Per Coro

On this CD:

1. From the Psalms of David, for chorus, strings & percussion
Composed by Krzysztof Penderecki
Performed by Warsaw National Philharmonic Orchestra

2. St. Luke Passion (Passio et Mors Domini Nostri Jesu Christi Secundum Lucam), for 3 voices, narrator, choruses & orchestra Stabat Mater & Pslamen
Composed by Krzysztof Penderecki
Performed by Warsaw National Philharmonic Orchestra

3. Magnificat, for bass, 7 men's voices, boys' chorus, chorus & orchestra Sicut locutus est
Composed by Krzysztof Penderecki
Performed by Warsaw National Philharmonic Orchestra

4. Polish Requiem, for SATB, chorus & orchestra Agnus Dei
Composed by Krzysztof Penderecki
Performed by Warsaw National Philharmonic Orchestra

5. Song of the Cherubim, for chorus
Composed by Krzysztof Penderecki
Performed by Warsaw National Philharmonic Orchestra

6. Veni creator, hymn for double chorus
Composed by Krzysztof Penderecki
Performed by Warsaw National Philharmonic Orchestra

Tracks:

Allegro
Andante Molto
Allegro
Recitativo: Prence Lo So: Vi Devo
Aria: Del Destin Non Dee Lagnarsi
Recitativo: Non Si Perda Di Vista
Aria: Nasce Rosa Lusinghiera
Recitativo: Principe, Or Ora I Greci
Aria: In Si Torbida Procella
Recitativo: Il Tartaro Ama Asteria
Aria: Quel Ciglio Vezzosetto
Recitativo: Or Si, Fiero Destino
Aria: Vedeste Mai Sul Prato
Recitativo: Non Ascolto Piu Nulla
Aria: Amare Un'alma Ingrata
Recitativo: Cosi La Sposa Il Tamerlano Accoglie?
Aria: Qual Querriero In Campo Aramato
Recitativo: E Bella Irene
Aria: Non Ho Nel Sen Constanza
Recitativo: Amico, Tengo Un Testimon Fedele
Recitativo: Sarete Or Ostinato
Aria: Anche Il Mar par Che Sommerga
Recitativo: Gloria, Sdegno Ed Amore
Aria: Stringi Le Mie Catene

Tracks:

Recitativo: Ah, Disperato Andronico!
Aria: La Sorte Mia Spietata
Recitativo: Signor, Vergine Illustre
Aria: Cruda Sorte, Avverso Fato!
Recitativo: Senti, Chiunque Tu Sia
Aria: La Cervetta Timidetta
Recitativo: Gran Cose Espone Asteria
Aria: Sposa, Son Disprezzata
Recitativo: Dov'e Mia Figlia, Andronico?
Aria: Dov'e La Figla?
Recitativo: Asteria, Siamo Al Soglio ...
Quartetto: Si Crudel! Questo E L'amore
Recitativo: Figlia, Siam Rei
Aria: Veder Parmi, Or Che Nel Fondo
Recitativo: Andronico, Il Mio Amore
Aria: Barbaro Traditor
Recitativo: Lascero Di Regnare
Aria: Spesso Tra Vaghe Rose
Recitativo: Eccoti, Bajazette
Arioso: Verro Crudel, Spietato
Recitativo: Signor, Fra Tante Cure
Aria: Son Tortorella
Recitativo: Signore, Bajazette
Accompagnato: E Morto, Si, Tiranno
Aria: Svena, Uccidi, Abbatti, Atterra
Recitativo: Deh, Tu Cauto la Segui
Coro: Coronata Di Gigli E Rose

Amazon.com

This stunner of an opera involves the proud sultan Bajazet (bass) and his battle with his bloodthirsty rival-tyrant Tamerlane (counter-tenor). More than 50 operas were composed on the subject. Here Vivaldi has composed all the recitatives and marvelous arias for the dignified, fine characters and used arias by other composers--Hasse, Giacomelli, Carlo Broschi--for Tamerlano and the nasties. The music is energetic and virtuosic throughout. Fabio Biondi leads Europa Galante and soloists with urgent, theatrical precision, making the story come to life. The singing could not be better: Ildebrando d'Arcangelo is a remarkably sympathetic Bajazet, singing with fluency and power; David Daniels amazes as Tamerlano; Marijana Mijanovic sings the role of Asteria (Bajazet's daughter) with love and precision; and Viveca Genaux dazzles with her perfect coloratura as Irene. This is a treasure trove of singing, and a bonus DVD allows us to see/hear the performers in rehearsal. Highly recommended. --Robert Levine

Customer Reviews:

Monumental Recording.......2007-03-14

From the same composer that
brought us "The four Seasons"
Antonio Vivaldi, comes this
'dramma per musica' it tells
us the story of Bajazet, a Turkish
leader who ruled vast portions of
the Ottoaman empire, and his defeat
by his great foe, Tamerlano(Timur Lenk).
In the past composers like Handel and
others had taken an interest in the story.
This is the World Premiere recording of
the work. Much musicological research was done
by conductor and violinist Fabio Biondi and others
to put together this monumental recording.As personally
for me this is the first complete opera that
I hear by Vivaldi. This opera comes with a
DVD that features all six soloists in an aria.
Europa Galante and Maestro Biondi do a wonderful
job, and the soloists are great. Wonderful work,
thank you Maestro Biondi...

Simply fantastic.......2007-02-28

This is one of the best recordings that I have bought recently. The entire opera is a treasure, and they couldn't have picked a better cast. Vivica Genaux, Elina Garanca, and David Daniels are especially strong, and Fabio Biondi's orchestra is always clean and polished. The recording quality is also top-notch. It's unlike me not to offer some kind of a criticism, but I can't think of one for this recording. Highly recommended.

Marvellous fun and great singing.......2006-09-19

I have to say that I prefer Handel's Tamerlano for musical reasons. However, Vivaldi's opera on the same subject is very enjoyable and entertaining. Like it has been said of the operas of Haydn, Vivaldi's operas are not great operas, but they do contain great music.

Europa Galante, directed from the 1st violin by Fabio Biondi, is in great form and I've never heard them play better. I have their older recording of Handel's opera Poro, and I enjoyed that one, too.
The singers here are an excellent ensemble. I like the dark and expressive voice of Ildebrando D'Arcangelo - he was also marvellous as Leporello in Gardiner's Don Giovanni. David Daniels is fantastic, as usual, and he is possibly the best operatic countertenor in the world at the moment. Patrizia Ciofi is best heard and not seen - sweet voice coming from a madwoman (check out the DVD!). Vivica Genaux has been hyped to within a centimetre of her life recently. She has a nice flexible mezzo voice. A little too much vibrato for my tastes and she looks like a chipmunk when she attacks coloratura passages. Marijana Mijanovic sings well - she was excellent as the neurotic Penelope in the Christie / L.A.F. DVD of Monteverdi's Il Ritorno d'Ulisse in patria. She is alarmingly thin - possible health problems? She doesn't engage with the conductor or orchestra at all in the DVD - the only singer who doesn't. Elina Garanca looks beautiful (and healthy!) and sings beautifully. She has a lovely contralto voice. I hope I see and hear more from this artist in the future.

I am not a big fan of Vivaldi's operas - I enjoy them as collections of arias. I wonder how well Bajazet worked on stage?
I'd love to have a DVD of this production, I would like to see how a Vivaldi opera works on stage. Vivaldi's operas don't have imaginative scorings and the orchestral passages are fairly prosaic. A lot of what goes on in the Vivaldi operas I've heard (I have a few in my CD collection) is pretty routine. However, I am open minded on the subject and I would like to see how well a Vivaldi opera works on stage.

Worth it!.......2006-05-23

This album exceeded my expectations. In the true pasticcio form, Vivaldi copied and pasted other composers' work, and his own of previous operas. The arias are un-paralleled in harmony, balance, up-beat rhythm, and beauty. The orchestration by Fabio Biondi is first rate and world class. Vivica Genaux rocks in her interpretation of "Qual Guerriero in Campo Armato" as so much energy, control, and speed are gushed out at once and sustained without wavering. Her ornamentation in the da capo aria is amazing. Vivica's voice is powerful, ethereal, and acrobatic. She recreates what a castrato voice might have sounded like, beautiful and strong. While Vivica sings perfectly the most demanding and technically difficult aria of the opera, Ciofi delights us with the most beautiful "Nasce rosa". After listening to her, it would be near to impossible to imagine anyone else singing this aria with such charm. But what she excelled at "Nasce", she lacked at "Anche il mar". This aria is perhaps as technically and impossibly challenging as "Qual guerriero", but Ciofi's coloratura is discontinuous. Cecilia Bartoli executes this aria in her Vivaldi Album stunningly in one breath. If there was ever a team of opera gold medalists, that team is put together in this album. Ildebrando's "Dov'e la Figla?" is a handsome showcase of his voice and strong presence. While his singing is worthy of high praise, his hand movements and wedding band flashing might have already cost him 90% of his fan base, not to mention dashing his chances at becoming a teen idol or gay icon. His comportment at the high note of the aria is reminiscent of an opera Olympiad doing a vocal triple summersault in mid-air and sticking a perfect landing. "Dov'e la figlia?" is also an aria that illustrates the great genius of Vivaldi as an opera composer. He wrote very distinct music for the same lyrics and for different registers (basso and castrato) in Bajazet, and Motezuma (with Dominique Visse). At the same time, he used the identical music for two different lyrics in Motezuma, and Orlando Furioso (Sorge l'irato Nembo).The bonus DVD proves not only interesting but also very entertaining at the gesticulations and facial configurations sometimes taken for granted to sing bel canto's finest arias. Superb job!

Gorgeous,but one tiny qualm !.......2006-04-20

While I agree with all the good things that have been written of this splendid perfomance,there is a small,but I feel important, detail about the recording which I find vexing.
When a recitative is is sung the performers are placed across the audio stage,disposed left or right,as you will.When an aria is sung ,the soloist leaps to the very center of the sound stage, which is quite disconcerting,especially when listening through headphones.This points to the arias and recits being recorded in separate sessions.Nothing wrong with that given the ravishing perfomance.Well worth the purchase price.

Verdi - Rigoletto / Cappuccilli, Cotrubas, Domingo, Obraztsova, Ghiaurov, Moll, Schwarz, Wiener Philharmoniker, Giulini

Average customer rating:

Best in modern sound, second best overall.

Verdi - Rigoletto / Cappuccilli, Cotrubas, Domingo, Obraztsova, Ghiaurov, Moll, Schwarz, Wiener Philharmoniker, Giulini

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001G66
Release Date: 1990-10-25

Tracks:

Rigoletto: Prelude (No.1)
Rigoletto: Introduction (No.2)
Rigoletto: DUCA: Questa o quella (Ballata)
Rigoletto: MONTERONE: Ch io gli parli
Rigoletto: RIGOLETTO: Quel vecchio maledivami (No.3: Duetto Rigoletto - Sparafucile)
Rigoletto: RIGOLETTO: Pari siamo!... (No.4: Scena e Duetto)
Rigoletto: RIGOLETTO - GILDA: Figlia!... - Mio padre!
Rigoletto: GILDA: Gia da tre lune son qui venuta (Duetto Gilda - Rigoletto)
Rigoletto: GILDA: Giouvanna, ho dei rimorsi
Rigoletto: DUCA: E il sol dell anima (Aria)
Rigoletto: DUCA: Che m ami, deh! ripetimi
Rigoletto: GILDA: Gualtier Malde...Caro nome (No. 6: Scena ed Aria)
Rigoletto: RIGOLETTO: Riedo!...perche? (No.7: Scena e Coro - Finale Primo)
Rigoletto: TUTTI: Zitti, zitti, moviamo a vendetta

Tracks:

Rigoletto: DUCA: Ella mi fu rapita!
Rigoletto: DUCA: Parmi veder le lagrime
Rigoletto: TUTTI: Duca, duca! L amante fu rapita a Rigoletto (Coro/Duca)
Rigoletto: DUCA: Possente amor mi chiama (Stretta)
Rigoletto: MARULLO: Povero Rigoletto! (No.9:Scena)
Rigoletto: RIGOLETTO: Cortigiani, vil razza dannata (Aria)
Rigoletto: GILDA - RIGOLETTO: Mio padre! - Dio! mia Gilda! (No.10: Scena e Duetto)
Rigoletto: GILDA: Tutte le feste al tempio
Rigoletto: RIGOLETTO: Ah! Solo per me l infamia
Rigoletto: MONTERONE: Poiche fosti invano da me maledetto
Rigoletto: RIGOLETTO - GILDA: E lami? - Sempre (No.11: Scena)
Rigoletto: DUCA: La donna e mobile (Canzone)
Rigoletto: DUCA: Un di, se ben rammentomi
Rigoletto: DUCA: Bella figlia dell amore
Rigoletto: RIGOLETTO: M odi ! ritorna a casa
Rigoletto: DUCA/MADDALENA: Maddalena...- Aspettate...
Rigoletto: MADDALENA: E amabile invero cotal giovinotto
Rigoletto: RIGOLETTO: Delta vendetta alfin giunge l istante
Rigoletto: RIGOLETTO: Chi e mai, chi e qui in sua vece?
Rigoletto: GILDA: V ho ingannato...colpevole fui

Customer Reviews:

Best in modern sound, second best overall........1999-03-29

This is an excellent Rigoletto. Guilini's conducting is superb, if a bit on the serious side. Domingo is great as the Duke, and Cappuccilli's Rigoletto and Cotrubas' Gilda are also outstanding. The sound is wonderful. Anyone who needs a version with outstanding sound and excellent performance can buy this disc with confidence.

For myself, the first choice is the version with Callas and Gobbi. Perhaps Domingo is a better Duke, but Gobbi's sensitive musicianship makes him a fantastic Rigoletto, and Callas an outstanding Gilda. That version crackles with more excitement, though the sound per se is not as exciting as this one.

Eventually you will probably buy both versions if you love this opera as much as I do.

Verdi: La Forza del Destino
Average customer rating:

warning: no libretto

Excellent in every way, yet another ignored Verdi Voice!

Musical Sheet Lightning

Verdi: La Forza del Destino

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Verdi: Il Trovatore

Verdi: Macbeth

Verdi - Un ballo in maschera / Arroyo · Domingo · Cappuccilli · Cossotto · Grist · NPO · Muti

Vivaldi: In furore, Laudate pueri e concerti sacri

Puccini - La Rondine / Gheorghiu · Alagna · Matteuzzi · Mula · Rinaldi · Ciofi · Bacelli · LSO · Pappano

ASIN: B000BO0GPO
Release Date: 2006-01-10

Tracks:

Overture - Philharmonia Orchestra
Introduzione-Scena: 'Buona Notte, Mia Figlia' - John Tomlinson
Recitativo: 'Temea Restasse Qui Fino A Domani' - Jean Rigby
Romanza: 'Me Pellegrina Ed Orfana' - Rosalind Plowright
Scena: 'M'aiuti, Signoria' - Jean Rigby
Duetto: 'Ah, Per Sempre, O Mio Bell'angiol...Seguirti Fino Agl'ultimi' - Jose Carreras
Scena-Finale I: 'E Tardi...Vil Seduttor' - Various Artists
Coro-Ballabile: 'Hola, Hola, Hola! Ben Giungi, O Multattier' - Mark Curtis
Scena: 'La Cena E Pronta'/Recitativo: 'Viva La Guerra' - Various Artists
Canzone: 'Al Suon Del Tamburo' - Various Artists
Preghiera: 'Padre Eterno Signor...Pieta Di Noi' - Various Artists
Scena: 'Viva La Buona Compagnia'/Recitativo: 'Poich'imberbe E L'incognito' - Various Artists
Ballata: 'Son Pereda, Son Ricco D'onore' - Various Artists
Scena, Coro E Ripresa Della Danza: 'Sta Bene' - Various Artists

Tracks:

Aria: 'Son Giunta! Grazie, O Dio!...Madre, Pietosa Vergine' - Ambrosian Opera Chorus
Scena: 'Chi Siete?' - Juan Pons
Scena E Duetto: 'Chi Mi Cerca?...Infelice, Delusa, Reietta' - Paata Burchuladze
Finale II: 'Il Santo Nome Di Dio Signore...La Vergine Degli Angeli' - Various Artists
Scena: 'Attenti Al Gioco' - Jose Carreras
'La Vita E Inferno All'infelice' - Jose Carreras
Romanza: 'Oh, Tu Che In Seno Agli Angeli' - Jose Carreras
Scena E Duettino: 'Al Tradimento...Amici In Vita, In Morte' - Jose Carreras
Scena: 'All'armi!'/Battaglia: 'Arde La Mischia!'/Scena: 'Piano...Qui Posi' - Various Artists
Duettino: 'Solenne In Quest'ora' - Renato Bruson
Scena: 'Morrir! Tremenda Cosa!' - Renato Bruson
Aria: 'Urna Fatale Del Mio Destino...Egli E Salvo! Oh Gioia Immensa' - Jose Carreras

Tracks:

Ronda: 'Compagni, Sostiamo' - Abrosian Opera Chorus
Scena E Duetto: 'Ne Gustare M'e Dato Un'ora Di Quiete...Oh Tradimento!' - Renato Bruson
Coro: 'Lorche Pifferi E Tamburi' - Abrosian Opera Chorus
Strofe: 'Venite All'indovina' - Agnes Baltsa
Scena: 'Que, Vivandiere, Un Sorso' - Agnes Baltsa
Arietta: 'A Buon Mercato'/Coro: 'Pane, Pan Per Carita' - Various Artists
'Che Vergogna!' - Ambrosian Opera Chorus
Coro-Taratella: 'Nella Guerra, E La Follia' - Various Artists
Predica: 'Toh, Toh! Poffare Il Mondo'/(Recitativo): 'Lasciatelo Ch'ei Vada' - Juan Pons
Rataplan: 'Rataplan' - Various Artists
Coro Ed Aria Buffia: 'Fate La Carita...Che? Siete All'osteria?' - Ambrosian Opera Chorus
Scena E Duetto: 'Auf! Pazienza Non V'ha Che Basti...Del Mondo I Disinganni'/Scena: 'Giunge Qualcun..Aprite' - Paata Burchuladze
Scena E Duetto: 'Invano, Alvaro, Ti Celasti Al Mondo...Col Sangue Sol Cancellasi L'infamia' - Renato Bruson
Melodia: 'Pace, Pace, Mio Dio' - Jean Rigby
Scena E Terzetto Finale: 'Io Muoio...Confessione!...Non Imprecare, Umilitati' - Various Artists

Customer Reviews:

warning: no libretto.......2007-02-22

This is a good recording, no doubt about it, but costumers should be aware of the fact that there is no libretto included, but only a detailed synopsis.

Excellent in every way, yet another ignored Verdi Voice!.......2007-01-06

Fortunately, we do not have too many recordings of Forza to choose from. It is hard to cast those roles, so dramatic and long winded and phrases requiring piano and fortissimo and Rosalind Plowright was up to the challenge, but you need more than a big voice to justify Forza, you need TEXTURE too - depth, width, and sheen! No wonder, the opera has vanished from the repertory.

According to what I've heard, she was a Verdi soprano par excellence! Her tendency to cut the top notes short, play with the rhythm at times, and bottle up the tone can't detract from that awesome exciting voice AND that excellent Verdi beat. HOWERVER, Rosalind Plowright seemed to assiduously avoid the typical Verdian soprano sound a la Milanov, Price, Dunn, and Arroyo etc but opted for a brighter sound every bit as huge and crisp as Crespin and as veiled as the Callas of the 1960's. All this makes for an avalanche of a voice that must have raised the roof. She is very very thrilling to hear and this explains why she was a Verdi soprano of choice in Europe during the Milllo and Dunn years. I assume her voice didn't please everyone because it was unwieldy at the top, again like Crespin and also the tone hardened at times; in fact, i must repeat, she sounds exactly like a combination of Callas and Crespin. But make no mistake, those great divas never wrapped their great voices around Verdian phrases like Plowright, especially in .."Son Giunto, grazie o Dio" for in this regard she joins that long line of Verdians going way back to Arangi-Lombardi, Ponselle, and Milanov -- this is Art and anyone who has studied Verdi can identify a Verdian of this caliber. You Verdians out there know what I mean.

Carerras is close to the microphone, and this forcing does not do well in Verdi. Nevertheless, there is an honesty with this man, a passion, an innate truth. I prefer him dead or alive to Domingo, but he is not at the technical level of Domingo or Aragall. Preziosilla is Ms. Baltsa, and how well she sings. I am a FAN of RENATO BRUSON so its not fair to sing his praises!

Giuseppe Sinopoli is intense and he achieves a noble Verdi sound appropriate for Forza, nice and warm sounding but rhythmic indeed. I do like his work in this Forza and I think his work as a Verdian has NOT been bettered, not even by Jimmy Levine who I also really like. However, Trovatore belonged to Zubin Mehta and Humberg (I think I spelled it right - he is on the Naxos Trovatore)

TOP MODERN VERDI -- THAT IS MY ASSESSMENT!

Musical Sheet Lightning.......2006-10-11

Although Verdi's basic style was established early in Nabucco (1842), he keeps getting better down through the 1860s with the spectacular La Forza del Destino and Don Carlo. In listening to his operas after 1870, I am too familiar with Aida and Otello to be deeply impressed with them; and I have never cared for Falstaff. The progress toward "true music drama" climaxing in Otello does not concern me although Boito's brilliant libretto makes that 1887 opera one of Verdi's best. The setting and plot of La Forza del Destino interest me more than any other Verdi opera. The accidental killing of a father, the brother's irrational but deadly vendetta and ,above all, the role played by Italian monasticism capture my imagination. Verdi's supercharged music is convincing at every point. What could be more electric than the brooding overture with its mournful clarinet melody? Leonora prays convincingly to the Virgin and then with a group of monks in Act II. I recall the role played by Italian monasticism in Ann Radcliffe's striking novel The Italian published in the 1790s, the same decade that Cherubini's Medee set the pattern of "grand opera," a basic element in Verdi despite all the talk about "music drama" without arias. Ewen observes, "With its pronounced dramatic content and enriched harmonic and orchestral writing, La Forza del Destino represents a gradual departure from the style of La Traviata toward that of Aida." I prefer to see this brilliant opera as a end in itself apart from any progressive scheme.

I appreciate most the interaction of keen drama with religion in a form preferable to the rather morbid religious-secular dualism of Wagner's Tannhauser. Although Verdi's monks may sing quietly, the religious element blends with the plot more convincingly than in Wagner's schematically opposed Pilgrim's Chorus and Venusberg music. Even more striking is the contrast between Verdi's opera and Tchaikovsky's frantic Eugen Onegin where the protagonist's stupid egotism results in a tragic duel. In Act IV of La Forza del Destino the noble lover Alvaro tries to convince the vengeful Carlo that "God alone can bring retribution." Although Carlo murders his sister and Alvaro is weak enough to curse his "destiny" (secular language for the overruling sovereignty of God), the last word goes to Padre Guadiano in "Non imprecare, umiliati." In addition to all these features the performance gives us Agnes Baltsa as an entertaining gypsy Preziosilla. Verdi measures out just the right amount of this change of pace rather than making us wallow in it as does Bizet's Carmen. In his great tragic opera, Verdi proves once for all that one of the best forms of opera is high-tension theater. His work forms a perfect complement to the operas of Meyerbeer.

Average customer rating:

Love This!
Love This!
4th in the Pavarotti and Friends charity concerts
Great album, worthy cause.
Master Class, but still too stuffy

Together for the Children of Bosnia

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Pavarotti & Friends - For The Children Of Liberia
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For War Child

ASIN: B000004297
Release Date: 1996-04-02

Tracks:

Per colpa di chi?
Serenata rap-Mattinata
Can We Go Higher?
Ordinary World
Clap Clap (The Clapping Song)
Miss Sarajevo
Cosi celeste
Linger
Come Back To Sorrento
Penso positivo
Vesti la giubba - Pagliacci
Heaven Can Wait
Ave Maria
One
The Long Black Veil (Medley)
Funiculi , funicula
Nessun dorma - Turandot

Customer Reviews:

Love This!.......2001-10-01

I finally got the Cd after wearing out two tapes. There are so many different artist on this, it's amazing. It is almost worth it just to hear Michael Bolton do opera! I don't like the man but he was good. Get this, it is worth a listen.

Love This!.......2001-10-01

4th in the Pavarotti and Friends charity concerts.......2001-01-09

Live from the Parco Novi Sad, Modena, on 12 September 1995, in the presence of Diana, Princess of Wales, Pavarotti brings us his fourth spectacular charity concert, this time in aid of a music therapy centre being built in Mostar by War Child. As is usual with these concerts, Pavarotti brings together artists from all musical genres, and even does duets with some of them including Meat Loaf, Michael Bolton and Dolores O'Riordan. Track #2 is an astonishing blend of opera and rap...who woulda thunk it! The finale is Pavarotti's calling-card "Nessun Dorma" in which he is joined by the many other guests. Rap, folk, rock, opera, gospel and sacred music build a musical bridge in aid of a worthy cause.

Great album, worthy cause........2001-01-04

A wonderful concert for a wonderful cause. The previous reviewer only gave it 4 stars because he said there were too many different styles of music. Well, that's the whole point. It is the music community, regardless of genre, getting together to raise funds to build a Music Centre in Bosnia-Hercegovina, which will provide music therapy, tuition and a space where music will be used to enable young people to learn, to grow and to be healed. Music is for everyone, and all these different artists getting together for the common good, regardless of genre, is wonderful. And on this album are a number of suprises. Dolores O'Riordan of The Cranberries singing with Pavorotti on "Ave Maria", Meat Loaf and Pavarotti duetting on "Come back to Sorrento", to name just two. A must have for music fans in general.

Master Class, but still too stuffy.......2000-03-01

A brilliant idea of Maestro Pavarotti, these concerts, and especially this one. I enjoyed the Ave Maria, where Dolores (one of my favourite pop-stars) clearly shows that she had some profit from canto classes she took in youth. But the "Linger" version was not alike, listening more to Simon Le Bon than the original voice...

Strange, but interesting and cool combination between rap and opera ("Serenata Rap/Mattinata"). Well, such things could never be seen before, eh?

A good bunch of masters packed in to make a great record for a good deal. But.. aren't there too many styles? Yhat's the missing star...

Donizetti: Linda di Chamounix
Average customer rating:

Devia and Canonici rock!

I love it

A must-have

Good recording of an average work

Mariella Devia MUST be heard!

Donizetti: Linda di Chamounix

Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

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Bellini: La Sonnambula

ASIN: B000006BZE
Release Date: 1996-06-18

Tracks:

Linda di Chamounix: Sinsonia
Linda di Chamounix: Atto Primo: La Partenza - Coro d'Introduzione, Scena e Romanza - Presti! Al Tempio! (Antonio, Maddalena, Marchese)
Linda di Chamounix: Atto Primo: La Partenza - Coro d'Introduzione, Scena e Romanza - Ambo Nati Questa Valle... (Antonio, Maddalena)
Linda di Chamounix: Atto Primo: La Partenza - Scena e cavatina - Viva! Viva!... Quai Grida? Eccelenza! (Antonio, Maddalena, Marchesee, Intendente, Coro)
Linda di Chamounix: Atto Primo: La Partenza - Scena e cavatina - Oh! Gia In Collera Non Sono (Antonio, Maddalena, Marchesee, Intendente, Coro)
Linda di Chamounix: Atto Primo: La Partenza - Recitatiivo e Cavatina - Ah! Tardai Troppo (Linda)
Linda di Chamounix: Atto Primo: La Partenza - Recitatiivo e Cavatina - O Luce Di Quest'anima (Linda)
Linda di Chamounix: Atto Primo: La Partenza - Scena, Romanza e Ballata - Qui Pria Della Partenza (Linda, Pierotto, Coro)
Linda di Chamounix: Atto Primo: La Partenza - Scena, Romanza e Ballata - Per Sua Madre Ando Una Figlia (Pierotto, Linda, Coro)
Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Non So Quella Canzone (Linda, Carlo)
Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Da Quel Di Che T'incontrai (Carlo, Linda)
Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - A Consolarmi Affrettisi (Carlo, Linda)
Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Qui Buon Antonio, Qui Soli (Prefetto, Antonio)
Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Quella Pieta Si Provvida (Prefetto, Antonio)
Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Esultiam La Tua Potenza (Antonio, Prefetto)
Linda di Chamounix: Atto Primo: La Partenza - Finale Primo - Corro A Dispor La Moglie (Antonio, Linda, Prefetto, Maddalena, Pierotto)
Linda di Chamounix: Atto Primo: La Partenza - Finale Primo - Miei Figli, Tetro Sovrasta Il Vento (Prefetto, Antonio, Linda, Pierotto, Coro, Maddalena))

Tracks:

Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Gia scorsero tre mesi... (Linda, Pierotto)
Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Al bel destin che attendevi... (Pierotto, Linda)
Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Come calma e conforta... (Linda, Marchese)
Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Io vi dico che partiate!... (Linda, Marchese)
Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Andate! Andate!... (Linda, Marchese)
Linda di Chamounix: Atto Secondo: Parigi - Scena e Romanza - Linda! Si ritiro. (Carlo)
Linda di Chamounix: Atto Secondo: Parigi - Scena e Romanza - Se tanto in ira agli uomini... (Carlo)
Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Carlo!... Ah!... Il mio cor... (Carlo, Linda)
Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Ah!... Dimmi... dimmi, io t'amo... (Carlo, Linda)
Linda di Chamounix: Atto Secondo: Parigi - Finale Secondo - Per quannnto io penero!... (Linda, Antonio)
Linda di Chamounix: Atto Secondo: Parigi - Finale Secondo - lo vi lasciom permettete... (Antonio, Linda, Pierotto)

Tracks:

Linda di Chamounix: Atto Terzo: Il Ritorno - Coro d'Introduzione e Brindisi - Sentili... Eccoli... Eviva! Eviva!
Linda di Chamounix: Atto Terzo: Il Ritorno - Scena e Duetto - Tutta La Valle E In Giubilo (Prefetto, Carlo)
Linda di Chamounix: Atto Terzo: Il Ritorno - Scena e Duetto - Ciel, Che Dite? Linda E Morta! (Carlo, Prefetto)
Linda di Chamounix: Atto Terzo: Il Ritorno - Scena de Aria buffa - Eccoci Ancora Qui... (Marchese)
Linda di Chamounix: Atto Terzo: Il Ritorno - Scena de Aria buffa - Ella E Un Giglio Di Puro Candore... (Marchese)
Linda di Chamounix: Atto Terzo: Il Ritorno - Preludio
Linda di Chamounix: Atto Terzo: Il Ritorno - Scenna ed Aria - Ed Ecco In Qual Maniera... (Pierotto, Linda, Prefetto, Carlo, Marchese, Antonio, Maddalena)
Linda di Chamounix: Atto Terzo: Il Ritorno - Scenna ed Aria - E La Voce Che Primiera... (Carlo, Linda, Pierotto, Antonio, Maddalena, Marchese, Prefetto)
Linda di Chamounix: Atto Terzo: Il Ritorno - Preghiera - Quintetto a voci sole - Compi Q Ciel... La Nostra Speme... (Pierotto, Prefetto, Carlo, Antonio, Marchese)
Linda di Chamounix: Atto Terzo: Il Ritorno - Scena e Duetto finale - Un Sospiro... Si Rinviene... (Linda, Maddalena, Pierotto, Antonio, Marchese, Prefetto, Carlo)
Linda di Chamounix: Atto Terzo: Il Ritorno - Scena e Duetto finale - Carlo, Ah! Dimmi Ch'io Non Sogno... (Linda, Carlo, Pierotto, Antonio, Marchese, Prefetto, Maddalena))

Customer Reviews:

Devia and Canonici rock! .......2005-08-03

What a shame that this is their only studio collaboration. The Devia - Canonici partnership in the late 80s and 90s reminds me of the old Sutherland - Pavarotti, Caballe - Carreras, Ricciarelli - Carreras, Callas - Di Stefano etc. operatic couples. They might not have achieved the fame of their predecessors but I enjoy Devia and Canonici at least as much, and quite often much more than the previous couples. And I always sense a feeling of respect they have for each other.

Devia's gifts are unique among any generation of singers and to cut the long story short, I regard her as the finest lyric coloratura I've heard. Canonici is a simpler singer but this is often the case with tenors. He is rarely spectacular but his sense of style, clean cut singing and handsome voice have made me appreciate him tremendously. So far, my favourite Devia/Canonici performance is their live Amsterdam Beatrice di Tenda but this studio Linda finds them in great form too and it's a must have.

Devia would make her Linda even more exciting in later years (the '97 live performances are unbelievable) but I also like this more reserved studio portrayal. I don't regard much of Linda's music very interesting and this is the reason I've avoided recordings of this work but Devia fascinates me and I now listen to this opera more and more and actually quite like it. As for the famous o Luce, it becomes not only playful but exciting! The other roles are quite meaty and therefore good singers are needed. Apart from Canonici whom I prefer to Kraus and Valetti cause of his warmer sound, I wasn't much impressed by the others who nevertheless sing well.

Though not the perfect Linda recording due to the rather bland secondary casting, I still find this the best Linda recording on the market. Serafin's 50s recording has his very fine conducting and perhaps a bit more character from some of the cast (Cappecchi especially) but Stella's rather hard-toned Linda who's made me stay away from this opera until now, is an acquired taste. Gruberova also offers a lovely and impressive account of the title role but I like Devia's balsamic vinegar voice even more.

I love it.......2004-05-13

I wrote a review of this CD set (not a very good review) and it doesn't look like it's going to be posted. I hope not. This one is better, as though either were good. I had Gruberova singing this opera, but with all her facility and the beauty of her voice, I just couldn't take her sliding up to the last high notes instead of jumping (which she could have done), and then flipping them off with insoucience. I suppose this is her trademark. I don't like it. I finally replaced her Linda with this wonderful one. It is a studio recording, good clear sound, as one reviewer noted, it is hardly second-rate Donizetti, and the soprano's voice and acrobatics are flawless, beautiful and perfect. This set costs only a little over $30 + shipping and has 3 discs in it. Donizetti (who lived to be 51) was prolific, turning out something like 73 or 76 operas. I have dozens. He has been praised and vilified (I'd say maligned). He's been called everything from a consummate genius to (this from a popular book on opera by Matthew Boyden) a producer of spaghetti, that he goes down easy but there's nothing there. (This writer, incidentally, a cocky cad of the first water, threw Donizetti's own humility and modesty back in his face as though they proved his (the writer's) point. Donizetti wasn't the only musician to be cruelly and foolishly trounced.) But Donizetti doesn't need my ignorant defense. The music (like on this set) speaks for itself.

A must-have.......2002-02-22

Linda di Chamounix is a very good opera and certainly NOT second-rate Donizetti. The story may be naïve, but the music is inspired and well written. It is true that it can only make it's mark when it is well sung, and here it has the best possible cast. Mariella Devia is one of the finest sopranos of our time, far better in my opinion than any other coloratura around, and her truly lovely singing is spectacular. Don't miss it!!

Good recording of an average work.......2000-12-30

I've seen Mariella Devia perform this role and she has a wonderful controlled voice with perfect technique coupled with jeweled accuracy,pity we aren't given the pleasure of hearing on CD the many high E flats that were given with spot on brilliance live,however she is withoutdoubt the main reason for deciding to purchase this recording,Chamonix has some beautiful music but cannot match Donizetti's best works,his genius coming through only spasmodically,the rest of the cast are more than adequate,Bellini the conducter shows too much reserve at times but generally judges the change of moods well and the playing of the orchestra is solid.

Mariella Devia MUST be heard!.......1999-02-05

Linda di Chamounix is a lovely opera, and we must thank the ARTS label for making this stupendous recording at such a modest price. But the chief glory, is soprano Mariella Devia, perhaps the finest lyric coloratura since the young Renata Scotto. In this age of anonymous divas, you certainly KNOW who is singing when la Devia opens her mouth. She is a very individual artist and very musical too. Tenor Luca Canonici has a most atractive voice and all the secondary roles are very well taken. Don' t miss this beautiful recording.

Average customer rating:

Handel: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
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ASIN: B00062FLI8
Release Date: 2004-11-30

Average customer rating:

Elegant and refined with sublime singing by Hunt

Handel: Ariodante (Highlights)

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

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ASIN: B00005UKK9
Release Date: 2002-01-08

Customer Reviews:

Elegant and refined with sublime singing by Hunt.......2007-03-19

The overall effect of this interpretation of Ariodante by McGegan is one of elegance, refinement and emotional intensity that flows without being pushed and touches the soul with its singing without being overcontrolled and calculated. This is the main difference between this version and the Minkowski version which has many great moments of lovely singing which surpass the McGegan soloists often, but which is sometimes rushed with overcalculated and overly controlled singing on Otter's part which tarnishes the interpretation. Otter seems not to be really immersed in the part whereas Hunt is. Unforunately the complete recording of this McGegan interpretation is out of print, so get the highlights (this edition)and wait for the re-issue of the complete version.

Maria Callas & Giuseppe di Stefano - Italian Opera Duets

Average customer rating:

Ernesto you are indeed an IGNORAMUS AND AN IDIOT!
Callas & di Stefano
Ernesto,you are an Idiot.
Why do people degrade these wonderful artists?
Wrong Ernesto, very wrong

Maria Callas & Giuseppe di Stefano - Italian Opera Duets
Vincenzo Bellini , Giuseppe Verdi , Giacomo Puccini , Orchestra e Coro del Teatro alla Scala , Tullio Serafin , Herbert von Karajan , Norberto Mola , Victor De Sabata , Maria Callas , Giuseppe di Stefano , Renato Ercolani , Carlo Forti , Giuse Gerbino , Dario Caselli , and Angelo Mercuriali
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002SF3
Release Date: 1990-10-25

Tracks:

I Puritani: Act III: Scene Elvira - Arturo: 'Fini...Me lassa!'
I Puritani: Act III: Scene Elvira - Arturo: 'Nel mirarti un solo istante'
I Puritani: Act III: Scene Elvira - Arturo: 'Vieni fra queste braccia'
Rigoletto: Act I: Gilda - Duca: 'Giovanna, ho dei rimorsi'
Rigoletto: Act I: Gilda - Duca: 'E il sol dell'anima'
Rigoletto: Act I: Gilda - Duca: 'Addio, addio...Speranza ed anima'
Il Trovatore: Act IV: Scene Leonora - Manrico: 'Miserere...Ah! che la morte ognora'
Un Ballo in Maschera: Act II: Scene Riccardo - Amelia: 'Teco io sto'
Un Ballo in Maschera: Act II: Scene Riccardo - Amelia: 'Non sai tu che se l'anima mia'
Un Ballo in Maschera: Act II: Scene Riccardo - Amelia: 'Oh, qual soave brivido'
Manon Lescaut: Act II: Manon - Des Grieux: 'Tu, tu amore? Tu?'
Manon Lescaut: Act II: Manon - Des Grieux: 'O tentatrice!'
La Boheme: Act I: Mimi - Rodolfo: 'Non sono in vena'
La Boheme: Act I: Mimi - Rodolfo: 'Che gelida manina'
La Boheme: Act I: Mimi - Rodolfo: 'Si, mi chiamano Mimi'
La Boheme: Act I: Mimi - Rodolfo: 'O soave fanciulla'
TOSCA: Act III: Scene Cavaradossi - Tosca: 'E lucevan le sielle'
TOSCA: Act III: Scene Cavaradossi - Tosca: 'Franchigia a Floria Tosca'
TOSCA: Act III: Scene Cavaradossi - Tosca: 'O dolci mani'
TOSCA: Act III: Scene Cavaradossi - Tosca: 'Amaro sol per te'

Customer Reviews:

Ernesto you are indeed an IGNORAMUS AND AN IDIOT!.......2007-02-27

I'm not a callas fan. The only reason why I love this cd is because of Di Stefano. Di Stefano is the greatest tenor that has ever lived! No one can best him!

Callas & di Stefano.......2006-01-12

I think Callas sang her best when singing with di Stefano - their voices seem made for each other - they blend beautifully (I've heard that Callas sang with Jon Vickers - I'd like to hear that someday). Both Callas and di Stefano are passionate singers and these duets are perfect for their voices, in my opinion. Callas' voice is almost strident at times (which accounts for the incredible emotion she could bring to operatic songs) but di Stefano's voice seems to balance the sound out. I enjoy di Stefano very much - and when I hear him I always wonder if Domingo patterned his voice after di Stefano's. Another great CD worth having in one's collection!

Ernesto,you are an Idiot........2004-06-25

The three tenors today all studied di Stefano's technic and they all acknowledged him as being the best.See Jose Carerras.Before writing another review,I would suggest that you break the Prozac in half.

Fratello

Why do people degrade these wonderful artists?.......2001-12-19

There is no doubt that music connects in a very special way to ones emotions. Although these responses make us keep returning to the record store or concert hall, they can also pave the path towards dangerous thinking. More often than not, when we are required to comment on musical matters, we tend to regard our conclusions as concrete - a kind of authority on what is 'good' about a performance or composition, and what is 'bad'. This response is more than likely the manifestation of a lifetime of listening or, if one is fortunate enough, performing. When confronted with such individual and famous artists as Callas and Di Stefano however, it seems that the gloves inevitably come off. It is hurtful to see such criticism. These great artists do not deserve to be treated with such disrespect.

It is fair to say that both artists had faults, as we all do. However, it is certainly not fair to exploit their faults to the extent of downright abuse. One must be objective. Due to their fame, it could be argued that they must have been doing something right. Furthermore, it can be said without argument that they inspired many generations of opera lovers to buy records and maintain an interest in the art form.

It would be hard to find any other two artists that, when in peak form, had a direct line to the listeners heart. Both of them had accurate Italian diction and even if you are not fluent in Italian, their singing can often translate the words for you. Just listen to the beginning of 'O dolci mani' from Tosca. I would doubt if anyone, due to Di Stefano's immaculate vocal colouring, felt they did not understand the word 'dolci'.

The Tosca excerpts come from a recording that is generally hailed as one of the great recording achievements. The Boheme excerpts only represent part of their unbelievable complete recording. For even greater impact, try the complete set for a chillingly interpreted last two acts. The Rigoletto excerpts show a brilliant concern for dramatic detail. Listen to the passion in Di Stefano's voice during 'E il sol dell'anima'. The Manon Lescaut excerpts are taken from an early EMI recording that really shows what great and unique artists they were. With great passion throughout, they interact perfectly, producing a golden flow of Italian colouring.

The Bellini excerpts unfortunately do not show Di Stefano in prime form, mainly due to the fact that the tessitura sits a little too high in the voice for him. Though Callas sings with superb artistry in one of her early recordings.

True, these artists had faults, many of which can be heard in this recording. Though, they merely add to the individuality of the artist (were dealing with two very strong personalities here!). Our incessant focus on the faults of an artist will only transfigure two of the greatest artists of the century, who were capable of producing some of the most glorious sounds ever heard.

Wrong Ernesto, very wrong.......2000-09-03

To quote another reviewer on this very same subject "I rarely respond to the ignorance of others"

In this case I will make an exception.

First of all I am one of the people (person or persons) who think that Di Stefano is world class (or in a class by himself).

Lets address your comments, point by point.

"You must be joking"... No, I am not, and I might add, nor am I alone.

"He has no high notes...the voice is flat...there is no ring." This can easily be proven totally wrong by listening to just ONE aria - "Salut demeure" from Faust (San Francisco 1950). Just listen to the last HIGH "C" (yes, he actually can sing them) it has lots of "RING" to it, and not only that, but he diminishes it down to a whisper. This, Ernesto, is a live performance - it is doubtful that any of the other tenors on your list would attempt such a feat live. He was famous for his diminuendo, he in fact received a bonus for doing it live when he performed at the Met. Sir Rudolph Bing actually was quoted as saying that that note was one of the most beautiful moments in all of opera. His voice is also far from FLAT, it has a very nice "EDGE" to it.

"There is no pathos...he can't act"... This again can be easily proven wrong, again by only one aria. Just listen to his Cavalleria from La Scala (1955), again performed live. The final scene "Mamma quel vino..." it is sung with such incredible sadness and feeling that it brings the house down (it exists on video, check it out). Di Stefano's acting ability is also legendary.

"Only famous because of Callas - she chose him because he couldn't outsing her"... Callas chose Di Stefano because he was her equal in artistry, both in voice and acting ability. And he did (often) outsing her (Lucia Di Lammermoor, Berlin 1955 live performance, is this a pattern?). They performed together because the complimented one another.

"Sorry but Di Stefano is totally unremarkable"... Sorry Ernestro, Di Stefano is totally remarkable... he stands alone.

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
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Refreshing and Surprising!

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.

Best ever!!

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
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Complete Mozart Symphonies / Pinnock, English Concert

ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

Tracks:

Ouvertura
Terzetto 'La Mia Dorabella Capace Non E'
Duetto: 'Ah, Guarda, Sorella'
Aria: 'Vorrei Dir'
Quintetto: 'Sento, Oddio Che Questo Piede'
Coro: 'Bella Vita Militar!'
Quintetto (Con Coro) 'Di Scrivermi Ogni Giorno'
Terzettino: 'Soave Sia Il Vento'
Aria: 'Smanie Implacabili'
Aria: 'In Uomini, In Soldati'
Aria: 'Come Scoglio Immoto Resta'
Aria: 'Non Siate Ritrosi'
Terzetto: 'E Voi Ridete'
Aria: 'Un'aura Amorosa'
Aria: 'Una Donna A Quindici Anni'
Quartetto: 'La Mano A Me Date'
Duetto: 'Il Core Vi Dono, Bell'idolo Mio
Aria: 'Ah, Lo Veggio: Quell'anima Bella'
Rondo: 'Per Pieta, Ben Mio, Perdona'
Aria: 'Donne Mie, La Fate A Tanti'
Cavatina: 'Tradito, Schernito'
Aria: 'E Amore Un Ladroncello'
Duetto: 'Fra Gli Amplessi'
Aria: 'Tutti Accusan Le Donne'

Customer Reviews:

Needs better singers.......2000-10-15

I like the smart cover painting and the lively direction of Mackerras. However, the cast is nothing to brag about. Come Scoglio doesn't sound good, and the rest of the arias are only okay. The chorus, however, is magnificent. Overall, an okay recording and a generous highlights disc, but there are better choices out there.

Music Track:

Music Track

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