveys this. As for Sumi Jo's lyrical skills, the perfect track for that is track 5, "O quante volte" from Bellini's "I Capuleti e I Montecchi." What a gorgeous Juliette she is! And if only the previous reviewer knew I was going to see Sumi this coming February in this exact role. I know I can't wait, and I'm sure Ms. Jo will not disappoint. Anyways, this entire recording, each and every song is wonderful. And the Violetta aria from Verdi's "La Traviata" is a nice end to the CD, summing up just how great Sumi Jo is. To those who say bel canto has withered away lately, they should hear this disk. Sumi Jo would convert them right away. And could there be no better praise than the fact that Sutherland's husband Maestro Richard Bonynge has worked with Sumi Jo... Afterall, his wife was practically the Queen of Bel Canto. It's obvious that Bonynge has found his new reigning queen. We could be in for a real treat in the coming years!!!

    This is bel canto at its finest. Enjoy

    P.S. - Even though it's not bel canto repertoire, one wishes Sumi Jo's famed Queen of the Night from Die Zauberflöte were on this set to wow people even more. But not to worry, it's on a couple of her other recordings.
    Verdi: Falstaff
    Average customer rating: 3.5 out of 5 stars
    • A sweet-natured reading with good minor players, but where is Falstaff?
    • Superbly conducted Falstaff
    		 Verdi: Falstaff

    Manufacturer: Lso Live UK
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B00061GYNK
    Release Date: 2004-10-12

    Tracks:

    1. Falstaff!
    2. 6 Polli, 6 Scellini
    3. Sir John, In Quest'Intrigo
    4. Alice.Meg.Nannetta
    5. Leggi. Fulgida Alice!
    6. Mostro!
    7. In Due Parole
    8. Pst, Pst, Nannetta
    9. Torno All'Assalto
    10. Del Tuo Barbaro Diagnostico
    11. Siam Pentiti E Contriti
    12. Alice E Mia!
    13. Signore
    14. C'e A Windsor Una Dama
    15. E Sogno? O Realta?
    16. Eccomi Qua

    Tracks:

    1. Presenteremo Un Bill
    2. Gaie Comari Di Windsor
    3. Alfin T'ho Colto
    4. Quand'ero Paggio
    5. Vien Qua
    6. C'e, C'e
    7. Tutto Delira
    8. Ehi! Taverniere!
    9. Va, Vecchio John, Va
    10. Reverenza
    11. Il Cacciatore Nero
    12. Sarai La Fata
    13. Dal Labbro Il Canto Estasiato Vola
    14. Una, Due, Tre, Quattro
    15. Odo Un Soave Passo!
    16. Ninfe! Elfi! Silfi!
    17. Alto La!
    18. Pizzica, Pizzica
    19. Ogni Sorta Di Gente Dozzinale
    20. Gia S'Avanza La Coppla Degil Sposi
    21. Tutto, Nel Mondo E Burla

    Customer Reviews:

    3 out of 5 stars A sweet-natured reading with good minor players, but where is Falstaff?.......2006-05-20

    In terms of peripherals this is an exemplary Falstaff. The recorded sound is lovely, capturing the voices up close and sweetly. The orchestra plays meticulously, and by taking things a shade slower than usual, Colin Davis has time to amke many nice little points along the way. Verdi's score has rarely sounded so charming in its details. Following in Toscanini's footsteps, most conductors try for an antic pace in this opera, so it's refreshing to hear it on less adrenaline.

    As far as singing goes, these unknowns from London do a very good job. Most sound young, which is especially winning in the romantic pairing of Nanetta and Fenton. There isn't a star in the bunch, yet they outsing the hand-picked cast found on Abbado's disappointing set from DG, which has only Bryn Terfel's mythic, overblown Sir John to lend any attraction. Here, having set up the scene perfectly, Davis falls short on the most important ingredient: Falstaff himself. Michele Petrusi has a solid, well-trained bass, on the young side for this role, that he uses well, but wihtout charisma Falstaff falls apart, and Petrusi hasn't much of it. He cannot convey humor, malice, cunning, self-pity, pomposity, animal appetite--the bloated mixed bag that is Sir John. Mostly he sounds blustery and angry, which gets tedious after a while.

    Still, the lovely incidentals don't amount to nothing, so I enjoyed this set as a one-time listen. If you are phlegmatic, British, or both, you may enjoy it even more.

    4 out of 5 stars Superbly conducted Falstaff.......2004-12-01

    Falstaff is my very favorite opera!! Only two things are needed for a great performance of Falstaff, a wonderful Bass-Baritone and a superb conductor, because Falstaff is a conductor's opera. The two best recordings of Falstaff, as far as I am concerned are Bernstein's with Dietrich Fisher Diskau and of course the evergreen Toscanini recording with the NBC symphony. James Levine conducted some wonderful performances of this opera at the met with Cornell MacNeil in the 1980s and it was broadcast, currently not available on DVD. I was looking forward to this performance because I imagined that Colin Davis with his Mozart and French repetoire would be a good fit with the lightness of Verdi's last opera. He does not disappoint. His work with the London Symphony Orchestra earns 4 1/2 stars. Michael Pertrusi being Italian is an idiomatic Falstaff, very good, but not quite great. Bryn Terfal is the Falstaff of this age, but his recording with Abbado is badly conducted and the rest of the cast is variable except for Thomas Hampson. Davis' cast is all idiomatic and appropriate. The ensembles sparkle where they should and the whole opera is well paced. I enjoyed this recording twice when I first got it and expect to do so in the future. A fine reading of Falstaff, but how about a Levine recording or DVD with an equally great Falstaff?

    Music Review:

    1. Verdi: Overtures, Preludes, Ballet Music
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