Opera Gala

On this CD:

1. La forza del destino, opera Overture
Composed by Giuseppe Verdi
Performed by Dallas Symphony Orchestra
Conducted by Andrew Litton

2. Norma, opera Casta Diva
Composed by Vincenzo Bellini
Performed by Dallas Symphony Orchestra with Alessandra Marc
Conducted by Andrew Litton

3. Norma, opera Guerra, guerra
Composed by Vincenzo Bellini
Performed by Dallas Symphony Orchestra with Alessandra Marc
Conducted by Andrew Litton

4. Anna Bolena, opera Al dolce guidami
Composed by Gaetano Donizetti
Performed by Dallas Symphony Orchestra with Alessandra Marc
Conducted by Andrew Litton

5. Luisa Miller, opera Overture
Composed by Giuseppe Verdi
Performed by Dallas Symphony Orchestra
Conducted by Andrew Litton

6. Die Ägyptische Helena (The Egyptian Helen), opera, Op. 75 Zweite Breuchtnacht
Composed by Richard Strauss
Performed by Dallas Symphony Orchestra with Alessandra Marc
Conducted by Andrew Litton

7. Antony and Cleopatra, opera, Op. 40 Give Me My Robe
Composed by Samuel Barber
Performed by Dallas Symphony Orchestra with Alessandra Marc
Conducted by Andrew Litton

8. Preludio sinfonico, for orchestra in A major
Composed by Giacomo Puccini
Performed by Dallas Symphony Orchestra
Conducted by Andrew Litton

9. Tosca, opera Vissi d'arte
Composed by Giacomo Puccini
Performed by Dallas Symphony Orchestra with Alessandra Marc
Conducted by Andrew Litton

10. Turandot, opera In questa reggia
Composed by Giacomo Puccini
Performed by Dallas Symphony Orchestra with Alessandra Marc
Conducted by Andrew Litton

Customer Reviews:

A VERY SPECIAL EVENING AT THE MET.......2007-04-06

The 1972 Gala that honored the retirement of the late Sir Rudolf Bing was one of the first big international opera galas of note. I was a mere high schooler when highlights of the gala were aired on television, hosted by Rise Stevens. An LP of highlights was released (a slew of copies were produced domestically with a defect on the second side that had to be recalled). Shortly after this DGG announced a SECOND LP of highlights that would include additional items, including Dorothy Kirsten, Joan Sutherland, Luciano Pavarotti and others from the same gala. It never materialized.

When DGG announced the CD version, I was ever hopeful those unreleased items would finally see the light of day. Sadly, that's not the case. What we have left is a mixed bag. Arroyo expressive but unsteady, a young Domingo with Caballe sounding undermiked, Nilsson ripping the roof off, Price skipping the recitative and not in best voice, Tucker and Merrill trying to outshout each other, Resnik hamming it up, Zylis-Gara and Corelli's only evidence of Otello on record with the fans ruining the beautiful orchestral ending of the duet. Despite all my negatives, this CD is evidence of a very special evening in New York when the operatic lights shone a lot brighter than they do now, the likes of which will never be seen or heard again. It would get five stars if the missing items had been included.

Average customer rating:

Only Furtwangler can beat Furtwangler
Response to S. Bauer re: "Unclear When This Opera Was Recorded," February 2006
Superb voices which are hard to find
Very good
Unclear when this opera was recorded

Mozart: Don Giovanni, K527

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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Mozart's Don Giovanni (Dover Opera Libretto Series)
Mozart - Don Giovanni / Maazel, Raimondi, Te Kanawa, Paris Opera
Mozart: Don Giovanni
Mozart: Die Zauberflote
Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

ASIN: B000001XNW
Release Date: 2000-06-06

Tracks:

Ouverture
Act One: Nr. 1 Introduzione: 'Notte e giorno faticar' (Donna Anna, Don Giovanni)
Act One: Nr. 2: Recitativo accompagnato e Duetto: 'Ma qual mai s'offre, oh dei' (Donna Anna, Don Ottavio)
Act One: Recitativo: 'Orsu, spicciati presto' (Don Giovanni)
Act One: Nr. 3 Aria: 'Ah! chi mi dice mai' (Donna Elvira, Don Giovanni)
Act One: Nr. 4 Aria: 'Madamina, il catalogo e questo'
Act One: Nr. 5 Coro: 'Giovinette che fate all'amore'
Act One: Recitativo: 'Manco male e partita' (Don Giovanni)
Act One: Nr. 6 Aria: 'Ho capito, signor si!'
Act One: Recitativo: 'Alfin siam liberati' (Don Giovanni)
Act One: Nr. 7 Duettino: 'La ci darem la mano' (Don Giovanni)
Act One: Nr. 8 Aria: 'Ah, fuggi il traditor' (Donna Elvira)
Act One: Recitativo: 'Mi par ch'oggi il demonio si diverta' (Don Giovanni, Don Ottavio, Donna Anna)
Act One: Nr. 9 Quartetto: 'Non ti fidar, o misera' (Donna Elvira, Donna Anna, Don Ottavio, Don Giovanni)
Act One: Nr. 10 Recitativo accompagnato ed aria: 'Don ottavio, son morta!'
Act One: 'Or sai chi l'onore' (Donna Anna)
Act One: Nr. 10a Aria: 'Dalla sua pace' (KV 540 A - Wien 1788) (Don Ottavio)
Act One: Recitativo: 'lo deggo ad ogni patto' (Don Giovanni)
Act One: Nr. 11 Aria: 'Fin ch'an dal vino' (Don Giovanni)
Act One: Recitativo: 'Masetto: senti un po!'
Act One: Nr. 12 Aria: 'Batti, batti, o bel masetto'

Tracks:

Act One: Recitativo: 'Guard un po' (Don Giovanni)
Act One: Nr. 13 Finale: 'Presto presto pria ch'ei venga' (Don Giovanni)
Act One: 'Bisogna aver coraggio' (Donna Elvira, Don Ottavio, Donna Anna, Don Giovanni)
Act One: 'Riposate, vezzose ragazze!' (Don Giovanni, Donna Anna, Donna Elvira, Don Ottavio)
Act Two: Nr. 14 Duetto: 'Eh via, buffone' (Don Giovanni)
Act Two: Nr. 15 Terzetto: 'Ah! taci, ingiusto core' (Donna Elvira, Don Giovanni)
Act Two: Nr. 16 Canzonetta: 'Deh, vieni alla finestra' (Don Giovanni)
Act Two: Nr. 17 Aria: 'Meta di voi qua vadano' (Don Giovanni)
Act Two: Nr. 18 Aria: 'Vedrai, carino'
Act Two: Recitativo: 'Di molte faci il lume' (Donna Elvira)
Act Two: Nr. 19 Aria: 'Sola, sola, in buio loco' (Donna Elvira, Don Ottavio, Donna Anna)
Act Two: Nr. 20 Aria: 'Ah, pieta, signori miei'
Act Two: Nr. 21a Aria: 'Il mio tesoro intanto' (Don Ottavio)
Act Two: Nr. 21b Recitativo accompagnato ed Aria: 'In quali eccessi, o numi' 'Mi tradi quel'alma ingrata' (KV 540 C - Wien 1788) (Donna Elvira)
Act Two: Recitativo: 'Ah, ah, ah, ah, questa e buona' (Don Giovanni)
Act Two: Nr. 22 Duetto: 'O statua gentilissima' (Don Giovanni)

Tracks:

Act Two: Recitativo: 'Calmatevi, idol mio' (Don Ottavio, Donna Anna)
Act Two: Nr. 23 Rondo: 'Non mi dir, bell'idol mio' (Donna Anna)
Act Two: Nr. 24 Finale: 'Gia la mensa e preparata' (Don Giovanni)
Act Two: 'Don Giovanni, a cenar teco m'invitasti' (Don Giovanni)
Act Two: 'Ah! dove e il perfido' (Donna Anna, Donna Elvira, Don Ottavio)
Die Zauberflote: Arias And Scenes: Nr. 2 Arie: 'Der Vogelfanger bin ich ja'
Die Zauberflote: Arias And Scenes: Nr. 3 Arie: 'Dies Bildnis ist bezauberend schon'
Die Zauberflote: Arias And Scenes: Nr. 4 Rezitativ und Arie: 'O zittre nicht, mein lieber Sohn!'
Die Zauberflote: Arias And Scenes: Nr. 7 Duett: Bei Mannern, welche Liebe fuhlen'
Die Zauberflote: Arias And Scenes: Nr. 8 Finale: 'Erster Aufzug: Wie strark ist nicht dein Zauberton'
Die Zauberflote: Arias And Scenes: Nr. 10 Arie mit Chor: 'O Isis und Osiris'
Die Zauberflote: Arias And Scenes: Nr. 14 Arie: 'Der Holle Rache kocht in meinem Herzen'
Die Zauberflote: Arias And Scenes: Nr. 15 Arie: 'In diesen heil'gen Hallen'
Die Zauberflote: Arias And Scenes: Nr. 17 Arie: 'Ach, ich fuhl's, es ist verschwunden'
Die Zauberflote: Arias And Scenes: Nr. 20 Arie: 'Ein Madchen oder Weibchen wunscht Papageno sich,
Die Zauberflote: Arias And Scenes: Nr. 21c Finale: Zweiter Aufzug: 'Wir wandeln durch des Tones Macht'

Customer Reviews:

Only Furtwangler can beat Furtwangler.......2007-05-04

Despite the 'historical' sound effect of this live recording, this is a 'must-own' for Mozart lovers.
I agree that Elisabeth Schwarzkopf's Donna Elvira in this live recording is probably the best of her various recordings of this role, including the famous Giulini version. Just listen to her solo arias and the duets, and you will see the audience were so right in applauding as they did.
Elisabeth Gruemmer was a superb Donna Anna, not to be eclipsed by the later Giulini version by Joan Sutherland.
Cesare Siepi was only around 30 years old in this recording. He is the greatest Giovanni on record, both on stage and in recordings. I entirely agree with one earlier reviewer on Eberhard Waechter's Don G in Giulini's version: boorish. Eventhough Waechter led brilliantly in the ensembles.
My only slight reservation is for Anton Dermota's Don Ottavio here. His Dalla pace sua hardly sounded comfortable, though he sang all the notes alright.
One final point - it appears that this Furtwangler version is the Viennese version, not the Prague version.

Response to S. Bauer re: "Unclear When This Opera Was Recorded," February 2006.......2006-09-02

The 6.8.1951 date which you question on page 5 of the booklet accompanying this superior performance of "Don Giovanni" refers to "Die Zauberflote," recorded on CD 3, tracks 6 - 16.

The credits listed on the inside back of the CD case include "Salzburg, 27.7.1953" for Don Giovanni, and "Salzburg, 1951" for Die Zauberflote.

Your recording IS the acclaimed Don Giovanni, 1953 can't-live-without version! Enjoy it more now!

Superb voices which are hard to find.......2006-08-19

The conductor is the number one for Mozart Operas, the 2 Elisabeths sound beautiful in their own distinctive voices, Erna Berger at 51 years old still has a very young voice. Siepi is the number one Don. Edelman and Dermota are wonderful. The sound is the only thing that could be improved but we have to realize that it is a live performance from 1951.

Very good.......2006-04-17

I have bought this cd opera and I listened it yesterday evening.
I live in Ceneda of Vittorio Veneto (Italy) where Da Ponte was born.
I have other two version (Solti director and Muti director) but this is the best.
Very good the director and very good the interpreters.
I have talked with many italian teacher's classical music; they said me that this edition (Furtwaengler director in Salzburg 1953) is the best in every time.

Unclear when this opera was recorded.......2006-02-06

Can I anyone answer this? On the front cover of this CD box it says "1953". On the back cover, and in the booklet, however, it says "1951". In the booklet, on p. 5, it says "6.8.1951". Now are all the Amazon reviewers wrong, taking this recording for the 1953 recording, or is it actually a 1951 recording? If so, perhaps Amazon should also have an editorial note clarifying this.
Thank you.

Average customer rating:

Price, Corelli and Karajan at their peaks--need any more be said?
Grab it before it goes away. . .
Brilliant Trovatore
A review plus corrections
Exceptional and Exciting

Verdi: Il Trovatore

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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Price, Leontyne | Divas | Opera & Vocal | Styles | Music

Puccini: Turandot
Gounod: Romeo Et Juliette
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
The Very Best of Franco Corelli

ASIN: B000001XN2
Release Date: 2000-06-06

Tracks:

Il Trovatore: Act I: Introduzione: 'All 'erta! All'erta!' (Ferrando, Coro)
Il Trovatore: Act I: Di due figli vivea padre beato... Abbietta zingara' (Ferrando, Coro)
Il Trovatore: Scene 2: Scena e Cavatina: 'Che piu t'arresti?' (Ines, Leonora)
Il Trovatore: Scene 2: 'Tacea la notte placida...Di tale amor' (Leonora, Ines)
Il Trovatore: Scene 2: Scena, Romanza e Terzetto: 'Tace la notte' (Il Conte)
Il Trovatore: Scene 2: 'Deserto sulla terra' (Manrico, Il Conte)
Il Trovatore: Scene 2: 'Non m'inganno. Ella scende!... Di geloso amor' (Il Conte, Leonora, Manrico)
Il Trovatore: Act II: Coro di Zingari e Canzone: 'Vedi! le fosche notturne spoglie' (Coro)
Il Trovatore: Act II: 'Stride la vampa' (Azucena)
Il Trovatore: Act II: 'Mesta e la tua canzon!' (Coro, Azucena, Manrico, Un vecchio zengaro)
Il Trovatore: Act II: Scena e Racconto: 'Soli or siam!' (Manrico, Azucena)
Il Trovatore: Act II: 'Condotta ell'era in ceppi' (Azucena, Manrico)
Il Trovatore: Act II: Scena e Duetto: 'Non son tuo figlio?' (Manrico, Azucena)
Il Trovatore: Act II: 'Mal reggendo all'aspro assalto' (Manrico, Azucena, Un messo)
Il Trovatore: Scene 2: Scena ad Aria: 'Tutto e deserto' (Il Conte, Ferrando)
Il Trovatore: Scene 2: Il balen del suo sorriso...per me, ora fatale' (Il Conte, Ferrando, Coro)
Il Trovatore: Scene 2: Finale II: 'Ah! se l'error t'ingombra' (Coro, Il Conte, Ferrando)
Il Trovatore: Scene 2: 'Perche piangete?' (Leonoro, Ines, Il Conte, Coro)
Il Trovatore: Scene 2: 'E deggio, e posso crederlo?' (Leonora, Il Conte, Manrico, Ferrando, Coro, Ines, Ruiz)

Tracks:

Il Trovatore: Act III: Coro d'Introduzione: 'Or co'dadi' (Coro, Ferrando)
Il Trovatore: Act III: Scena e Terzetto: 'In braccio al mio rival!' (Il Conte, Ferrando, Coro, Azucena)
Il Trovatore: Act III: 'Giorni poveri vivea' (Azucena, Ferrando, Il Conte, Coro)
Il Trovatore: Scene 2: scena ed Aria: 'Quale d'armi fragor poc'anzi intesi?' (Leonora, Manrico)
Il Trovatore: Scene 2: 'Ah! si, ben mio' (Manrico)
Il Trovatore: Scene 2: 'L'onda de'suoni mistici' (Leonora, Manrico)
Il Trovatore: Scene 2: 'Manrico?'-'Che?'-'La zingara' (Ruiz, Manrico, Leonora)
Il Trovatore: Scene 2: 'Di quella pira' (Manrico, Leonora, Ruiz, Coro)
Il Trovatore: Act IV: Scena, Aria e Miserere 'Siam giunti' (Ruiz, Leonora)
Il Trovatore: Act IV: 'D'amor sull'ali rosee' (Leonora)
Il Trovatore: Act IV: 'Miserere' (Coro, Leonora, Manrico)
Il Trovatore: Act IV: Scena e Duetto: 'Udiste? Come albeggi' (Il Conte, Leonora)
Il Trovatore: Act IV: 'Qual voce!'...'Mira, di acerbe lagrime' (Il Conte, Leonora)
Il Trovatore: Scene 2: Finale Ultimo: 'Madre, non dormi? ... Ai nostri monti' (Manrico, Azucena)
Il Trovatore: Scene 2: 'Che! Non m'inganna quel fioco lume?' (Manrico, Leonora, Azucena)
Il Trovatore: Scene 2: 'Ti scosta!' (Manrico, Leonora, Il Conte, Azucena)
Il Trovatore: Act III, Scene 2: Duettino: 'Solenne in quest'ora'
Il Trovatore: Act III, Scene 2: Scena: 'Morir! Tremenda cosa!'
Il Trovatore: Act III, Scene 2: Aria: 'Una fatale del mino destino... Egli e salvo!' (Don Alvaro: Franco Corelli - Don Carlo di Vargas: Ettore Bastianini Orchestra del Teatro dell'Opera di Roma, Francesco Molinari Pradelli, 1958

Customer Reviews:

Price, Corelli and Karajan at their peaks--need any more be said?.......2006-08-07

This 1962 Vienna State Opera performance of Trovatore is now a document of a new Golden Age of opera. Price and Corelli had taken the Metropolitan by storm the previous year in the same roles and the vocal beauty, strength and ardor that propelled them to international stardom are much in evidence, particularly in the former's assumption of Leonora--Price even throws in a few extra high Cs in the "Miserere" for good measure. Her two big arias "Tacea la notte" and "D'amor sull' ali rosee" are replete with her characteristic shimmering vibrato and creamy tone. Corelli sings with big, gorgeous tone and with more care in phrasing than in some of his other recorded performances-only his concluding high note at the end of the third act seems somewhat pressed. Azucena and the Conte di Luna are in the more than capable hands of Giulietta Simionato and Ettore Bastianini.

Despite the ease with which the dictum that "all Trovatore needs is the four greatest singers in the world" is met, ultimately the driving force behind this night is Karajan, who gives this fast-moving melodrama exactly the propulsion it needs without slighting the lyrical moments. The Vienna Philharmonic responds with a razor-sharp rendition of the score. Against such virtues the faults of a live recording can easily be forgiven: mono sound and some questionable balances (the "offstage" harp in Manrico's first solo sounds as if it is about two feet from the microphone). Most of the traditional stage cuts are observed as well: thus the second verses of both Leonora's and Manrico's cabalettas are missing, as well as the whole of Leonora's last-act cabaletta, "Tu vedrai." Nevertheless, for opera lovers, this is a Trovatore not to be missed.

Grab it before it goes away. . ........2005-11-18

This recording is a must have for any real lover of singing: Corelli and
Price together, LIVE, not to mention Simionato.

Karajan keeps things at a white hot clip, and the velvet of Price with
the trumpeting of Corelli make for the kind of over-the-top opera
experience one lives for.

Given the year and conditions of the recording, the sound is excellent.
I'm one who can tolerate less that state of the art sound for the
excitement of live historic performances.

Price occasionally interpolates unexpected high notes, and then
caps the "Mira" with a high c that would have best been left at home,
but these are just a few tiny pimples on an otherwise stunning face.
And at these prices, it is a complete steal. Buy it.

Brilliant Trovatore.......2004-05-13

This is a fabulous Trovatore but the "Spotlight Reviewer" seems not to know the opera at all! The heroine of "Il Trovatore" is called LEONORA, not ELVIRA. He wrote his review to bash Maria Callas who is still the greatest Leonora to this day. (I'm quoting PRICE here!)

Anyway, Price, Corelli and Simionato made MAGIC here. Not to be missed!

A review plus corrections.......2004-02-10

This is a fantastic Trovatore, my favourite after the performance with Callas and Lauri Volpi. (Live, 1951) But as great as this recordings is, these reviews aren't great. I want to correct the most atrocious mistakes. Several persons don't even know how to spell this opera. It's "Il Trovatore" not Travatore. And the heroine is called Leonora and not Elvira.

"Her trills is gorgeous in her second big aria. And lo and behold she sticks a high D that shames every singer alive at that time. I know she's a great Verdi singer. But I didn't know how great she was until this. The voice is sublime. It puts Caballe and Tebaldi and Callas to shame. And I'm a fan of those divas."

As lovely as all her singing is, it's just her trill that is flawed because it's shaky and unstable. That aside Price sounds FANTASTIC. Also, Callas sang E-flats and Ds as Leonora in her live-recordings from 1950-1951.

To sum it up: Excellent singing from Price&Corelli under the baton of the exquisite von Karajan. Two thumbs up!!!!!! A++++++++++++++++

Exceptional and Exciting.......2003-12-05

I reviewed another release of this same recording, which is a bit more expensive, and just as great, though the sound quality of that release is better than this one (however, this is fabulous). To everyone reading the reviews, there is a problem if you read a review from "a European visiting America." That review is not of this opera, or this work, or this composer. That review deals with a live recording of Meyerbeer's Les Huguenots. Many of the details are inaccurate in that review as Corelli sings nothing above a hig B in it, and none of the cadenzas for his character.

However, be that as it may, this opera is IL TROVATORE, and I think it only right to let readers know which opera is being reviewed. You won't find a Joan Sutherland in this recording (what role would she sing with Price singing the lead female role). I find it very irresponsible of reviewers who love a particular performer to put their one review on every recording that was issued with that singer, even if the recording reviewed is not the one spoken of in the review. Amazon should really remove that review from this recording as it has nothing what ever to do with this recording.

As for Trovatore, well, this is an extremely energetic fabulous recording and all the principles are in wonderful voice (not to mention ability). The entire performance just rushes forth and we are swept away in it. The orchestra is incredible, and the conductor really sees the drama of the score. Sadly, the cabaletta that comes after the Miserare is missing (it isn't in many live recordings of the work) and it is something Price does so wonderfully well. As far as time goes, it doesn't take that long. It could have been added.

We are witnessing a performance that has few to match it, one where the energy and the "special magic" that seldom occurs in performance is happening.

Tracks:

Les Pecheurs De Perles: 'Au Fond Du Temple Saint'
Louise: 'Depuis Le Jour'
Faust: Duet From Act I
Giuditta: 'Meine Lippen Sie Kuessen So Heiss'
Don Carlo: 'O Don Fatale!'
Don Giovanni: Sextet From Act II
Romeo et Juliette: Juliet's Waltz ('Je Veux Vivre')
Die Fledermaus: Watch Duet ('Dieser Anstand, So Manierlich')
Werther: 'Pourquoi Me Reveiller'
Samson et Dalila: 'Mon Coeur S'ouvre A Ta Voix'
Tannhauser: 'Dich, Teure Halle'
La Perichole: 'Ah, Quel Diner'
Der Rosenkavalier: Trio From Act III
A Tribute To James Levine

Customer Reviews:

James Levine's 25th Anniversary Met Opera Gala.......2006-08-14

It is an incredibly beautiful album. As with any album I like some pieces better than the next but overall it is beautiful and soothing. I keep it in the car and listen to it in horrid traffic time. It helps!

Passing the acid test.......2004-07-04

My acid test is whether I leave the CD in the player for repeated (and repeated) playings. This one makes my cut. Every track is not as marvelous as some, but each has its charms. The whole adds up to a delicious opera excursion.

I saw this live and was completely captivated. Without the visuals, it is just as wonderful. I too wish they would release the rest of this marathon extravaganza. It deserves to be memorialized.

Great cd.......2003-08-13

i recommend this cd it's great to listen to while walking the dog.Opera makes fluffy happy.

Great variety of fantastic singers!.......2002-01-07

This is as good as it gets. An awesome roster of international stars singing some of the best (but not the most well known) selections in all of opera, and of course James Levine, the man they are all celebrating. It almost goes without saying that Levine's conducting is without comparison throughout the recording. He is truly one of the best conductors of the last thirty years, and he has molded the Met Orchestra into the best in the world. This celebration perfectly captures the incredibly broad repertoire that he is familiar for. It starts out with a well-rounded performance of the famous duet from The Pearl Fishers by Bryn Terfel and Roberto Alagana. When I bought the CD I had never heard the incredible melody that forms the theme of the duet, but it is one of the best in all of opera. Renee Flemming gives a performance of "Despuis le jour" that would be hard to match for sheer vocal beauty. Her final pianisimo is stunning. Domingo and Ramey sing a typically excellent performance of the Faust duet, while Ileana Cotrubas, in a Lehar excerpt shows why she was one of the best lyric sopranos of the last 25 years. "O don fatale" as sung by Dolora Zajick is the thrilling experience it should be. She nails the top notes perfectly and still maintains the warm fullness of the bottom of her register. The 'bravas' start almost before she finishes her final note. The sextet from Don Giovanni is given a world class performance (I have never heard it done better). Ruth Ann Swenson displays awesome coluratura ability in Juliet's lively waltz song, soaring to a high D in the final cadenza. I am not a big fan of Die Fledermaus, but if you are you will surely love the included duet. I was also never a big Alfredo Kraus fan, and I think he sounds more than a bit strained while singing the famous aria from Werther. Not so Grace Bumbry, who's seductive performance of Delila's music should be the standard for this aria. Deborah Voight's Tannhauser is impeccable, while Frederica von Stade sounds a little shrill in her aria. To round out the program is possibly the most exquisite performance ever of some of the most gorgeous music ever written; the final trio from Die Rosenkavalier. It will make a Strauss convert out of anyone.
There are no problems with the live sound, which is crisp, clean and sounds like it could have come from a recording studio. My only complaint is the lack of an overture or other orchestral number that would showcae the Met orchetra. Overall a CD well worth your money. Hopefully DG will release another CD soon with the rest of the concert. You won't find these selections anywhere else so every minute of it will be new and fresh. Fantastic for hard core opera fans or beginners. Highly Recommended!

Average customer rating:

Beautiful
A tremendous recording

Franck: Les Béatitudes

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

Norman, Jessye | Divas | Opera & Vocal | Styles | Music

Franck: Redemption; Nocturne; Le Chasseur Maudit; Psyche; Les Eolides [Australia]
Franck: Symphonic Variations; Les Djinns; Piano Concerto No. 2
Vierne: 24 Pieces en style libre
Zemlinsky: Complete choral works and orchestral songs
Franck: Quintet in Fm; Chausson: String quartet in Cm

ASIN: B000006O2B
Release Date: 2000-06-06

Tracks:

Les Beatitudes: Prologue
Les Beatitudes: First Beatitude: Blessed Are The Poor In Spirit, For Theirs Is The Kingdom Of Heaven
Les Beatitudes: Second Beatitude: Blessed Are The Meek, For They Shal Inherit The Earth
Les Beatitudes: Third Beatitude: Blessed Are They That Mourn, For They Shall Be Comforted
Les Beatitudes: Fourth Beatitde: Blessed Are They Which Do Hunger And Thirst After Righteouness, For They Shall Be Filled
Les Beatitudes: Fifth Beatitude: Blessed Are The Merciful, They Shall Obtain Mercy

Tracks:

Les Beatitudes: Sixth Beatitude: Blessed Are The Pure In Heart, For They Shall See God
Les Beatitudes: Seventh Beatitidue: Blessed Are the Peacemakers, For They Shall Be Called The Children Of God
Les Beatitudes: Eighth Beatitude: Blessed Are They Which Are Persecuted For Righteousness' Sake, For Theirs Is The Kingdom Of Heaven.
Five Poems For Female Voice: The Angel
Five Poems For Female Voice: Be Still!
Five Poems For Female Voice: In The Hothouse
Five Poems For Female Voice: Torment
Five Poems For Female Voice: Dreams

Customer Reviews:

Beautiful.......2005-11-20

I bought the recording after reading the review below. If anything he's understated his case for the piece and for this sensational recording of it. Everywhere else I'd looked I'd encountered ho hum appraisals of the work, yet historically it seems to have been well-regarded. I was confused by that but this one commentary put me over the edge.

Simply, this is a beautiful piece of music. Over-analyzing it, criticizing it because of alleged subtle flaws, damning with faint praise (the usual is that the long work has "many fine moments") just doesn't make sense. A good to great performance of this sells itself quite well without the millennial cynicism and insensitivity (not meaning callous but simply lacking in sensitivity). Judging from the listings and the many "no longer available"s I fear this heartfelt and spiritual work will disappear from sight sometime soon, probably for a long time. If intrigued, grab this one; the value is incredible. I loved the piece so much I also picked up the Jordan on WEA--not as spectacular an interpretation, and not as amazing soloists, but the finer engineering brings out a lot of the sensual beauty of the piece. I'm happy with both and will part with neither.

A tremendous recording.......2004-10-22

I am astonished to be the first listener to comment on this set.
Perhaps others were left speechless, in awe of Franck's score of sweeping majesty,
Kubelik's glorious realization, and flawless performances throughout. Superb sonics
Are a bonus in addition to the bonus tracks of Wagner Wesendonck Lieder sung by
Jessye Norman, conducted by Pierre Boulez. A must-have at any price.

Average customer rating:

L'intégrale à ne pas rater

Gounod: Sapho

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
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Leoncavallo: Zazà
Rinsky-Korsakov: Le Coq d'Or
Lalo: Le Roi d'Ys
Mascagni: Lodoletta
Massenet: La Navarraise / Horne, Domingo, Milnes, Bacquier, Zaccaria, Davies, LSO, Lewis

ASIN: B000083MEC
Release Date: 2003-01-28

Customer Reviews:

L'intégrale à ne pas rater.......2006-12-14

De «Sapho», à la fois premier et dernier opéra de Gounod, on connaît surtout le très bel air «Ô ma lyre immortelle» de la fin du troisième acte. Cet enregistrement, un concert de Radio-France de 1979, est une des rares intégrales de l'opéra et il s'agit de la version d'origine de 1851. Sapho est chantée par la mezzo nord-américaine Katherine Ciesinski au beau timbre expressif. Phaon est chanté par le ténor Alain Vanzo. Tous les chanteurs sont français sauf Ciesinski mais cette dernière a une bonne diction. Le chef d'orchestre est Cambreling, alors à ses débuts.
Comme toujours avec le label Gala, on a des bonus un peu étonnants. Dans ce cas il s'agit de 25 minutes extraites du quatrième acte de «Faust» enregistré en 1968 à New York avec des chanteurs nord-américains (Beverly Sills, Norman Treigle et Michele Molese).

Average customer rating:

Quick comment
Still waiting for a Kirov Opera recording of Golden Cockerel
Dismal recording of "Le Coq d'Or," but "Mozart and Salieri" is a nice bonus
Sills radient despite the recording quality
A Rare Treasure Opera- Beautiful Beverly Sills !!!!

Rinsky-Korsakov: Le Coq d'Or

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
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Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
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Gounod: Sapho
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Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel

ASIN: B0002ABU9I
Release Date: 2004-06-29

Customer Reviews:

Quick comment.......2006-03-18

Just a quick comment for the last review. The 'famous Italian tenor' who was the first one to sing in the U.S.S.R. was Mario del Monaco. He sang Don Jose in the Bolshoi Theatre in Moscow in 1959. Irina Arkhipova was his Carmen, and that's how her international career began (see Arkhipova's memoirs). Recording of their performance on the Bolshoi's stage exists, but I don't think it was issued commercially.

Still waiting for a Kirov Opera recording of Golden Cockerel.......2006-01-29

A previous reviewer is right about the "Mozart and Salieri" bonus being the best part of this set. The 1951 Soviet recording is amazingly superior in sound quality to the 1971 NYCO Cockerel. I'd love to hear Reizen's Dodon and Kozlovsky's Astrologer. Before a famous Italian tenor (Corelli?) visited Russia, Russian tenors had their own distinct style, a little reedier and lighter, in comparison to most Italian and other western tenors. Kozlovsky was among the best of the Russian tenor school, if not the best. (Fortunately, the old style is coming back into vogue among the new generation of Russian tenors.) I only broke down and bought the NYCO recording, because the Kirov has yet to record "The Golden Cockerel" in its series of Russian operas for Philips. The NYCO recording sounds like a tape or a vinyl record in sound quality, and the violins sound tinny in parts, but the playing itself under Julius Rudel is fine. The English-language production fills a gap but makes me wish more for a recording by a Russian cast.

Dismal recording of "Le Coq d'Or," but "Mozart and Salieri" is a nice bonus.......2005-12-01

Source: "Le Coq d'Or" - New York City Opera broadcast, November 9, 1971. "Mozart and Salieri" - 1951 Russian radio broadcast.

Sound: "Le Coq d'Or" - wretched stereo! (See the earlier review by Mr. Clement for the grim details.) "Mozart and Salieri" - adequate 1950s mono.

Cast of "Le Coq d'Or": King Dodon - Norman Treigle; Queen Shemakha - Beverly Sills; Astrologer - Enrico di Giuseppe; Amelfa - Muriel Costa-Greenspon; Gvidon - Gary Glaze; Afron - David Rae Smith; Polkan - Edward Pierson; Le Coq d'Or - Syble Young. Conductor - Julius Rudel, with the Orchestra and Chorus of the New York City Opera. Cast of "Mozart and Salieri": Mozart - Ivan Kozlovsky; Salieri - Mark Reisen. Conductor - Samuil Samosud, with the All-Union Chorus and Orchestra.

Documentation: No libretti. Track lists with timings. Short biography of Rimsky-Korsakov. A fan's gushing praise of Beverly Sills disguised as biographical information. Short, sanitized biographical sketch of Treigle. Thumbnail bios of di Giuseppe, Costa-Greenspon, Reisen and Kozlovsky. Brief summary of the plot of "Mozart and Salieri."

Let's be clear about this. "Le Coq d'Or" is less of an opera than it is a sort of ballet-pageant. If only Rimsky-Korsakov had had some vestige of a sense of humor, it would have served more happily as a Christmas pantomime. In at least one major production, the parts were acted out by a troupe of masked dancers while formally dressed singers warbled from the side of the stage.

Only fans of Beverly Sills and Norman Treigle are likely to be able to extract much pleasure from this plucked chicken. The two previous Amazon reviewers are clearly just such fans. I believe their descriptions of the performances of Sills and Treigle accurately convey the delight such fans took in the pair. Mr. Clement, in particular, relates the joy generated by the stage performance. This review, however, is not about the stage performance but about a perfectly dreadful recording of it. Whatever wonder and magic may have been present on the stage of the New York City Opera, it is at best feebly represented in an audio-only recording, and that of poor sound quality.

"Le Coq d'Or" was Rimsky-Korsakov's last opera. It debuted in Moscow in September 1909, nearly eighteen months after his death. It is based on a verse tale by Pushkin. Oddly enough, it is not a traditional Russian story, for Pushkin got the idea from a short story by an American, Washington Irving. (Go figure!)

Rimsky-Korsakov was a composer who notoriously preferred fables and exoticism to human emotion; "Le Coq d'Or" was just the sort of thing to appeal to him. "Le Coq d'Or" has always been an operatic bird of great rarity, seldom seen and quickly forgotten. It is trotted out from time to time as a bonbon for a high-flying soprano--who, by the way, first appears in the second act and is hardly more than a presence in the third.

I am not an unreserved fan of either Treigle or Sills. Treigle was a good bass-baritone in a second-tier opera company at a time when there were equally good or better singers in first-tier companies. Sills was a fabulous singer, but as Rudolph Bing of the Metropolitan Opera famously asked in his autobiography, why should he bother to hire her when he already had Sutherland and Caballe? Good as Sills was, and her technique was sometimes wondrous, her voice was thin and even colorless when matched against those of her great peers. More than that, Sills was constitutionally incapable of letting the music speak for itself. Relentless over-decoration of the vocal line spoils some of her performances--Norina in her recording of "Don Pasquale" comes particularly to mind. Sills was always anxious to be an entertainer, often when she would have done better to be an artist.

The rest of the cast of "Le Coq d'Or" is all right. Costa-Greenspon was a reliable performer and poor Enrico di Giuseppe struggles honorably in a no-win part.

Now for some good news. To fill out Disk 2, Gala has given us about 40 minutes of "Mozart and Salieri." For my part, I'd have been perfectly happy to have this as a stand-alone CD. Come to think of it, I'd prefer it that way!

For those of you who are, no doubt, gnashing your teeth at my less than adoring comments about Norman Treigle, I suggest that you listen to Mark Reisen. If you do so, you will hear the difference between a truly great Russian bass and an American journeyman. And, I assure you, Ivan Kozlovsky wasn't exactly chopped liver as a tenor.

In summary, this set contains a very poorly recorded version of "Le Coq d'Or," something that might have been extraordinary on stage but doesn't amount to very much on disk. For that I would give two stars. It also contains "Mozart and Salieri" as an after-piece, one that, alas, didn't even register with the two previous reviewers. For the excellent "M&S," I would give four stars as it stands--and five stars if it had been recorded on modern equipment. Three stars, then, for the whole package.

Sills radient despite the recording quality.......2005-03-10

I saw the production in question the year it opened at the NYC opera, and the recording is a faithful reproduction of Sills' and Tregle's marvellous performances. Even her laughter immediately tells you how she thinks the king is stupid, while making the king think she is girlish. The performance earns the highest rating.

When hearing Tregle's performance as King Dodon one can understand why it was banned. He makes the king appear ineffective, overbearing, and not very bright. The brilliant libretto which parodies Czar Nicholas II is very effective in Tregle's voice.

However, the quality of transfer is not very good. The original was the audio simulcast which was probably recorded on a home stereo tape recorder. Then it was subsequently made into a vinyl recording. The vinyl ticks an pops were still evident in the result. The last track on the first CD had some very large pops and a number of crackles. In addition there were some obvious tape dropouts. The ticks and pops are all removable by good quality software. Most of the dropouts are also easily spliced out as they are of very short duration, and the change is not audible. However there are several places where the volume suddenly jumps, possibly because of a skip in the recording process. This typically happens when using a computer for the recording, but it could be due to bad editing before the record was made. There is also the possibility that this is where the record breaks were located and GALA did not properly match the volume changes across the break. Finally there is a fairly large phase shift between the left and right channels which moves the orchestra to one side of the sound stage, despite having equal volume on both channels. When this is removed the orchestra and soloists are much more natural sounding and spread out better.

I have a copy of the Sept 11, 1967 recording which although in mono was easily cleaned with nearly inaudible transitions between the record breaks. This earlier performance is nearly identical to the GALA recording, but with Nicol Castel as the Magician. The earlier performance may still be available from some vinyl dealers.

So while I give the performance the highest marks, the transfer rates the lowest marks. The average would be three stars. However, the computer literate opera fan can use my hints to improve the recording, to bring it up to five. Even with the flaws it is a bargain and still the best stereo recording of Le Coq D'Or. Now I wish that the original telecast complete with the simulcast stereo track could be professionally released on DVD. Sills also acted with her body, and the combination of vocal plus visual would be a great pleasure to experience again.

A Rare Treasure Opera- Beautiful Beverly Sills !!!!.......2004-09-22

This is a must have for collectors of rare opera and for fans of the American soprano Beverly Sills. The Russian composer Rimsky Korsakov is best known for his "Flight Of The Bumble Bee"- which in itself is part of one of his operas about a tsar turning into a bee. Korsakov had a knack for the exotic (he composed music for the Arabian Nights story of Scheherezade) and his music, which is essentially Russian- Western in a Romantic sense, is perfect for the world of fantasy. This opera "Le Coq D'Or" French for "The Golden Cockerel" may have been written in French by Korsakov (who spoke various languages)and most undoubtedly it was also in his native Russian. The plot is taken from a Russian fairy tale about a strange, Oriental kingdom and the search for the enigmatic golden bird "The Golden Cockerel" that has the gift of prophecy. Korsakov was not the only Russian to write an opera based on a fairy tale. Sergei Prokofiev based his opera "The Love Of Three Oranges" on another Russian legend.

This recording (I don't quite recall since it's been a while that I've heard it) is in English, translated directly from the French libretto. The dynamic duo that was Beverly Sills and bass Norman Treigle feauture their brilliant operatic and acting talents to this recording. Norman Treigle had a keen sense of theatre and he shared much success with Beverly Sills at the New York City Opera. His bass voice was earthy, sonorous and quite lovely note-for-note, allowing us to hear every line of the text. Back then, there were no supertitles superimposed on a screen. It was more important for singers to really enunciate and speak clearly, even act as if in a play, to get the message of the opera across. Beverly Sills sings the role of Queen Shemakah, a fiendishly difficult coloratura part. Lately, this opera is hardly performed at all which is sad because it's a gorgeous story along the lines of Mozart's Magic Flute. Perhaps in some European locations they still produce this opera, perhaps a recording appears now and then and there is a DVD production of it in circulation. Beverly Sills was the first soprano to make the role of the Queen Shemaka her own. No one at the time was singing the role. The Hymn To The Sun is a high coloratura aria in which the Queen honors the sun. It is hauntingly beautiful. This recording is worth buying if only because of Beverly Sills and Norman Treigle, two marvelous singers in the opera scene of the 60's and 70's. For fans of Sills, this recording is a must have. Also, hardcore fans will be pleased to know that this same opera was videotaped and filmed in the early 70's and there exists a film production out there somewhere in the underground market.

Israel Philharmonic Orchestra - 60th Anniversary Gala Concert

Average customer rating:

Sublime!
love the four violin piece!
A must-have item !
Overall Great Recording
Amazing!

Israel Philharmonic Orchestra - 60th Anniversary Gala Concert

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Vivaldi: The Four Seasons
Mendelssohn, Bruch: Violin Concertos

ASIN: B000003G8V
Release Date: 1997-03-25

Tracks:

Overture to 'Oberon'
Concerto In D Minor For Two Violins And Orchestra BWV 1043: Vivace
Concerto In D Minor For Two Violins And Orchestra BWV 1043: Largo, ma non tanto
Concerto In D Minor For Two Violins And Orchestra BWV 1043: Allegro
Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): Allegro
Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): Largo
Concerto In B Minor For Four Violins And Orchestra, RV 580 (Op. 3, No. 10): Allegro
Serenade No. 6 In D, K. 239 ('Serenata notturna'): March: Maestoso
Serenade No. 6 In D, K. 239 ('Serenata notturna'): Menuetto
Serenade No. 6 In D, K. 239 ('Serenata notturna'): Rondo: Allegretto
Passacaglia and Sarabande

Tracks:

Symphony No. 2 In D, Op. 73: Allegro non troppo
Symphony No. 2 In D, Op. 73: Adagio non troppo
Symphony No. 2 In D, Op. 73: Allegretto grazioso
Symphony No. 2 In D, Op. 73: Allegro con spirito

Customer Reviews:

Sublime!.......2004-03-08

This is one of my top 5 Cd's in a vast collection. I bought an extra 10 for presents. The Israel Philharmonic Orchestra (IPO)was aptly described by Toscanini as an orchestra of virtuoso soloists. Its strings are together with the Chicago Symphony the absolute top. Every piece is spectacular, warm and insightful. It is evident that the musicians understand the importance of the event. The Halverson Handel variation alone is worth the purchase. It has to be one the most amazing pieces ever recorded.

love the four violin piece!.......2004-02-21

I bought this CD, then I bought one for my grandparents. Now I lost it. My absolutely favorite piece was the concerto for four violins. Unfortunately, I've now discovered i-tunes and just bought those tracks. Maybe that's not the best idea, but at least I can't lose it again.

A must-have item !.......2002-11-10

A live concert with the best violinist of our time! Superbly recorded. Those who are going to buy this should buy the video too! The video not only includes the interview with the violinist, but also a marvellous off-the-show performance by Gil Shaham. Shaham may not be that outstanding in this concert but you'll see this is not true if you have watched the video, too.

Itzhak Perlman and Pinchas Zukerman's duet on "Passacaglia and Sarabande with variations on a theme by Handel for violin and viola" is excellent !! It exhibits almost all skillsets that could be do with a string instrument and how good they have been handled!! This recording is indescribably good !

Overall Great Recording.......2000-12-06

I wasn't sure whether to give this recording four or five stars. The music is wonderful; there is nothing to complain about in that area. The Halvorsen variations on Handel are quite simply divine and without comparison. The piece showcases two of the best violinists of our day (Perlman and Zukerman) and in this recording they prove that they deserve their title. The Vivaldi for Four Violins is incredibly expressive. The musicians cannot be faulted for anything, however the recording engineers can. This is a live concert and thus there is clapping at the end of each piece. The clapping is irritating in that it takes away the feeling left after the music. In the case of the Vivaldi, someone actually starts to clap before the last note is over! However, if you can survive the clapping, you will be buying a remarkable recording by some of the greatest musicians of our day. I strongly recommend it.

Amazing!.......2000-03-28

This is one of the best live classical recordings I have ever heard. It features an incredible collection of talented musicians, then proceeds to showcase them all with dazzling pieces that demonstrate their talents. Especially notable is the duet between Zukerman and Perlman when they play Halvorsen's "Passacaglia" - it truly sends chills up my spine. Other fine pieces on the discs include the overture to "Oberon" by Weber, as well as the unique "Concerto for 4 Violins" by Vivaldi. Overall, this set of 2 CD's is wonderful, and definitely warrants a purchase.

Nicolai Gedda - French and Russian Arias & Songs

Average customer rating:

Gedda in 60's and early 70's
A recording that does Gedda justice
It is the voice of destiny.
This is some of the finest singing ever recorded
What a master singer!!!

Nicolai Gedda - French and Russian Arias & Songs

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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The Very Best of Franco Corelli

ASIN: B000001XMK
Release Date: 2000-06-06

Tracks:

La Dame Blanche: Viens, gentille Dame
Faust: Quel trouble inconnu me penetre! - Salut! demeure chaste et pure
Romeo et Juliette: Ah! leve- toi, soleil
Les Huguenots: Non loin des vieilles tour- Plus blanche que la blanche hermine
Carmen: La fleur que tu m'avais jetee
Lakme: Prendre le dessin- Fantasie aux divins mensonges
La Damnation de Faust: Merci, doux crepuscule!
Les Troyens: Inutiles regrets!- Ah! quand viendra l'instant des supremes adieux
Prince Igor: Is it thou, Vladimir? (in Russian)
Jevgeny Onegin: Kuda, kuda, kuda vi udalilis (Where, Oh Where Have You Gone?)
Where Are You, Little Star?
The Garden By The Don
The He-Goat
In This Moonlit Night
At The Ball
Legend
Don Juan's Serenade
The Song Of The Young Gypsy
How Fair This Spot Or Hill Is Beauty

Customer Reviews:

Gedda in 60's and early 70's.......2003-08-21

Nicolai Gedda, a vocal wonder of the post-WWII Europe is in great form in live selections presented on this CD.
The French opera arias, particularly Berlioz and Gounod, required stellar high B's and C's plus ability to shift the registers seemlessly. Well, Gedda dispite his accent, was indeed perfect for this material. He will make you hold your breath every time he hits those high notes and each of these notes is crystal clear and dead-center on pitch.
For me personally, the best part of the disc is a 1971 recital of Russian art songs by Mussorgsky, Tchaikovsky and Rachmaninov. Gedda sings with a lot of feeling and is not afraid to "invent" -- check out the messa voce, or rubato that he adds. "Where art thou, little star" is heart-gripping in its beauty.
Unfortunately, the recital is clearly not presented in its entirety. I just hope Gala will release the full version some time soon.
Of course, all the selections are "live". But that's not a serious problem here (unlike many other Gala CDs made almost unlistenable by caughs and other noises). Yes, there are a few distractions, but not enough to take away from pure joy of Gedda's singing.

A recording that does Gedda justice.......2003-04-05

This compilation disc from Gala presents the artistry and musicianship of Nicolai Gedda. He is a great tenor. His voice may not be the most beautiful, but it certainly is pleasant to hear. He has an excellent top register; no high note is beyond his reach. His pianissimos, not really given their due here with Gala's selections of songs and arias, are really top-rate and extremely beautiful. If you want to hear his lovely pianissimos, get the hard-to-find "Opera Arias: Nicolai Gedda". The selection of arias and songs here is wonderful. Also included is a wonderful duet from "Prince Igor" sung in Russian and several Russian songs by Mussorgsky, Tchaikovsky, and Rachmaninoff. I didn't care much for the Russian songs, but Gedda performed them very well with perfect Russian diction. The French arias are amazingly well done. If you have been left unmoved by his versions of Don José's Flower Song from his two studio recordings of "Carmen", you will not be disappointed with the version included here. This version is sung with great emotional involvement. It comes from the 1954 live recording of "Carmen" with Giulietta Simionato and Herbert von Karajan. Gedda has the flexibility and the high D for the "Les Huguenots" aria. His renditions of the two Gounod arias are wonderful and his high notes are superb. Énée's aria from "Les Troyens" is very well done. He even attempts a trill in it. A recently released live recording of a performance of "Les Troyens" with Gedda, Horne, and Verrett is available. Check it out. Gedda may be too light of voice for such a heavy role as Énée, but who could resist such stylish, superb singing and French diction? He also can scale all the dangerous heights and dramatic demands of the fiendishly difficult role. The sound of this compilation is surprisingly good. There is some static, but it never becomes distracting. Audience noise is minimal to nonexistent. Applause is found only on a few tracks and is always appropriate. All in all, a worthwhile purchase at a remarkably low price!

It is the voice of destiny........2002-09-01

If I say that it is nice I'll say nothing. Gedda's voice is really juicy and romantic and vocalize school is enormously mastered. When you hear to it, the first thought is that such voice cannot to be belonged to real, live person. It is for angel's not for real man.

This is some of the finest singing ever recorded.......1999-05-12

Although strangely forgotten by the opera world and overshadowed by the overwhelming publicity surrounding the three tenors (Carreras, Domingo, and Pavoroti), Gedda ought to be recognized as the greatest living tenor. His artistry, technique, musicianship, and individuality are second to none. Buy this CD and delight in some of his best work. There are presently no singers that even approach the mastery of the repetoire recorded on this album which Gedda sings perfectly and easily.His refinement and power are unexcelled. (No, the three tenors don't hold a candle to him. In fact, comparing Gedda to them is a bit like comparing a halogen bulb to a candle. Very nice candles, yes, but no match for an artist of his caliber.)

What a master singer!!!.......1999-01-20

This is a truly wonderful recording of the tenor, who I feel, is the greatest in the second half of the 20th Century. Maestro Gedda sings repetoire from the lyric Gerrard in Lakme to the dramatic Raoul in Les Hugeunots all with stylish ease and elan. Gedda had the most beautiful high notes in the business. These are all live performances and the span of time is from 1954 (Carmen, with von Karajan) to 1972 (Les Hugeunots). Finally, on CD, one gets to hear Maestro Gedda sing Lenski's Aria from Eugene Onegin, more beautiful and sumptuous than any other Tenor before or since. Also the last 9 tracks are Russian songs and this is some of the most beautiful singing heard anywhere (also done live).