Marcello: Arias & Duets

On this CD:

1. Fermatevi bei lumi, duet
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni

2. La Stravaganza, soprano solo
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

3. Vaghe calme d'amor, duet
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

4. Chiuse in placida quiete, alto solo
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

5. Quando lungi è il mio Fileno, duet
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

6. La Lucrezia, alto solo
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

7. Ah, che non può più vivere, duet
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

8. Onda d'amaro pianto, soprano solo
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

9. Cerco ogn'or con la speranza, duet
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

10. Ahi quanto è fiero, duet
Composed by Benedetto Marcello
Performed by Rossana Bertini, Claudio Cavina, Marco Testori, Paul Beier, Paul Beier, Fabio Bonizzoni, La Venexiana

Tracks:

Lamento: E La Solita Storia
Recitativo E Romanza: Inosservato...Angelo Casto E Bel
Aria: Quanto E Bella
Aria: Una Furtiva Lagrima
Recitativo Ed Aria: Tombe Degli Avi Miei...Fra Poco
Aria: Il L'ho Perduta...Io La Vidi
Aria: Io L'ho Perduta...Io La Vidi
Aria: O Figli...Ah! La Paterna Mano
Scena Ed Aria: Ella Mi Fu Rapita...Parmi Veder
Canzone: La Donna E Mobile
Scena, Aria E Cabaletta: Lunge De Iei...De' Miei Bollenti...O Mio Rimorso
Aria: Che Gelida Manina
Aria: E Lucevan Le Stelle
Aria: Anche Tu Beppe Giungi...O Amore
Aria: Vergini, Muse...Quando Al Soave Anelito

Amazon.com

This is a glorious debut recital by a tenor, from whom, if he sings the right roles and keeps way from jet-setting and too much singing, might just be the lyrico-spinto tenor we've been waiting for. He has the class of Carlo Bergonzi and a ringing tone which is somewhere between Domingo's big, dark sound and Pavarotti's brightness; he sings with a true mezza voce (not a falsetto); he always obeys the composer's markings and delineates character. He seems incapable of vulgarity, refusing to gulp or sob when a musically expressive gesture will do. The opening aria here--from L'Arlesiana--is so beautifully, touchingly sung that it's a heartbreaker; he doesn't take the usually opted-for high note near the end, but never fear: in the Traviata and Bohème excerpts, Villazon offers big, whopping high Cs. This CD is a knockout; let's hope it's only the beginning of an illustrious career, both recorded and live. --Robert Levine

Customer Reviews:

Another supeb tenor........2007-05-13

We can be thankful that the old guard of the opera stage has been replaced by a trio of youthful artists. Villazon along with Calleja and Florez makes a great addition to the world of opera.

The one........2006-06-24

He's the real deal. Domingo-like burnished voice, great actor. Not just hype, he's genuinely worthy of all the praise.

A New Star voice.......2005-09-25

Rollando Villazon can't fail to impress a listener. He is an enourmous breath of fresh air for people waiting for a new generation of Opera superstars to emerge. Those somewhat dissapointed by the somewhat ncomfortable edge to Salvator Licitra's voice, may take refuge in the freshness of Villazon.
I don't really want to ruin the magic of his singing, with caddy comparisons, but it is sufficient to say that he excellent. Many compare his to Domingo, to that I would say that Villazon has an ease to his top that Domingo never had, but perhaps lacks the focus and thickness of Domingo's lower registers.
Overall what hits you most about Villazons performance, is the induviduality of his interpretations and voice. The top of his voice has a ring and tone that sets his apart from the pack.
To my ear, he sounds at his best in the Mid Period verdi, where the cut of voice come through in the long high-lying passage, (expecially the cut from Traviata,
Enjoy this incredible singer

Quite Good.......2005-05-26

A very promising debut album with some excellent burnished tenor sound. To the reviewer who went on and on about Mr. Villazon only being in his 20's -- I hate to burst your bubble, but he was born in 1972, which makes him 33! And, by the way, the age of the singer is not a "huge" advantage; let us remember that some of our greatest singers didn't come into their element until their 40's (e.g., Flagstad, Milanov...)

Promising debut by new lyric tenor.......2005-05-05

Rolando Villazon immediately made himself a name we should all watch out for, after his appearance on a NY City Opera telecast of Boheme, as Rodolfo. Since then he has become a regular artist in leading lyric roles at the Deutsche Oper Berlin, has sung two parts at the Met already, and obviously has much ahead for him. The voice itself has a number of virtues, evenness of tone across the different registers, and the ability to encompass long lines without taking unnecessary breaths and showing the control to taper many lines off softly. It has also taken on perhaps a prematurely dark quality, in contrast with what I remember of the La Boheme telecast.

This recital of Italian opera arias presents Villazon near the alpha of his career (one appearance as the Steersman on the Barenboim Flying Dutchman before, for Teldec) and the conductor at his omega - the just deceased Marcello Viotti, at the age of 52, who suddenly replaced Sinopoli in Berlin for the second of two performances of Verdi's Aida in 2001. Sinopoli had passed away at 54 the night of the first performance that weekend in Berlin.

On first impression, Federico's lament from Cilea's L'Arlesiana is taken too slowly, and yet from repeated listening to this disc, it is one of nearly half a dozen selections that contribute the most to making this an interesting recital. The lachrymose manner and delivery here, though, sets a little too much of an overall tone for the rest of the recital, including its several or so lighter numbers. Said to also be a Caruso favorite, the aria from Donizetti's Duca d'Alba is a real highlight as close to being Schubertian in feeling as some Verdi - as late into Verdi's work as Forza and Don Carlo. Villazon's singing here is as warmly ardent as you'll find anywhere on this disc, and his personal identification with the character of Don Carlo, several tracks later, is as complete as that of its best interpreters of the recent past, Placido Domingo especially.

The two Elisir d'amore selections are pleasant vocally, but too dark, especially the start to so many phrases of "Una furtiva." The remorse felt during the opening aria of the Tomb Scene from Lucia, after a slightly uncertain start, is entirely felt. Oronte's brief aria from Verdi's Lombardi is handled with an easy, pleasant swagger from both Villazon and Viotti, leading one to expect similar lightness in selections that soon follow, and which is not entirely forthcoming; the beginning of the recitative to "Parmi veder" from Rigoletto shows a palpable anxiety in this peculiar moment for the Duke in which he finds himself. Intonation falters momentarily at the end of this aria. "Ah! la paterna mano", after good recitative, gets pushed a little too forward, robbing the crest of several lines in it their full expressive potential. Contrast of expression between Alfredo's aria and cabaletta from Traviata is so minimal, almost to have been erased altogether; Viotti here, so deft and highly musical an accompanist he is for most of the rest of this disc, is similarly disengaged. Connecting music between aria and cabaletta and repeat of the latter both get awkwardly cut.

That leaves four verismo tracks for the remainder of this disc. Most distinctively sung is "E lucevan le stelle" from Tosca, but frequently quite close to sounding a copy of Domingo's interpretation. The honeyed placement for the top of the staff, once the voice takes on the melodic line, could hardly remind you of anyone else. "Che gelida manina" is also given a fine performance here, but begins to lose all consonants on a couple of words right before the ascent to the high C in the aria. After hearing Dino Borgioli and Cesare Valletti as Fritz, each more of a benchmark than Pavarotti, it is hard to identify the villager Fritz, from how disinteresed Villazon sounds. A slight cut is taken between two portions of recitative before Fritz's Act III aria. "Quando al soave anelito" from Mascagni's Nerone, obviously a rarity, is one for which I can only find a Domingo recital before. Here, the singing is fine, but the youthful sense of wonderment for Nero, in his vision of Venus, as wordly-wise a fellow he is, gets understated. Accompaniments to these four arias are mostly as fine as the others, but all come to abrupt endings, the endings of Boheme and Amico Fritz which lose all their shimmer here.

Much criticism here, but there is also much hope felt from listening to this disc, for a bright future for Mr. Villazon still. He is only seldom a conscientious and musical performer, but as opposed to what the liner notes might say, part of being musical in singing such selections or opera in general, is being specific for each character being portrayed here. Villazon should also take note that his singing is most interesting and also most easy to distinguish from his widely celebrated mentor, when he sings lightly. First impressions are strong - I first anticipated awarding this disc five stars - but unfortunately it just barely deserves four. Sound quality, if a bit heavily miked for climaxes and a bit recessed for the orchestra, especially at closings to arias, is warm and full.

Average customer rating:

horrible album
Very well sung
A Decent Introduction to One of Today's Best Tenor's....
Don't pass this one by as just another tenor/aria indulgence
The most under-rated tenor of today

Marcello Giordani - Tenor Arias

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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Marcello Giordani: Sicilia Bella
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The Tenor's Passion
Italian Songs for Tenor and Piano
Great Tenor Arias

ASIN: B0000TSR0G
Release Date: 2003-11-18

Tracks:

Asile Hereditaire
Ah! Mes Amis, Quel Jour De Fete!
Un Ange, Une Femme Inconnue
Nel Furor Delle Tempeste
Per Te Di Vane Lagrime
Torna, Vezzosa Fillide (Chamber Aria)
Son Giunto!
La Fleur Que Tu M'avais Jetee
La Mia Letizia Infondere
Quando Le Sere Al Placido
Ah, Si, Ben Mio, Coll'essere
Di Quella Pira L'orrendo Foco
Mamma, Quel Vino E Generoso

Album Description

"Marcello Giordani sang like a god." (The New York Times) The Sicilian born tenor, Marcello Giordani, has garnered many accolades for his performances, which include Tosca, Un ballo in maschera, Eugene Onegin, La Damnation de Faust, La favorita, La bohème, Lucrezia Borgia and Verdi's Requiem. Emerging as one of the leading Romantic tenors of the present day, Marcello Giordani is in demand at the world's major opera houses including the Metropolitan Opera, Covent Garden, La Scala, Vienna, Zurich and Verona.

Customer Reviews:

horrible album.......2005-11-30

Giordani can be excellent in the theater, but this album seems to have caught him at a bad time. He always seems to be changing gears during his performances here. He seems to have several voices in each register and you don't know from one minute to the next what you are going to get. I found this album to be a very unpleasant listening experience and think it was a mistake for Giordani to let Naxos issue it.

If you want to hear a better performance by Giordani, pick up a copy of Verdi's Jerusalem on Philips which catches him in much better vocal estate.

Very well sung.......2005-09-29

This CD is well presented and the sound quality is OK. I say that because it still sounds like it was recorded from a distance, giving the impressions of not fully being there. The orchestra is led well, and the clarity of the various parts is perfectly balanced, as are the tempi chosen for the various selections. Giordani is a wonderful tenor (and I have to say, for NAXOS label, that is something, for as a rule, I really don't enjoy many of the tenors they select for various projects, though a few really fine ones do turn up from time to time), and like so many have stated, so underrated. His production is not perfect, and there are times his held higher notes wobble more than have a finely handled vibrato. However, that is not problematic to enjoying the music. I find it sad that the selections were edited, by that I mean, in the aria and scene from Rossini's William Tell we only get the cabaletta with chorus once. I love that piece and I think the repeat is very exciting. He manages the High C's so wonderfully that a repeat (so we hear all 9 high C's written) would have been simply wonderful. I was also impressed with how he handled the terribly difficult aria from Bellini's I Pirata, which was written for the great Rubini (who also created the horribly high and difficult tenor role of Arturo in I Puritani, going to a top F, of course, he sang NONE Of those notes from the chest as we hear them here, all were sung in a falsetto) and sung the high D's masterfully. I stress he SANG them because often they are so pushed out by other tenors they are a strain to even listen to.

I never found Giordani straining for anything, but I did find that there were times he seemed to be feeling the music one way, and the conductor felt it differently. There were times I really felt he wanted to "pause" on a note, to draw out a phrase (and in each case I felt this he would have been completely correct to do such a thing), but the conductor was more intent on moving ahead. Those moments gave the impression he was rushed beyond his resources.

Giordani NEVER forces his sound, which is refreshing to hear, but it has presence, it has that something that does command attention. That is why I am so mystified with why we have heard so little, or nearly nothing of him. His voice is extremely pleasing. The balance between his well-developed lower tones and the blend from them to his highest tones is very excellent. His voice doesn't "drop off" as many tenors do when they are approaching the lowest notes in this music. So many tenors have wonderful top notes but virtually no bottom ones. Giordani, on the other hand, has a well developed lower range that carries well, is almost baritonal, but not really, never throaty or husky like some dramatic tenors, and never weak and wimpy like other very strong top note tenors. His voice blends perfectly from one register to the other. There is complete balance in his voice. He uses volume in a very musical way knowing just went to diminish a tone and when to let it pour forth in all its splendor. He is not stuck on simply singing super loudly all the time, or whisper singing to sound delicate and sweet. His musicality is tremendous. He also has sung a long time, and the voice is not as fresh as perhaps it was near the beginning (but it is NOT in decline).

I rated this recording only a 4 because of the basic sound quality. I really hate recordings where I have to turn up the volume to get the real "feel" of the music. Sometimes with NAXOS one is forced to play their recordings at a much higher volume to feel part of the music, to feel the "presence" of the sound. I really don't like that. I should be able to hear that even at a very low level of sound. One could with the old recordings back in the days of Decca and Curshaw engineering things, in many of the older recordings for the 60's. The energy of the performance came through loud and clear. It doesn't in this recording, and it is not the fault of the singer or the orchestra or the skills of the conductor. It is fully the skills of the technicians.

A Decent Introduction to One of Today's Best Tenor's...........2004-10-29

Though he has been singing professionally for nearly twenty years now, Marcello Giordani has only recently "come into his own" as a tenor. Part of this, I believe, is the lack of hype surrounding him and lack of an exclusive recording contract. While recordings by the likes of Bocelli, Alagna, Cura, and Alvarez flood the CD stores, Giordani's output has been minimal. This is quite unfortunate because, for the most part, Marcello Giordani is better than these singers.
This disc serves as a good introduction to the wonderfully warm and versatile vocie of this Sicilian tenor. He is not necessarily heard at his best here, though. Some of this may have to do with the fact that it was recorded rather quickly at the Teatro Massimo in Palermo. While it's nice that the CD has a sort of "live" quality to it, Giordani too often sounds rushed and labored. Still, there are moments to here treasure.
Having seen most of his recent triumphs in New York City over the last couple of years (ADRIANA LECOUVREUR, IL PIRATA & LA GIOCONDA) I feel that his voice is best appreciated live. There are moments where he definitely comes up short on this recording, but there are two major exceptions: the aria from CARMEN and the aria from IL TROVATORE.
Giordani has always professed his love for singing French opera, and that is quite evident with the CARMEN excerpt. It is sung sweetly and with the final high note is right on the mark.
While it may be too soon for Giordani to tackle the role of Manrico in IL TROVATORE, his "Ah! Si Ben Mio" is absolutely perfect and I can safely say that I haven't heard this aria sung that well in quite some time.
While he does well with most of the other pieces on this disc, he won't exactly make you forget any other singers takes on them.
I admire NAXOS for releasing a CD of this tremendously underrated singer, however Giordani deserves even more. One hopes that a recording contract is in the works for him and listeners can then get an even better taste of this great voice.
Those who live in the New York area will have the chance this season to see him at the MET in two of his best roles: Gustavo in UN BALLO IN MASCHERA and Cavaradossi in TOSCA. This will be a way to hear this great singer at his best.

Don't pass this one by as just another tenor/aria indulgence.......2004-02-09

It took a couple of years to be released but finally it's here and well worth the wait. Giordani's voice embraces fluidly the Italian as well as the French. His flexibility is astounding with no perception of a struggle to attain those notes, high and low. Equally wonderful is Steven Mercurio's always "note-worthy" orchestrations. Mercurio's arrangement of Track 6 and Giordani's excellent vocals, make this a standout on the CD. Another favorite is Bizet's "La fleur..." Giordani's voice really shines in this piece with sweet passion from start to finish. As a whole this CD is full of great music. Every track is a gem. I look forward to future works from both Giordani and Mercurio. Superb CD!

The most under-rated tenor of today.......2003-12-10

When you hear the seemingly endless "fourth tenor" talk, you rarely hear the name Marcello Giordani. This is both good and bad. The good part is that every artist needs to be appreciated as an individual, not simply as a "second XYZ tenor". Another good aspect is that given the context of this discussion, we probably will not see Giordani making a foray into the glitzy world of pop music. The bad part, though, is that the man and his art are not well known on this side of the Atlantic safe for the recent run of "Eugeny Onegin" at the MET. There are precious few commercial recordings available with him, a notable exception being recently released complete "Jerusalem" under Luisi.
So it's a small miracle of sorts that we're able to get this CD, and at an extremely low price.
The voice itself never fails to impress. It has a marvelous bronze ring and a well-focused top, with velvety "baritonal" timbre. It pleasantly reminded this listener of young Jose Carreras. This is a voice that's perfect for early Verdian romantic hero roles, as well as the roles of bel-canto repertoire. This disc, therefore, is a showcase for Giordani's skill in these areas since Verdi, Bellini, and Rossini are prominently featured. Do not delay in getting this CD, this is a tenor you have to hear.

Ewa Podles - Airs célèbres (Famous Arias)

Average customer rating:

An amazing, one-of-a-kind voice
Vocal Treasure
formidable Rinaldo

Ewa Podles - Airs célèbres (Famous Arias)
George Frideric Handel , Antonio Vivaldi , Benedetto Marcello , Henry Purcell , Christoph Willibald Gluck , Ewa Podles , Patrick Piere , and Collegium Instrumental de Bruges
Manufacturer: Forlane
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

English | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Podles, Ewa | Divas | Opera & Vocal | Styles | Music

Ewa Podles - Handel Arias from Rinaldo & Orlando
Ewa Podles - Mélodies russes (Russian Melodies)
Ewa Podles · Russian Arias
Gluck - Orphée et Eurydice (Berlioz version) / Podles, Farman, Callatay, Peire
Peter Lieberson: Neruda Songs

ASIN: B0000038C2
Release Date: 1996-02-20

Tracks:

Rinaldo: Or la tromba
Rinaldo: Cara Sposa
Rinaldo: Cor ingrato
Rinaldo: Venti turbini
Orlando Furiouso RV 728: Fonti del Pianto
Orlando Furiouso RV 728: Nel Profundo
Bajazet (Tamerlano); Spoa con dispressazata
Quella fiamma che m'accende-Dido and Aeneas
Thy hand Belinda-When I am led in Earth/Orpheus and Eurydike
I Lost Eurydice
Allez, il faut sauver notre gloire opprimee...-Armez-vous

Customer Reviews:

An amazing, one-of-a-kind voice.......2001-05-18

I had to the fortuitous good luck to see this wondrous singer in recital a few years ago. I sat in the front row, hardly breathing, as this contralto sang Chopin, Mussourgsky ("Songs and Dances of Death", I think? The varieties of ominous menace she emoted swept over the recital hall powerfully), Rachmaninoff, and finally Rossini for an encore (even more amazing for her coloratura abilities and brilliant high notes). Having been a vocal major and always a singer and opera/voice fanatic, I have heard many many great voices, but nothing approaches a voice like Podles. Her singing is truly one-of-a-kind, evoking a long-ago mysterious golden age of uninhibited singing from the core. She has been somewhat of an underdog in the opera world, and has only lately (within the last five or so years) been receiving the recognition and rave reviews she deserves. As for her handling of Handel et al, I listened to a few excerpts while browsing through Borders, and her artistry is once more confirmed and highlighted. This woman is a marvel and can do anything. Put away your Horne and Bartoli (oranges and apples of different though equal artistries in their own right), and slip a Podles disc into the stereo.

Vocal Treasure.......2001-02-22

Ewa Podles is a rarity: a true contralto with thrilling high and low notes, not to mention everything in between. Unlike Horne, whose lower register occasionally sounds baritonal, Podles is feminine throughout her estimable range. This recording of 18th-century arias exploits every aspect of this wonderful artist, including firm, beautiful tone and awesome coloratura. All of the selections, from the familiar Purcell and Gluck to the less recognizable arias from Vivaldi, Handel, and Marcello, are sung with brio and/or firm legato. Excellent period accompaniment by Patrick Peire and the Collegium Instrumental de Bruges.

formidable Rinaldo.......2000-07-02

Thank you to Forlane for giving us a chance of sampling Podles's formidable Rinaldo... Her voice has darken further since this recording and her account of this role is nowadays even more exciting ! Unfortunately, although she toured Europe to great acclaim with this role for several performances under Hogwood (and opposite Bartoli's Almirena), the record company replaced her with countertenor David Daniels for the recording that followed (not out yet)... Podles's big voice was probably to difficult to record for the "Oiseau Lyre" people, huh ? So, since we will now probably never get a recording of the full score with Podles, go for this CD !

Aria: The Finest Sacred & Secular Arias from 1600 to 1800

Average customer rating:

Aria: The Finest Sacred & Secular Arias from 1600 to 1800

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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French | Languages | Opera & Vocal | Styles | Music

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Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Boccherini: Clavier Quintets (Complete)
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Arias for Farinelli
Peter Lieberson: Neruda Songs

ASIN: B00066K14S
Release Date: 2005-02-08

Average customer rating:

Three Tenors: Best Loved Arias

Manufacturer: Columbia River Ent.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B000062XAJ
Release Date: 2002-03-05

Tracks:

Marcello, Finalmente
Vieni, Vieni Fra Queste Braccia
Credasi, Misera!
La Vita E Inferno All'infelice
O Tu Che In Seno Agli Angeli
Oh! Fede Negar Potessi... Quando Le Sere Al Placido... L'Ara, O L'Avello Apprestami...
Favorita Del Re... Spirito Gentil
Pur Ti Riveggo Mia Dolce Aida!... - Martina Arroyo
Forse La Soglia Attinse
E'il Sol Dell'anima
Che M'ami, Deh, Ripetimi
La Fatal Pietra... - Martina Arroyo

Average customer rating:

18th Century Hit Parade

Marcello: Arias & Duets

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000005W4M
Release Date: 1996-11-08

Tracks:

Fermatevi Bei Lumi
La Stravaganza - Rossana Bertini
Vaghe Calme D'amor
Chiuse In Placide Quiete - Claudio Cavina
Quando Lungi E Il Mio Fileno
La Lucrezia - Claudio Cavina
Ah Che Non Puo Piu Vivere
Onda D'amaro Pianto - Rossana Bertini
Cerco Ogn'or Con La Speranza
Ahi Quanto E Fiero

Customer Reviews:

18th Century Hit Parade.......2006-10-21

'La Stravaganza' Duets and Cantatas by Benedetto Marcello and performed by the group, La Venexiana is a great little discovery for those of us amateurs who happen to have a taste for out of the way music. To the culinary mind, it's sort of like discovering the spice, galangal, which is sort of like ginger, but isn't.

The most charming aspect of the recording is the voices performing the duets. The least charming aspect of the recording is that it sounds as if the recording was done in a very big church sanctuary rather than in a drawing room, where it would most likely be performed. It seems as if this may just be music where a modern approach is better than a simple setting. keep the old instruments, but move it to a modern studio.

Still well worth the listen.

Average customer rating:

Terrible Acoustics, Beautiful Music and Singing
corrections
Carreras is NOT a fluke!!
Carreras is a fluke

The Three Tenors Arias

Manufacturer: Columbia River Ent.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Tracks:

Che Gelida Manina
Fratello...Riconoscimi - Le minacce, I fieri accenti
La donna e mobile - Un di, se ben rammentomi
Recondita Armonia
Messagera gentile
Dovunque Al Mondo
Se quel guerrier io fossi!...Celeste Aida
San salvo, alfin son salvo
Di Tu Se Fedele
Fuggiam pli ardori inospiti

Tracks:

Ella mi fu rapita - Parmi veder le lagrime
De'Miei Bollenti Spiriti
Quale insolita fiamma
A lei son presso alfin
Ingemiso
Gonfio hai di gioia il core, e lagrimi!
Scena Della Borsa
A te, ocara
Ella Mi Fu Rapita...Parmi Veder Le Lagime...Passente Amor Mi Chiama
Solenne in quest'ora
Della mia bella incognita borghese - Questa o quella

Tracks:

Marcello, Finalmente
Vieni, vieni fra questa braccia - Credasi, misera!
La vita e inferno all'infelice - O tu che in seno agli angeli
Oh! fede Negar Potessi...Quando Le Sere Al Plaido...L'Ara, O L'Avello Apprestami...
Favorita del re...Spirto gentil
Pur ti riveggo mia dolce Aida!
Forse La Soglia Attinse
E'il sol dell'anima - Che m'ami, deh repetimi
La fatal pietra

Customer Reviews:

Terrible Acoustics, Beautiful Music and Singing.......2002-04-27

This is by far the worst CD I have ever bought of any CD or record. You could hear the audience coughing and making sounds better in many cases than you could hear the singers. It appears as if the microphones were in the audience and the singers were in the background. It was very annoying to hear all the coughing while trying to enjoy the music and singing. Some arias did not even end; the music just got softer and softer and finally stopped. There was no booklet enclosed and no indication to what opera the arias belonged. The track numbers did not match the CD. The cover showed aria "Recondita Armonia" but "E Lucevan Le Stelle" was actually sung. At least they got the opera correct, "Tosca". If not for the great and beautiful voices of all the singers male and female I wouldn't even give this CD a two-star rating.

corrections.......2001-12-30

Hi: Terrific Album. However, there is no booklet included and the information on the cover is all incorrect. CD 1 has 10 tracks, the cover says 12. CD 2 has 11 tracks, the cover says 13 and CD 3 has 9 tracks, the cover says 12. In addition, the times for the selections are all incorrect.

Without a booklet stating which opera each of the 37 selections come from and without correct times and tracks, you have no idea what you are listening to. The music is wonderful but if I had known what the problems were I would not have purchased this album. Alan

Carreras is NOT a fluke!!.......2000-12-05

Carreras happens to have the perfect, the most accurate, by-the-book vocalization among all three tenors. If one listens carefully, s/he would find his choice of pieces profound and very difficult. I agree that he doesn't have the golden voice like Pavarotti's but it shouldn't be in any effect on placing him the 2nd rated singer. There is a reason that he is the 1st rated tenor. He tries and does excell regardless of the poor physical condition(everyone knows that he survived cancer!) and always studies his piece before he sings it. Carreras should be complemented and applaused for that! The reason why I'm subtracting one out of five stars is because Pavarotti seems to me that he doesn't really care about what he is going to perform(in front of thousands of people not including one's who will buy his CD!) or he could at least study the words of the songs that he is going to sing!

Carreras is a fluke.......2000-11-28

Every time when I listened to Jose' Carreras singing to higher notes, I just had an urge to render him a ladder to help him climbing higher meanwhile singing higher. I have no qualm with the other two singers, especially multi-dimensional Domingo. After listening again and again of Carreras' arias, I could not but faithfully believed that his success as one of the three greatest tenors in the world was but through cunning agent(s) with great PR skills knowing how to promote this 2nd rate tenor to become the 1st and/or top rated tenor. His voice is weak, thin and if you have seen any video of these three tenors, you'd have realized how he struggled to finish every solo. I would prefer certain CDs only included the other two instead of three to avoid a foul taste or keep pushing > button to skip this fluke's stuff.

Average customer rating:

not his cup of tea

Renato Bruson - Arie antiche
Christoph Willibald Gluck , Alessandro Scarlatti , Giulio Caccini , Giovanni Battista Cimador , Benedetto Marcello , Antonio Caldara , Niccolo Piccinni , Johann Paul Martini , Alessandro Parisotti , Domenico Cimarosa , Claudio Monteverdi , Guiseppe Giordani , Roberto Paternostro , and Renato Bruson
Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs
In My Heart - 17th and 18th Italian Songs
Arie Antiche [Australia]

ASIN: B00004S7Q5
Release Date: 2000-06-13

Tracks:

Caro Mio Ben
Gia Il Sole Del Gange
Madrigali: Amarilli
Pigmalione: Bel Nume Che Adoro
Quella Fiamma Che M'accende
La Costanza In Amor Vince L'inganno: Sebben, Crudele
La Costanza In Amor Vince L'inganno: Come Raggio Di Sol
Le Faux Lord: O Nuit, Deesse Du Mystere
Plaisir D'amour
Se Tu M'ami
Gli Orazi E I Curiazi: Resta In Pace, Idolo Mio
Sento Nel Core Certo Dolore
Arianna: Lasciatemi Morire
Nuove Musiche: Tu Ch'hai Le Penne, Amore
O Cessate Di Piagarmi
Elena E Paride: O Del Mio Dolce Ardor

Customer Reviews:

not his cup of tea.......2007-04-09

We all know Mr Bruson's fine singing and art.

This collection was a good idea in itself but is not the achievement it could have been.

First of all the singer force his voice into a dark, throaty timbre which disguises its softness and beauty. Secondly he has made no proficient effort in rendering the correct style and sings the arias as he sings Donizetti.

The result varies according to the single aria and, his technique being after all Bruson's technique (agility included), this compilation may well sound pleasing to the ear but is nevertheless a wasted opportunity.

Julia Varady - Puccini Famous Opera Arias / Viotti, RSB

Average customer rating:

Julia Varady - Puccini Famous Opera Arias / Viotti, RSB
Giacomo Puccini , Marcello Viotti , Julia Varady , and Rundfunk-Sinfonieorchester Berlin
Manufacturer: Orfeo
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Julia Varady - Verdi Heroines Vol. II / Fischer-Dieskau
Julia Varady - Richard Strauss (Salome, Ariadne, Danae, Capriccio) / Fischer-Dieskau
Julia Varady - Pjotr I. Tschaikowsky ~ Opera Arias

ASIN: B0000059D9
Release Date: 1995-12-12

Tracks: