Highlights: La Traviata & Rigoletto [Box set]

On this CD:

1. La Traviata, opera Libiam ne'lieti calici
Composed by Giuseppe Verdi
Performed by Luciano Pavarotti

2. La Traviata, opera Un di felice, eterea
Composed by Giuseppe Verdi
Performed by Luciano Pavarotti

3. La Traviata, opera È strano! è strano!
Composed by Giuseppe Verdi
Performed by John Sutherland

4. La Traviata, opera Follie! follie...delerio vano è questo!
Composed by Giuseppe Verdi
Performed by John Sutherland

5. La Traviata, opera De' miei bollenti spiriti
Composed by Giuseppe Verdi
Performed by Luciano Pavarotti

6. La Traviata, opera Pura siccome un angelo
Composed by Giuseppe Verdi
Performed by Sherrill Milnes

7. La Traviata, opera Dammi tu forza, o cielo
Composed by Giuseppe Verdi
Performed by John Sutherland

8. La Traviata, opera Di Provenza il mar, il suol...
Composed by Giuseppe Verdi
Performed by Sherrill Milnes

9. La Traviata, opera Teneste la promessa...
Composed by Giuseppe Verdi
Performed by John Sutherland

10. La Traviata, opera Parigi, o cara, noi lasceremo
Composed by Giuseppe Verdi
Performed by Luciano Pavarotti

11. Rigoletto, opera Preludo
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra
Conducted by Carlo Maria Giulini

12. Rigoletto, opera Questo o quella per ma pari sono
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Luciano Pavarotti
Conducted by Carlo Maria Giulini

13. Rigoletto, opera Quel vecchio maledivami
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Kostas Paskalis
Conducted by Carlo Maria Giulini

14. Rigoletto, opera Pari siamo!
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Kostas Paskalis
Conducted by Carlo Maria Giulini

15. Rigoletto, opera Vegli, o donna
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Kostas Paskalis
Conducted by Carlo Maria Giulini

16. Rigoletto, opera Gualtier Malde
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Renata Scotto
Conducted by Carlo Maria Giulini

17. Rigoletto, opera Ella mi fu rapita!
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Luciano Pavarotti
Conducted by Carlo Maria Giulini

18. Rigoletto, opera Povero Rigoletto!
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Arturo La Porta
Conducted by Carlo Maria Giulini

19. Rigoletto, opera Cortigiani
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Kostas Paskalis
Conducted by Carlo Maria Giulini

20. Rigoletto, opera Mio Padre!
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Renata Scotto
Conducted by Carlo Maria Giulini

21. Rigoletto, opera Schiudete
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra
Conducted by Carlo Maria Giulini

22. Rigoletto, opera La donna e mobile
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Luciano Pavarotti
Conducted by Carlo Maria Giulini

23. Rigoletto, opera Bella figlia dell 'amore
Composed by Giuseppe Verdi
Performed by Rome Opera Theater Orchestra with Luciano Pavarotti
Conducted by Carlo Maria Giulini

Highlights: La Traviata & Rigoletto, Music, Sherrill Milnes, Plinio Clabassi, Giuseppe Verdi, Carlo Maria Giulini, Bianca Bortoluzzi, Corinna Vozza, Rome Opera Theater Orchestra, Rome Opera Theater Orchestra & Chorus, Luciano Pavarotti, Arturo La Porta, Enzo Titta, Fausto Carotenuto, Fernando Jacopucci, Frederica Von Stade, Gene Boucher, Giovanni Ciavola, John Sutherland, John Trehy, Kostas Paskalis, Leo Goeke, Loretta di Franco, Louis Sgarro, Luigi Marcella, Nelle Praganza, Paolo Washington, Raymond Gibbs, Renata Scotto, Classical, Classical Artists, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio
Verdi: La Traviata (Highlights)
Average customer rating: 4.5 out of 5 stars
  • In reference to the complete recording...
  • Ceccato The Tempo Turtle Almost Spoils La Traviata
  • Beverly Sills in her definitive Violetta
  • Great Highlights Album
 Verdi: La Traviata (Highlights)

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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  5. The Very Best of Beverly Sills

ASIN: B00005NPK0
Release Date: 2003-01-07

Tracks:

  1. Prelude
  2. Libiamo, Ne' Lieti Calci
  3. Che E Cio?
  4. Un Di, Felice
  5. E Strano! E Strano!...
  6. Ah, Fors'E Lui...
  7. Follie! Follie!
  8. Sempre Libera
  9. De' Miei Bollenti Spiriti
  10. Pure Siccome Un Angelo... Non Sapete Quale Affeto... Dite Alla Giovine
  11. Di Provenza Il Mar
  12. Teneste La Promessa...
  13. Addio Del Passato
  14. Parigi, O Cara

Customer Reviews:

5 out of 5 stars In reference to the complete recording..........2007-07-12

For those with the brassiest, most ostentatious appetites, Maria Callas has provided the most overwhelmingly vocalized and passionate Violetta Valéry, the "lady of the camellias," comparable even to her fire-blooded Tosca. Callas' vocal merits, of course, are forever plagued with scrutiny. Dame Joan Sutherland, whose coloratura register scaled the alpine heights of Verdi's tragic heroine, has been, for many more, the loveliest and most lusciously endearing Violetta on record. (Her recording with Luciano Pavarotti under the baton of her husband, Richard Bonynge, is, indeed, highly lauded.) However, Beverly Sills, the illustrious American coloratura soprano, is equally esteemed in the role. Sills, for many listeners, possessed a vocal register which encircles the best sectors of Callas' and Sutherland's interpretations. Sills' voice could twitter and flutter into the most elevated levels of the female tessitura; equally, she possessed a marvelously rich lower register and a keen, eloquent sense of bravado and dramatic proportion.

During her renowned Act I aria ("È strano! È strano!...Ah, fors'è lui che l'anima"), Sills sings with all the pathos and frustration of a woman, alluring and intoxicating in her charm, pampered and convivial, but frozen in la dolce vita, suddenly confronted with a genuine expression of guileless adoration. "Follie! Follie! Delirio vano è questo!...Sempre libera" is often considered Verdi's greatest accomplishment for the soprano voice; it is a sprightly, buoyantly hedonistic repudiation of true love and the embracement of gratification and indulgence. Sills truly proves herself to be "America's Queen of Opera." Brava, bravissima!

The letter scene ("`Teneste la promessa'"..."Addio, del passato bei sogno ridenti"), a vocal portrait of utter desolation, with Violetta reading Giorgio Germont's correspondence against a backdrop of deep, misty strings and a single, weeping violin, is crestfallen and morose. Sills captures the true essence of the traviata - the "woman who strayed" from virtue and purity but who, in her final hour, though she is abandoned by all who formerly loved her, repents in remorse and dissolution and is redeemed through clemency.

Nicolai Gedda's amber, pellucid voice has forever been one of the most mellifluous in the operatic sphere. He matches Sills when both of them were comparatively past their vocal prime, though their conglomerated deftness is arguably unsurpassed. Gedda is ravishing as the devoted and infatuated Alfredo Germont in his succulent Act II aria "De' miei bollenti spiriti"; conversely, with "Oh mio rimorso! O, infamia!", an aria of unutterable, hysterical choler, Gedda sings with all the fury and wrath of a scorned and betrayed lover now aware of what was so obviously hidden from his juvenile and naïve eyes. Only Pavarotti has been comparably livid and blood-curdling in the final high note. In the second scene of Act II, Gedda growls and hisses his way through "Ogni suo aver tal femmina," a bitter, ignoble aria of malice.

Sills' and Gedda's individual performances are enriched by their intense chemistry. They are opulently matched during the instantly recognizable Brindisi ("Libiamo ne' lieti calici"), and they scale the euphoric walls of abandon. Their delicate, lyrically redolent Act I duet ("Un dì, felice, eterea") is also fantastic, with Gedda passionately accosting Sills who returns flippant rejection. They also combine in a sensuous tapestry of Verdian melody, echoing their former passions and the limitless decadence of their golden months together, during their measurelessly tender and impassioned Act III duet ("Parigi, o cara, noi lasceremo"), a final attempted repudiation of the irreversible end of their romance.

Few baritones have ever encompassed the character of Giorgio Germont as affectionately as Rolando Panerai. The seasoned Italian baritone's rendering of the character, often by other singers chiseled into existence as a canned, self-aggrandizing, and pompous villain, is ultimately affectionate and benevolent; he is torn between his desire for his son's happiness and the well-being of his daughter and family name. Panerai's voice, resplendent and robust, add the perfect mixture of contemptible blue-bloodedness and beleaguered humanity to the deceptive role as he expresses the dire situation ("Pura siccome un angelo") in Act II; the landed man his daughter wishes to marry refuses to acquiesce unless Alfredo returns to his ancestral home and leaves the whore and vamp that is the infamous Violetta. Panerai also sings Germont's signature Act II aria ("Di provenza, il mar, il suol"), one of Verdi's most gorgeous for the baritone voice, with zealous and patriarchal passion.

He and Sills are also quite affecting during their doomed Act II encounter. During "Un dì, quando le veneri," Germont attempts to lure Violetta from Alfredo's arms with the threat the he will eventually fall out of love with her, for men are naturally fickle and careless with lovers. Sills is tragically shattered as the pitiful Sybarite who made the terminal mistake of choosing pure love over base gluttony. In one of opera's most heartbreaking moments, Violetta, utterly ravaged by despondency, agrees to the old gentleman's terms ("Ah! Dite alla giovane, sì bella è pura"); she shall, indeed, leave Alfredo, and, from her splintered heart, once gay but now stabbed, die alone in unrequited agony.

The recording boasts a luxurious cast of supporting singers, including the aristocratic Richard Van Allan as the Marquis d'Obigny, the resonant Robert Lloyd as Doctor Grenvil, the urbane Delia Wallis as Flora Bervoix, Keith Erwen as Viscount Gastone de Létorières, and Terence Sharpe as Baron Douphol.

Aldo Ceccato leads the Royal Philharmonic Orchestra with refinement; the playing is occasionally insipid, but it is solidly efficient and far from lackluster. The Prelude to Act I is serene in its simpering bereavement. The Prelude to Act III invokes extreme melancholy; it is a friable and brittle orchestral passage of uncertainty and fate. (The canned "chatter" and "conversation" during the onslaught of Violetta's and Flora's jollifications grows tiresome, however.) The John Alldis Choir is predictably in superior form during the chorus of the departing dinner guests ("Si ridesta in ciel l'aurora"); the sensual chorus of the gypsies ("Noi siamo zingarelle"); the piquant, bombastic chorus of the matadors ("Di Madride noi siam mattadori"), with Van Allan, Lloyd, Wallis, and Erwen vocally imbibing; and the chorus of the Parisian revelers ("Largo al quadrupede").

However, the recording's greatest moments can be defined in two significant ensembles. The first finalizes Act II ("Alfredo, Alfredo, di questo core"), with Violetta professing her undying and eternal love for Alfredo, Alfredo expressing his debilitating remorse for shaming her publicly, Giorgio consumed with bitterness for the tragedy he has wrought, and the chorus expressing profound pity for Violetta and vindictive hostility toward Alfredo. The second is the epochal operatic tear-jerker in Act III ("Prendi, quest'è l'immagine"), though Sills, Gedda, and Panerai are never schmaltzy or maudlin. Violetta, at the ultimate threshold, gives Alfredo a medallion containing her portrait; she then instructs him to marry again. When he has found another maiden "in the flower of life," he should give her the medallion, thus she can understand that she will forever be protected by an angel in Heaven.

What more impressive Verdian moment could one encounter?

4 out of 5 stars Ceccato The Tempo Turtle Almost Spoils La Traviata.......2005-08-22

This is a good bargain if you're searching for a taste of Traviata.
The cast is very good with Beverly Sills as Violetta, Nicolai Gedda as Alfredo, and Rolando Panarei as Germont.
Beverly Sills handles the demanding technical passages of act 1 and act 2 very well though her singing is not as dazzling or spectacular as Joan Sutherland's but that has more to do with the conductor's intermittant sluggish tempos which drain the sparkle,intensity, and flow out of some of the arias.
Where Sills triumphs over Sutherland is in the dramatic department as we experience a more sensitive and revealing portrait of the tragic Violetta which truly reaches the listener's heart.
Nicolai Gedda is fabulous as Alfredo producing heroic beautiful tone,elegant phrasing, and convincing sensitive characterization and Rolando Panarei makes an imposing Germont with that rich full bodied baritone pulling thru the vocal tightropes with ease meanwhile producing a compelling and colorful portrait of the old man.
The packaging is not generous as their is no text translation but a track by track summary that is extremely skimpy in its details but you do get a little biography on Sills and Gedda as well as a few details about the composer Giuseppe Verdi.
The extracts that were selected for this release are well chosen though the final aria "Prendi quest'e L'immagine" is not present which is a notable flaw as listener's should be able to hear the final moments of La Traviata when Violetta dies.
Oh well, what can you do except complement this release with another highlights cd or just break down and get the complete opera which is actually the best choice since it is one of Giuseppe Verdi's greatest compositions and he is the king of all opera.
Enjoy!
I hope this review was helpful to you and happy opera hunting.

Further Quality Listening:Complete Traviata's=Cotrubas,Milnes,
Domingo,Kleiber on DG + Callas,Di Stefano, Giulini live on ancient mono Emi but worth it+ Sutherland,Bergonzi,Pritchard on Decca.
IL Trovatore with Bjorling,Milanov,Warren,Cellini on Rca,
Rigoletto with Pavarotti,Sutherland,Milnes on Decca,
Aida with Domingo,Caballe,Muti on Emi, La Boheme with Domingo,Caballe,Solti on STEREO Rca or with Bjorling,De los Angeles,Beecham on MONO Emi if you don't mind the inferior sonics.

4 out of 5 stars Beverly Sills in her definitive Violetta.......2004-06-08

Giuseppe Verdi's LA TRAVIATA is given the lush treatment in this sparkling highlights album starring Beverly Sills and Nicolai Gedda, under the baton of Aldo Ceccato and the Royal Philharmonic.

Beverly Sills made sure that LA TRAVIATA and the role of consumptive courtesan Violetta Valery was a constant in her performing repertoire. She sang the role countless times in her glittering career. She's especially fetching with Violetta's petulant "Follie! Follie" and her death scene in "Parigi o cara" is like attending a master-class.

Nicolai Gedda makes for a thrilling Alfredo, proving his mettle with "De' miei bollenti spiriti", and his sparkling duet with Sills in "Sempre libera".

For Beverly Sills and TRAVIATA admirers, this CD is hard to beat.

5 out of 5 stars Great Highlights Album.......2003-05-29

This disc features Highlights from one of the best available recording of La Traviata, and features Beverly Sills, Nicolai Gedda and Rolando Panerai.

Beverly Sills is a lovely Violetta. Here she sings with passion and grace. This is a performace heavy vocalization, and her acting sometimes stands out above the music which some may object to. She is at her best with "Addio del passato", her dying song. Nicolai Gedda sings with his usual strong voice. Rolando Panerai is the greatest addition to the opera, and the most stunning Germont on recording. His duet with Beverly Sills is splendid, and his "Di Provenza il Mar" takes the music of Verdi to the heights it deserves to attain. As he beckons his son to return home, his voice ranges from sadness to passion to near desperation. There could be no better Germont.

The highlights album is perfect for anyone who likes to listen to "La Traviata" casually without following along with the entire story. Every important song appears on the album, and the only song that is missed is the chorus of partygoers in Act 2.

A person would have no regrets if they owned this highlights disc, or even the full recording of "La Traviata" with Sills, Gedda and Panerai.
Verdi - La Traviata / Sutherland · Pavarotti · Bonynge [highlights]
Average customer rating: 3.5 out of 5 stars
  • yucky mushy voice!
  • Great, but no even close to their primes
  • A good recording for the archives
 Verdi - La Traviata / Sutherland · Pavarotti · Bonynge [highlights]
Giuseppe Verdi , Richard Bonynge , Joan Sutherland , Luciano Pavarotti , Marjon Lambriks , Matteo Manuguerra , Alexander Oliver , and Della Jones
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041OL
Release Date: 1990-10-25

Tracks:

  1. La Traviata: Act 1: Prelude
  2. La Traviata: Act 1: Libiamo, ne'lieti calici
  3. La Traviata: Act 1: Un di felice
  4. La Traviata: Act 1: E strano!... Ah, fors'e lui... Sempre Libera
  5. La Traviata: Act 2: Scene 1 - Lunge da lei... O mio rimorso!
  6. La Traviata: Act 2: Scene 1 - Pura siccome un angelo
  7. La Traviata: Act 3: Teneste la promessa... Addio del passato
  8. La Traviata: Act 3: Parigi, o cara
  9. La Traviata: Act 3: Finale - Ah! Violetta!

Customer Reviews:

1 out of 5 stars yucky mushy voice!.......2003-07-07

Sutherland in her prime was bearable, but Sutherland in vocal decline is absolutely hideous to hear! Her voice was way too mushy, diction terrible (as always anyway), and no vocal acting whatsoevever. I disagree with a previous reviewer-I don't hear any characterization in this portroyal. She sounds the same no matter what. The brindisi may as well be addio del passato. Pavarotti is not in fresh voice for this recording. Overall, a terrible recording.

5 out of 5 stars Great, but no even close to their primes.......2003-07-05

Dame Joan and Pavarotti are so fantastic here that you'll never guess that they are already much past their terrific primes when this was recorded. Dame Joan being about 55.
If you think her voice is good here, you'll be dumb-founded by her "The Art of the Prima Donna" cd, which is the greatest display of coloratura singing in the history of opera. I am not exaggerating.
Yes, this is a great Traviata, better than anything out there except for Sutherland's first one. But the gorgeous Sutherland tone can be far better if you can believe it. This 1980 recording shows Sutherland with only 70% of her original phenomenal voice. The same goes for Pavarotti.
Buy this set because they are together. But if you want to hear them in their prime. Buy their "Daughter of the Regiment".

5 out of 5 stars A good recording for the archives.......2002-05-04

A good recording for the archives and a lesson in how to keep the voice healthy and lond-lasting. Excellent performances all around. If you'd like to hear more in detail, read below:

I have nothing bad to say about Joan. Yes, the voice is... "older" but it's wise and trained. Every note has years of training, wisdom, and experience to it. "E strano! Estrano..." and "Teneste la promessa... Addio del passato" are those pieces that you just think to yourself, "Dame Joan owns this one." When she sings them, it's like these were written for the older voice and only that. She just takes such leadership and ownership. They have such passion -- especially the latter piece, when she laments over her imminent death, it sounds as if she's really going TOMORROW. The "Sempre Libera" is very interesting to listen to. I wouldn't put it on her "Greatest hits album," but to hear the technique that went in that preparation is amazing, I mean, for God sakes she's 55 years old and do you HEAR that! And kudos to the much improved acting!!

Pavarotti is really in the zone for this one. His "Parigi, o cara" is just beautiful -- such tenderness and REAL acting and emotions coming through.

Manuguerra is a real class act. I found him thoroughly convincing. Like he was actually a real concerned father.

Nice use of your money. I know MY CD player is on a first name basis with this recording.
Verdi - La Traviata / Cotrubas, Domingo, Kleiber [highlights]
Average customer rating: 4.5 out of 5 stars
  • Cotrubas is Great, but what's the hurry?
  • A great record
 Verdi - La Traviata / Cotrubas, Domingo, Kleiber [highlights]
Giuseppe Verdi , Munich Bavarian State Orchestra , Bavarian State Opera Chorus , Ileana Cotrubas , Placido Domingo , Giovanni Foiani , Alfredo Giacomotti , Bruno Grella , Walter Gullino , Hans-Ludwig Hirsch , and Helena Jungwirth
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GG4
Release Date: 1992-08-11

Tracks:

  1. La Traviata: Preludio
  2. La Traviata: 'Libiamo ne' lieti calici' (Brindisi)
  3. La Traviata: 'Che e' cio?'' - 'Non gradireste ora le danze?'
  4. La Traviata: 'Un di felice, eterea'
  5. La Traviata: 'E' strano!'...'Ah, fors'e` lui'
  6. La Traviata: 'Follie! Delirio vano e` questo!...Sempre libera'
  7. La Traviata: 'Lunge da lei'
  8. La Traviata: 'De` miei bollenti spiriti'
  9. La Traviata: 'Annina, donde vieni?'
  10. La Traviata: 'O mio rimorso!'
  11. La Traviata: 'Dammi tu forza, o cielo!'
  12. La Traviata: 'Di Provenza il mar, il suol'
  13. La Traviata: 'Di Madride noi siam mattadori'
  14. La Traviata: 'Invitato a qui seguirmi'
  15. La Traviata: 'Ogni suo aver tal femmina'
  16. La Traviata: 'Di sprezzo degno se stesso rende'
  17. La Traviata: 'Teneste la promessa'...'Attendo, ne` a me giungon mai!'...'Addio del passato'
  18. La Traviata: 'Signora' - 'Che t`accade?'
  19. La Traviata: 'Parigi, o cara, noi lasceremo'
  20. La Traviata: 'Ah, Violetta!' - 'Voi? Signor?'
  21. La Traviata: 'Prendi, quest`e' l`immagine'

Customer Reviews:

4 out of 5 stars Cotrubas is Great, but what's the hurry?.......2001-06-09

Cotrubas's performances are almost universally deemed "vulnerable" and no more so than here- her voice has a plaintive, sorrowful quality that really makes Violetta a tragic figure- not the fighter that is Callas, but very, very moving. Another reviewer has made a very telling comment calling Cotrubas's performance "Puccinian" meaning the frail heroine is doomed from the start- but I really think this is a major advantage here, so that even in the brightest parts of Act I, you hear desperation and fatalism in her voice (as opposed to other singers who make it so bubbly as to sound as flighty as The Merry Widow). I think the drawback here is Kleiber's speeds- yes, he creates a great deal of dramatic tension, and yes there are lots of places in Traviata for a singer to wallow self-indulgently, but I think his tempi are too fast and he never relaxes for a second: the wrenching preludio (both in Acts I and III) speeds by- the traditional rubato on the higher note at the end of the first phrase of "Addio del passato" is rushed over- "Parigi O cara" drives ahead without quarter... Perhaps Kleiber had been told to get the entire recording on the fewest number of discs possible; but did they have to cut the secord verse of "Addio del passato"?

In spite of this, I would still recommend at least the highlights disc (but be warned that Cotrubas and Milnes are wonderful in all parts in-between the arias and duets and you are really missing out of you don't hear them).

Interestingly- Deutsche Grammophon put out a highlights disc some time back which does have the same stuff listed on this disc- originally, they left out "Un di felice" in favor of much of the throw-away stuff from the very beginning of ActI -- what's up with that? The original also left off the big concertato at the end of Act II, one of the best Verdi ever wrote-- but it did have the Preludio for Act III as well as the heartbreaking and gorgeously sung arioso material at the start of Act III.

5 out of 5 stars A great record.......2000-07-09

This record was my first contact with Opera and I have become a passionate amateur since. Ileana Cotrubas brings an outstanding Violetta: the sincerety and vulnerability that she puts into the charachter is truly moving. Also Sherril Milnes is impressive in his interpretation of Germont and it is pitty that this record does not include Violetta and Germont's duet 'pura siccome un angelo'. Whether you are a freshman to the world of opera or whether you have been an opera fan for a long time, this record will enchant you.
The Greatest Voice in Opera: Highlights from La Traviata
Average customer rating: Not rated
    		The Greatest Voice in Opera: Highlights from La Traviata

    Manufacturer: Pavarotti
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000005L1N
    Release Date: 1995-07-14

    Tracks:

    1. Libiam Ne'Lieti Calici - Luciano Pavarotti
    2. Un Di Felice, Eterea - Luciano Pavarotti
    3. E Strano ! E Strano ! - John Sutherland
    4. Follie! Fillie!... Delirio Vano E Questo! - John Sutherland
    5. De' Miei Bollenti Spiriti - Luciano Pavarotti
    6. Pura Siccome Un Angelo - Sherrill Milnes
    7. Dammi Tu Forza, O Cielo - John Sutherland
    8. Di Provenza Il Mar, Il Soul - Sherrill Milnes
    9. Teneste La Promessa - John Sutherland
    10. Parigi, O Cara, Noi Lascermo - Luciano Pavarotti
    Verdi: La Traviata (Highlights)
    Average customer rating: 4.5 out of 5 stars
    • Try to be fair.
    • She could have done it!!!
    		 Verdi: La Traviata (Highlights)

    Manufacturer: RCA
    ProductGroup: Music
    Binding: Audio CD

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    1. Opera Arias [Hybrid SACD]
    2. Pavarotti's Opera Made Easy: My Favorite Love Songs

    ASIN: B00000K2F0
    Release Date: 1999-09-14

    Tracks:

    1. La Traviata: Prelude
    2. La Traviata: Libiamo ne' lieti calici
    3. La Traviata: Un di felice eterea
    4. La Traviata: strano, trano! Ah, fors ui
    5. La Traviata: Follie, follie! Delirio vano
    6. La Traviata: Sempre libera
    7. La Traviata: Lunga de lei, de' miei bollent spiriti
    8. La Traviata: Pura siccome un angelo
    9. La Traviata: Non sapete quale affetto
    10. La Traviata: Ah, dite alla giovine
    11. La Traviata: Morro, morro!
    12. La Traviata: Di Provenza il mar
    13. La Traviata: Ogni suo aver tal femmina
    14. La Traviata: Di sprezzo degno stesso rende
    15. La Traviata: Act III: Prelude
    16. La Traviata: Tenesta la promessa
    17. La Traviata: Addio del passato
    18. La Traviata: Largo al quadrupede
    19. La Traviata: Signora - che t'accadde?
    20. La Traviata: Parigi, o cara

    Customer Reviews:

    4 out of 5 stars Try to be fair........2002-03-07

    The previous reviewer is such a Moffo groupie that she can't see past her prejudices. First, Anna Moffo was not robbed. She had a long and glorious career and well deserved fame. Her performances
    of Violetta are among the greatest on record.However, Callas and
    Sutherland do hold the palm for this role. Callas' great dramatic
    interpretation and Sutherland's glorious golden voice simply cannot be bested by any other artist, no matter how great, and Moffo was great. So Joan and Maria get five stars and Anna gets four. And the remark about "the opera buffs-a bunch of queens".
    THAT is a totally biased and totally uncalled for comment. SHAME ON YOU!

    5 out of 5 stars She could have done it!!!.......2000-09-14

    She had the golden voice, the acting ability, the looks of a movie star...why did she failed? Think she was robbed. If Sutherland and Callas did not show up, she would have been the Queen of Opera, bar none. She can sing Sonnambula, Traviata, any of Puccini's heroines, and she had the voice, the most gorgeous face and figure of all opera singers, bar none, and she did have the top notes also, to F altissimo, though her voice is perhaps not as gorgeous as Sutherland's, but who does? But she never quite got there , due to the snob fans...you know how the opera buffs are, they are all a bunch of queens... You have to check out her Violetta and her Lucia although, it's is the compromise between the perfect voice of Sutherland and the heartbreak of Callas, brava, La Divina, in Violetta, Callas is Violetta, by far in this signature role I and all others think, BRAVA, BRAVA!!!!!. Why Moffo never achieved the legendary status I don't know, but maybe it is all in the press.
    Opera Highlights (Box Set)
    Average customer rating: Not rated
      		Opera Highlights (Box Set)

      Manufacturer: Delta
      ProductGroup: Music
      Binding: Audio CD

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      ASIN: B000001VUW
      Release Date: 1994-03-08

      Tracks:

      1. Overture - Budapest Philharmonic Orchestra
      2. Pres des remparts - Krystyna Szostek-Radkowa
      3. La garde montante - Budapest Philharmonic Orchestra
      4. Parlez-moi de ma mere....Ma mere je ma - Andras Molnar
      5. Habanera - Budapest Philharmonic Orchestra
      6. Les dragons d'Alcara/Danse boheme - Budapest Philharmonic Orchestra
      7. Votre toast - Nicolai Ghiaurov
      8. La fleur que tu m'avais jetee - Andras Molnar
      9. Intermezzo - Marche des contrebandiers - Budapest Philharmonic Orchestra
      10. Je dis que rien ne - Liliana Vassileva
      11. Aragonaise - Budapest Philharmonic Orchestra
      12. A deux cuartos - Sofia National Opera Chorus
      13. Ballet Music - Budapest Philharmonic Orchestra
      14. Les voici! Voisi la Quadrille! - Sofia National Opera Chorus

      Tracks:

      1. Overture - Marcello Viotti
      2. Hier Soll Ich Dich Denn Sehen, Konstanze - Jerrold Van Der Schaaf
      3. Solche Hergelauf'ne Laffen - Kurt Rydl
      4. Singt Dem Grossen Bassa Lieder - Bamberg Symphony Orchestra Chorus
      5. Marsch, Marsch, Marsch! Trollt Euch Fort - Kurt Rydl
      6. Durch Zartlichkeit Und Schmeicheln - Jeanine Thames
      7. Ich Gehe, Doch Rate Ich Dir - Kurt Rydl
      8. Martern Aller Arten - Sylvia Greenberg
      9. Welche Wonne, Welche Lust - Jeanine Thames
      10. Wenn Der Freuden Tranen Fliessen - Jerrold Van Der Schaaf
      11. Ach Belmonte! Ach Mein Leben - Sylvia Greenberg
      12. Im Mohrenland Gefangen War - Wilfried Gahmlich
      13. O, Wie Will Ich Triumphieren, Wenn Sie Euch Zum Richtplatz Furhren - Kurt Rydl
      14. Nie Werd' Ich Deine Huld Verkennen - Bamberg Symphony Orchestra Chorus

      Tracks:

      1. E Soffito...E Pareti - Giacomo Aragall
      2. Dovunque Al Mondo/Quale Smania Vi Prende! - Anna Tomowa-Sintow
      3. Viene La Sera/Bimba Dagli Occhi Pieni Di Malia - Anna Tomowa-Sintow
      4. E Izaghi Ed Izanami - Anna Tomowa-Sintow
      5. Un Bei Di Vedremo - Anna Tomowa-Sintow
      6. Una Nave Da Guerra/Scuoti Quella Fronda Di Ciliegio - Anna Tomowa-Sintow
      7. Coro A Bocca Chiusa - Sofia National Opera Chorus
      8. Io So Che Alle Sue Pene/Addio, Fiorito Asil - Giacomo Aragall
      9. Con Onor Muore - Anna Tomowa-Sintow

      Tracks:

      1. Overture - Chamber Orchestra Of The Hungarian State Opera
      2. Ah, Se Intorno A Quest' Urna Funesta - Julia Hamari
      3. Chiamo Il Mo Ben Cosi - Julia Hamari
      4. Gli Sguardi Trattieni - Maria Zempleni
      5. Chi Mai Dell'Erebo Fra Le Caligini/Mille Pene - Julia Hamari
      6. Dance Of The Blessed Spirits - Ervin Lukacs
      7. Vieni A Regni Del Riposo - Chamber Chorus Of The Hungarian State Opera
      8. Torna, O Bella - Chamber Chorus Of The Hungarian State Opera
      9. Vieni, Appaga Il Tuo Consorte - Veronika Kincses
      10. Che Fiero Momento - Veronika Kincses
      11. Che Faro Senza Euridice - Julia Hamari
      12. Ballet Music - Ervin Lukacs
      13. Trionfi Amore - Veronika Kincses

      Tracks:

      1. Entrance Of The Gods In Valhall - Radio Symphony Orchestra Sofia
      2. Ride Of The Valkyries - Budapest Symphony Orchestra
      3. Ein Schwert Verhiess Mir Der Vater - Reiner Goldberg
      4. Der Manner Sippe - Eszter Kovacs
      5. Wintersturme Wichem Dem Wonnemond - Reiner Goldberg
      6. Magic Fire Music - Budapest Symphony Orchestra
      7. Hoho! Hoho! Hohei! Schmiede Mein Hammer - Reiner Goldberg
      8. Siegfried's Rhine Journey - Yuri Ahronovitch
      9. Siegfried's Death And Funeral March - Radio Symphony Orchestra Sofia
      10. Starke Scheite Schichtet Mir Auf - Eszter Kovacs

      Tracks:

      1. Long Live Boris Federovich - Warsaw National Opera Chorus
      2. Boris's Monologue - Warsaw National Opera Chorus
      3. Varlaam's Scene - Marek Wojciechowski
      4. Boris's Recitative And Aria - Anatolij Kotscherga
      5. Scene Boris/Shuisky - Kazimierz Pustelak
      6. Boris's Mad Scene - Anatolij Kotscherga
      7. Duet - Ryszarda Racewicz
      8. Get Him Here - Warsaw National Chorus
      9. Pale Moonlight - Marek Wojciechowski
      10. Domine, Domine Salvum - Marek Wojciechowski
      11. We, Dimitri Ivanovich - Vitalij Taraschtschenko
      12. Flow, Flow, Hot And Bitter Tears - Krzysztof Szmyt
      13. A Pious Servant Of The Lord - Jerzy Ostapiuk
      14. Farewell, My Son - Anatolij Kotscherga

      Tracks:

      1. Overture - Sofia Symphony Orchestra
      2. Se Qeul Guerriero - Celeste Aida - Jozsef Simandy
      3. Possenthe Ftha - Bulgarian National Chorus
      4. Ritorna Vincitor - Anna Tomowa-Sintow
      5. Chi Mai Fra Gl'immi E I Plausi - Bulgarian National Chorus
      6. Silenzio! Aida Verso Noi S'Avanza - Gisella Passino
      7. O T Che Sei D'Osiride - Sofia National Opera Chorus
      8. Qui Radames Verra - Anna Tomowa-Sintow
      9. Gloria All' Egitto - Bulgarian National Chorus

      Tracks:

      1. Preludio - Roberto Paternostro
      2. Libiamo Ne' Lieti Calici - Fujiwara Opera Chorus
      3. E Strano! - Lucia Aliberti
      4. Lunge Da Lei...../De' Miei Bollenti Spiriti - Peter Dvorsky
      5. Annina, Donde Vieni?/O Mio Rimoroso - Peter Dvorsky
      6. Dite Alla Giovine - Lucia Aliberti
      7. Di Provenza Il Mar, Il Sol - Renato Bruson
      8. Noi Siamo Zingarelle - Fujiwara Opera Chorus
      9. Di Madride Noi Siam Mattadori - Fujiwara Opera Chorus
      10. Di Sprezzo Degno - Fujiwara Opera Chorus
      11. Preludio - Roberto Paternostro
      12. Teneste La Promessa - Lucia Aliberti
      13. Parigi, O Cara - Lucia Aliberti
      14. Ah! Violetta!/Voi.....Signor! - Lucia Aliberti

      Tracks:

      1. Preludio - Sofia Symphony Orchestra
      2. Che Faceste - Bulgarian National Chorus
      3. Nel Di Della Vittoria - Sylvia Sass
      4. Oh Noi Perduti...Schiudi, Inferno, La Bocca - Kolos Kovats
      5. La Luce Langue - Sylvia Sass
      6. Chi V'impose Unirvi A Noi - Bulgarian National Chorus
      7. Studia Il Passo/Come Dal Ciel Precipita - Boris Christoff
      8. Tre Volte Miagola La Gatta - Hungarian Radio and Television Chorus
      9. Ballabili - Prague Festival Orchestra
      10. Patria Oppressa! - Bulgarian National Chorus
      11. O Figli, O Figli Miei! - Peter Kelen
      12. Perfidi! All' Ango Contro Me - Piero Cappuccilli
      13. Vittoria! - Peter Kelen

      Tracks:

      1. Overture - Hanns-Martin Schneidt
      2. Gli Arredi Festivi - Manfred Schenk
      3. Ben Io T'invenni/Anch'io Dischiuso Un Giorno - Anna Tomowa-Sintow
      4. Vieni, O Levita/Tu Sol Labbro - Kolos Kovats
      5. E I'Assiria Una Regina - Bulgarian National Chorus
      6. Va Pensiero, Sull'ali Dorate - Prague National Theatre Chorus
      7. Son Pur Queste Mie Membra!/Dio Di Giuda - Lajos Miller
      Verdi: La Traviata (Highlights) / Sutherland, Bergonzi
      Average customer rating: 5 out of 5 stars
      • mighty fine
      • The most beautifully sung La Traviata.
      • More than Just Joan
      • La Stupenda
      		 Verdi: La Traviata (Highlights) / Sutherland, Bergonzi

      Manufacturer: Decca
      ProductGroup: Music
      Binding: Audio CD

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      Similar Items:
      1. Verdi: Rigoletto (Highlights) / Sutherland, Pavarotti
      2. Puccini - La Bohème / Freni, Pavarotti, Harwood, Berlin Phil., Karajan [Highlights]
      3. Puccini: Madama Butterfly Highlights
      4. Puccini: Turandot (Highlights) / Mehta, Sutherland
      5. Rossini: The Barber of Seville (Highlights)

      ASIN: B000007OTV
      Release Date: 1998-06-09

      Tracks:

      1. La Traviata: Preludio
      2. La Traviata: Atto I Libiamo nelieti calici
      3. La Traviata: Atto I strano! ... Ah, forsui
      4. La Traviata: Atto I Follie! Delirio vano uesto! ... Sempre libera
      5. La Traviata: Atto II Scena I Lunge da lei ... Demiei bollenti spiriti
      6. La Traviata: Atto II Scena I Pura siccome un angelo
      7. La Traviata: Atto II Scena I Dite alla giovine
      8. La Traviata: Atto II Scena I Dammi tu forza, o cielo!
      9. La Traviata: Atto II Scena I Di Provenza il mar
      10. La Traviata: Atto II Scena II Invitato a qui seguirmi
      11. La Traviata: Atto II Scena II Di sprezzo degno se stesso rende
      12. La Traviata: Atto III
      13. La Traviata: Atto III Parigi, o cara
      14. La Traviata: Ah, Violetta

      Customer Reviews:

      5 out of 5 stars mighty fine.......2006-11-05

      A supreme Traviata, no question about it. Sutherland's singing remakes the role of Violetta, rescues it from excess, makes it upright. Her singing is about the exposition of a beautiful voice and the art made from it - in this case, a high flying execution of the wiles of rare singing genius. Marvelous to know. In contrast to the artifice of drama, she makes the SINGING art once again seriously essential. Other roles suit aspects of her singing better than Violetta, but make no mistake she owns everything in this recording. Carlo Bergonzi's Alfredo is a template of why his is a voice impossible to hear too often, its unforgettable strong rosy hue imbues every line. His musicianship gives everything vital to a kind of singing I swear no present day chap comes near. A free, classical seriousness gives wondrous lights to Bergonzi's consistently intelligent singing. The chorus is notably fine, sharp and clean, and beautifully recorded, and Pritchard's on his game throughout - on fire in Act I, I'd say. The audio quality here is something special, unlike a recent number of over miked efforts that spoil integrity and enjoyment. The sensitive and natural recorded sound here really enhances the drama of the musical experience. Bergonzi's 'Un de felice' is pure sunlight on a bottle of eternal Italian wine. Even through the fin de siecle opulence of three legendary voices at their natural highs, I'm amazed at the profound musical attractions here. If you love Traviata, do yourself a favor and get the complete recording. Highlights discs are cool but believe me you want to ride the whole river through the rapids. Recommending the best.

      5 out of 5 stars The most beautifully sung La Traviata........2004-03-22

      I don't believe there is any one "best" version of this ever-popular opera, but this is my favorite of recorded Traviatas, and for those who value beautiful singing and state-of-the-art sound, it remains a top choice. It wears supremely well; it has given me, and continues to give me, more musical pleasure than any other Traviata. This generous highlights CD gives 73:13 of the music from the complete, uncut recording of the opera (two CDs).

      La Traviata is really a three-character opera, and here the three principals, Sutherland, Bergonzi, and Merrill, are three of the great voices of the second half of the twentieth century, all singing highly congenial roles, all captured in their vocal primes. None of them was known as an insightful vocal actor who plumbed the psychological depths of a role, and listeners who put that quality foremost are advised to look elsewhere (preferably to one of the memorable Callas performances). What these three principals, and the polished, idiomatic performance of Pritchard and the Florentine chorus and orchestra, provide here in spades, is a convincing demonstration of just how effective and how beautiful a performance of a middle-period Verdi opera like this one can be if it is simply sung correctly by three great voices who sing all the notes that Verdi wrote, and let Verdi do the rest. Sounds absurdly simple, doesn't it? Yet it's remarkable how rarely it is achieved.

      Sutherland, the greatest coloratura soprano of modern times, handles with ease the florid requirements of Sempre libera in Act One, turning it into the dazzling coloratura showpiece it was intended to be (and so rarely is), but she also has the vocal horsepower to belt out the great emotional outburst Amami Alfredo in Act Two to stunning effect. Violettas who can do both are few and far between. She does not give you the heartbreaking poignancy of Callas in this role, but Callas does not give you the coloratura brilliance, the extraordinary high notes, the rock-steady vocal security, the beauty and purity of sound that Sutherland offers, and to my ears, these have their own abundant rewards here. Bergonzi is an exemplary, impassioned Alfredo, full of youthful ardor expressed in disciplined vocalism, and Merrill is a peerless, rich-voiced Germont pere. Three great voices, all in peak form, all functioning easily, smoothly, naturally, and securely, all knowing exactly what they are doing.

      Technically the recording, made in Florence in 1962 by Decca/London's legendary recording engineer Kenneth Wilkinson, has never been surpassed. That's not hyperbole; it may be over 40 years old, but it has quite literally never been surpassed. It is a model of clarity and naturalness: heard on a reference-quality playback system, the opera unfolds before you on an absolutely natural and believable soundstage, as if you had an ideal seat, the voices recorded with complete naturalness, with none of the artificial spotlighting or close-miking (that sense that the soloist has just stepped up to the microphone) that disfigure many opera recordings. Levels, balances, and the aural perspective have been perfectly judged: nothing is too close up or too far away; the recording is wonderfully free, open, warm, and "alive," with full frequency and dynamic range, and a complete absence of overloading, distortion, hardness, brightness, or coloration. From an engineering/audiophile point of view, I have never heard a more natural, flawless, thoroughly satisfying recording of an opera.

      If you love La Traviata, if you love grand voices and grand singing, if you want to hear a perfectly recorded opera, I urge you to acquire this splendid, timeless recording.

      5 out of 5 stars More than Just Joan.......2000-11-02

      Unlike some people in the audience, I have no trouble finding much more to talk about than just Joanie. She's great, yes; however, there is certainly more to listen to on this recording. Let's begin with Carlo Bergonzi. He's in respendent voice, and uses everthing he's got to tear it up. Oh, and what about Robert Merrill. Can anyone do it better? I grant you this, it is a stupendous recording, but it's not all Joanie's doing!

      5 out of 5 stars La Stupenda.......1999-05-25

      La stupenda had some very slight pitch problems in this beautifully sung Traviata. I am a huge fan of Dame Joan, buy Violetta was not one of her best roles. But she certainly offered opulent tone and dazzling colortura. Dame Joan is the only reason to get this cd.
      Verdi: La Traviata (Highlights)
      Average customer rating: 4 out of 5 stars
      • Where's the complete recording?
      		 Verdi: La Traviata (Highlights)

      Manufacturer: Decca
      ProductGroup: Music
      Binding: Audio CD

      All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
      Maazel, LorinMaazel, Lorin | ( M ) | Featured Performers, A-Z | Classical | Styles | Music
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      ASIN: B00000I937
      Release Date: 1999-03-16

      Tracks:

      1. La Traviata: Act One: Prelude
      2. La Traviata: Act One: Libiamo Ne' Lieti Calici
      3. La Traviata: Act One: Un Di Felice
      4. La Traviata: Act One: E Strano! ...Ah, Fors'e Lui... Sempre Libera
      5. La Traviata: Act Two: Lunge Da Lei ...De'Miei Bollenti Spiriti
      6. La Traviata: Act Two: Pura Siccome Un Angelo
      7. La Traviata: Act Two: Ah! Dite Alla Giovine
      8. La Traviata: Act Two: Di Provenza Il Mar
      9. La Traviata: Act Two: Ogni Suo Aver Tal Femmina
      10. La Traviata: Act Three: 'Tenestre La Promessa...'
      11. La Traviata: Act Three: Parigi, O Cara
      12. La Traviata: Finale: Ah, Violetta? - Voi? Signor?

      Customer Reviews:

      4 out of 5 stars Where's the complete recording?.......2002-01-26

      The only thing that brings this recording down, I think is the Alfredo. Giacomo Aragall has a good voice, but he is not very expressive during his duet with Violetta in the first act, and strains a bit on the higher notes in "De' miei bollenti spiriti."

      But all this is forgivable really, because who listens to Traviata for Alfredo anyway?

      Pilar Lorengar brings a lot of energy and force to Violetta, and she definitely has a good voice for the part. Fischer-Dieskau is (as usual) excellent in his delivery, acting, sound, etc.

      However, the very best part of this recording is the chorus. The chorus-master, Walter Hagen-Groll brings the chorus together to form what seems like a single character. It's quite a thrill to listen to, particularly in the Act II finale (Ogni suo aver tal femmina).

      I'd like to hear the rest of this performance to make a more informed opinion on it, but I've searched amazon for a complete recording of this performance without finding anything. If anyone knows where I can find one, please e-mail me.
      Verdi: La Traviata [Highlights]
      Average customer rating: 3 out of 5 stars
      • GREAT SINGING FROM TEBALDI
      		 Verdi: La Traviata [Highlights]

      Manufacturer: Polygram Records
      ProductGroup: Music
      Binding: Audio CD

      All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
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      Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
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      ASIN: B0000042FN
      Release Date: 1997-09-16

      Tracks:

      1. La Traviata: Preludio
      2. La Traviata: Act I - Libiamo ne' lieti calici (Brindisi) (Violetta, Alfredo)
      3. La Traviata: Act I - Un di felice (Alfredo, Violetta)
      4. La Traviata: Act I - E' strano!... Ah, fors'e lui... Sempre libera (Alfredo, Violetta)
      5. La Traviata: Act II - Scene 1 - Lunge da lei... De' miei bollenti spiriti (Alfredo)
      6. La Traviata: Act II - Scene 1 - Dite alla giovine (Violetta, Germont)
      7. La Traviata: Act II - Scene 1 - Di Provenza il mar (Germont)
      8. La Traviata: Act II - Scene 2 - Invitato a qui seguirmi... Di sprezzo degno se stesso rensde (Violetta, Alfredo, Germont)
      9. La Traviata: Act III - Prelodio
      10. La Traviata: Act III - 'Teneste la promessa...' Addio del passato (Violetta)
      11. La Traviata: Parigi o cara (Alfredo, Violetta)
      12. La Traviata: Act III - Finale: Ah, Violetta... Prendi; quest'e l'immagine (Alfredo, Violetta, Germont)

      Customer Reviews:

      3 out of 5 stars GREAT SINGING FROM TEBALDI.......2000-04-16

      One does not readily associate Renata Tebaldi with the role of Violetta in "La Traviata", despite the fact that she performed the opera frequently until the early mid-point of her international career (she sang Violetta all over Europe and was given a new production of the opera at the Metropolitan during the 1950's), afterwhich time she dropped the role from her repertoire. The first act of "Traviata" definitely presented Tebaldi with some problems ----- she never possessed the florid and technical skill essential for a complete realization of the "Sempre Libera", and her singing of this spectacular piece is very bulky and stolid (one can almost hear the huffing and puffing in the cadenzas) ---- even though Tebaldi always sang this aria in a key transposed down a whole step. Once past this point, however, Tebaldi contributes some of the most exquisite singing of the role to be heard on any recording-----and she achieves a tragic pathos by the time she reaches the last twenty minutes of the opera. The voice itself has a beauty heard from no other soprano (except possibly Caballe or de los Angeles, possibly) before or since, and there are many sublime moments, specifically in the "Dite alla giovine" onwards to the great "Anami Alfredo" outburst, as well as in the final act of the opera, where Tebaldi spins a heartbreaking "Parigi o Cara". The final impression is one of admiration and love for Tebaldi's Violetta, which, while very different from the intensely penetrating Violetta of Callas, stands regally on it's own terms. Tebaldi certainly deserved better male colleagues than those with which London has provided her with here: Gianni Poggi is a whiny Alfredo and Aldo Protti a routine Georgio Germont. The conducting of Molinari-Pradelli is no more than compentent. Originally issued in a complete version, this 1954 early stereo recording has excellent stereo sonics, and in it's highlights format, allows us to concentrate on Tebaldi's Violetta, which is really the only reason for owning this recording. But it is a very valid reason. We have no sopranos who sound like this today.
      Romantic - Verdi: Highlights from "Rigoletto"
      Average customer rating: Not rated
        		Romantic - Verdi: Highlights from "Rigoletto"

        Manufacturer: Intersound Records
        ProductGroup: Music
        Binding: Audio CD

        All Works by PucciniAll Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
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        Modern & 20th CenturyModern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
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        ASIN: B000000BJP
        Release Date: 1996-09-17

        Tracks:

        1. Rigoletto: A woman is fickle - Jose Perez/Nuremberg SO and Chor
        2. Hlts from'Aida': Heavenly Aida - Jose Perez/Nuremberg SO and Chor
        3. Hlts from'Aida': Triumphal March - Jose Perez/Nuremberg SO and Chor
        4. Hlts from'Aida': Ballet Music - Jose Perez/Nuremberg SO and Chor
        5. The Troubadour: Gypsy Chor - Bavarian Festival Orch And Chor
        6. The Fallen Woman: It is strange, it is strange - Biserka Cveijc/Nuremberg SO
        7. The Force of Destiny: Peace, peace, my God - Leontyne Price/David Garvey
        8. Hlts from 'La Boheme': What a cold, little hand - Jose Perez/Nuremberg SO and Chor
        9. Hlts from 'La Boheme': They call me Mimi - Bozena Ruk-Focic/Slavis PO
        10. Hlts from 'La Boheme': When I go out in public - Nat Opr Orch
        11. Hlts from 'Turandot': No man shall sleep - Nat Opr Orch
        12. Hlts from 'Turandot': You, who are as cold as ice - Ljilijan Molnar-Talajic/Zagreb PO
        13. Hlts from 'Tosca': What subtle harmony - Jose Perez/Nuremberg SO and Chor
        14. Hlts from 'Tosca': And the stars would be shinning - Ricardo Casinelli/StateOpr Orch of Wurttemberg
        15. Hlts from 'Tosca': I have lived for art, I have lived for love - Bozena Ruk-Focic/Slavis PO
        16. Gianni Schicchi: Oh, my dear papa - Ljilijan Molnar-Talajic/Zagreb PO
        17. Hlts from 'Manon Lescaut': Crisantemi Theme - Nat Opr Orch
        18. Hlts from 'Manon Lescaut': In all this luxury - Bozena Ruk-Focic/Slavis PO

        Music Track:

        1. Hindemith: Requiem
        2. Honegger: Concerto da Camera / Le Dit des Jeux du Monde
        3. Il Barocco Strumentale Italiano
        4. Israel, Oh Israel
        5. J. S. Bach: The Six Partitas
        6. Krenek: Ballad of the Railroads Op98; Durch die Nacht Op67
        7. Lebendige Vergangenheit: Adamo Didur
        8. Liszt Recordings
        9. Mendelssohn: Capriccio Brillant in Bm; Concerto for piano in Am
        10. Mermaid Songs

        Music Track

        music track

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