Italian Symphony

On this CD:

1. Symphony No. 4 in A major ("Italian"), Op. 90
Composed by Felix Mendelssohn
Performed by Bern Symphony Orchestra
Conducted by Peter Maag

2. The Hebrides, overture in B minor for orchestra ("Fingal's Cave," 4 versions), Op. 26
Composed by Felix Mendelssohn
Performed by Bern Symphony Orchestra
Conducted by Peter Maag

3. Heimkehr aus der Fremde, opera, Op. 89 Overture
Composed by Felix Mendelssohn
Performed by Bern Symphony Orchestra
Conducted by Peter Maag

4. Overture for orchestra in E major ("Fair Melusina"), Op. 32
Composed by Felix Mendelssohn
Performed by Bern Symphony Orchestra
Conducted by Peter Maag

Tracks:

Una Voce Poco Fa - Sherrill Milnes
Dunque Io Son - Sherrill Milnes
Contro Un Cor - Sherrill Milnes
Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
Via, Caro Sposino - Ambrosian Opera Chorus
Tornami A Dir Che M'ami - Ambrosian Opera Chorus
La Morale In Tutto Questo - Ambrosian Opera Chorus

Tracks:

Vilia - Beverly Sills
Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
Libiamo Ne' Lieti Calici - John Alldis Choir
Un Di Felice, Eterea - John Alldis Choir
E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
Che Fai? - John Alldis Choir
Addio Del Passato - John Alldis Choir
Parigi, O Cara - John Alldis Choir

Amazon.com

Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith Eisler

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Beverly Sills - The Best.......2007-04-01

What a voice. No coloratura can compare, and she makes it seem so easy.

Beverly Sills' highs are breathtaking!.......2006-09-18

Adio del Passato is incredible! Beverly's high, floating coloratura is no less than ethereal which takes you to another world. Her voice has given me so much joy that it is hard to say one recording is better than another because I love her Mozart album equally with her Bellini/Donizetti. It is so wonderful to have these recordings captured on CD! Enjoy!

THE 2005 OPERA CD OF THE YEAR.......2006-08-19

THIS CD WAS THE BEST OPERA CD ISSUED LAST YEAR, AND HAS CAUGHT THE WORLD'S EAR IN NO TIME. I WAS BUSY WRITING IN SÃO PAULO, BRAZIL, WHILE THE STATEOWNED FM RADIOSTATION, DEDICATED TO CULTURE, WAS SOFTLY PLAYING OPERA ARIAS IN THE BACKGROUND. SUDDENLY I HEARD THE MOST FANTASTIC RENDERING OF "SEMPRE LIBERA" FROM "LA TRAVIATA". I GOT UP, SAT BY THE RADIO AND WAITED TO KNOW WHO WAS SINGING... THEN GOT BACK TO THE COMPUTER TO ORDER THIS CD FROM AMAZON! INCREDIBLE: ONLY 17 BUCKS FOR THIS, WHILE QUITE A BIT OF TRASH IS SOLD FOR 30.40 AND MORE...
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!

EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22

EMI's "Very Best Of" series are perfect introductions to operatic singers of the 20th century. Once you hear these artist tribute albums (much like The Singers series) you will get hooked on the singer and seek out their full-length studio recordings. Beverly Sills was the first truly famous American opera star. One may argue that she was not, that she was merely a continued tradition of American divas such as Mary Garden and Lily Pons and which still continues today with Renee Fleming, Elizabeth Futral and Susan Graham. Beverly was raised in New York City, which is still her home, and which is the home of the New York City Opera and the Met, opera houses which rocketed her to fame. Her first success (not featured in this recording...UH WHY ?) was Cleopatra of Handel's Julius Caesar, a performance she sang opposite the illustrious baritone Norman Treigle. Those performances were legendary because coincidentally at the same time the Met was opening its new theatre and season with what became a disastrous Samuel Barber's Antony and Cleopatra starring Leontyne Price in an overblown, big-budget, epic fiasco. The great roles that followed the 1965 Cleopatra were Manon, Queen Elizabeth I in Roberto Deveraux, Maria Stuarda and Anna Bolena in the Donizetti Tudor Queen operas, Pamira in The Siege of Corinth (which were Sill's La Scala and belated Met debut. None of the Queens are featured in this recording, though its supposedly the Very Best Of. An aria from Rossini's Siege of Corinth is featured here however. What we are treated to however are fine lyric roles- Beverly Sills shone brightly and acted convincingly as Gilda in Rigoletto (the final scene is featured here) as Violetta in La Traviata, Thais, The Merry Widow (the beautiful Vilja is featured here)and the ingenue role of Norina in Don Pasquale is also showcased here. To each of these roles, Beverly Sills delivered an authenticity and dramatic interpretation, not ot mention beautiful, sweet tone. I love her pianissimos, her high notes, her chest register. It was the voice of Beverly Sills who first hooked me into opera. For a recording that should showcase her best work, Manon is not featured nor any of her prized French heroines- Marie in The Daughter of the Regiment and the heroines in Tales of Hoffman. Also not in here is the role that was her first success- the Broadway opera Ballad of Baby Doe. Even as such, the arias here are gorgeous. The Barber of Seville is in here and as Rosina she is playful and charming. Sills was a modern singer, with a voice that was beautiful but willing to sacrifice beauty for the sake of dramatic content. When Sills was once asked what she thought of the supposed rivalry with Joan Sutherland (which was never real and only gossip from partisan fans) Beverly said something to this effect -Joan and I are apples and oranges in our take on opera, we are Picasso and Monet. She would do anything for the effect of beauty and tone, I'd sacrifice beauty for the sake of dramatic text. Even as such, I see no ugliness to any of the roles here. All of them are beautiful to hear, full of rich floating celestial tones. It would have been nice to hear the roles that did call for Sills to step up the tense drama - Norma, will her recording ever be reissued by EMI ? Also, few people know that Beverly Sills sung role most would consider dangerous for her voice (though she sang them long before her career even took off)- Aida and Carmen!!

Glad To Be The First Review- Beverly Sills Treasury Of Arias.......2005-04-29

At last EMI's "The Very Best Of" series has issued some of the finer recorded documented arias of the incomparable soprano Beverly Sills. Fans of this down-to-earth, warm patron of music and the most unique lyric-coloratura-dramatic soprano, will be in Heaven. Sure, this is only some of the arias in only a small number of the many operas Sills performed. To be truthful, this is not what I'd personally regard as the best of Beverly Sills. Other albums of hers do use greater vocal masterpieces she sang- the best being "The Singers" Series, and another EMI edition called The Art of Beverly Sills Volume 2 and then there's the rare and brilliant "Sillsiana". Nevertheless, this album has its charm and appeal. Beverly Sills sings arias from Rossini's Barber of Seville, Verdi's Rigoletto and Traviata. This recording seems to highlight mostly her mastership of the bel canto repertoire and Verdi. Gilda and Violetta were roles she sang with supreme dramatic integrity and sweetness and purity of vocal line. Yet, it is hardly "the best of". Where are scenes from the masterful interpretations of Donizetti, truly Sills strongest suit- Lucia Di Lammermoor, Anna Bolena, Maria Stuarda and Roberto Devereaux, where is Sills' Manon, which even she hails as her best ? And when will her recorded Norma ever see the light of day ? Sills also excelled in the French repertoire- Faust, Thais, La Fille Du Regiment, The Tales of Hoffman and she was an incredible Queen Shemakha in Korsakov's Coq D'Or. True, Sills had a light, girlish, delicate voice, bright and small, but this worked in her favor in tragic roles. Dramatically, she could get into character as passionately and convincingly as Maria Callas. When she could darken her voice and use her chest voice for dramatic effect it was often thrilling. This is the latest recording in a number of recordings that are coming out, further promoting a great singer of the past. Beverly Sills. She was the working man's soprano. She worked hard to get to the top. She was the reigning singer of the NYC Opera where she starred in such great operas as Handel's Giulio Ceare Sills as Cleopatra (also not on this recording) and Tales of Hoffman singing opposite the great but underrated bass Norman Treigle. Sills is a wonderful human being and she has a beautiful voice that I cannot get out of my mind. She will always be the greatest to me. She got me hooked into opera.

The Most Relaxing Classical Album in the World...Ever!

Average customer rating:

Lives Up To The Title, Fine Variety Of Genre's.
Good for relaxing pregnant women
Too much opera
Does what it set out to do, very well
TRULY The most relaxing and beautiful music ever written.

The Most Relaxing Classical Album in the World...Ever!
Johann Sebastian Bach , Léo Delibes , Gabriel Fauré , Erik Satie , Wolfgang Amadeus Mozart , Edvard Grieg , Johann Pachelbel , Claude Debussy , Felix Mendelssohn , Camille Saint-Saens , Henryk Gorecki , Antonio Vivaldi , Edward Elgar , Jocelyn Pook , Sergey Rachmaninov , Tomaso Giovanni Albinoni , Luigi Boccherini , Jules Massenet , Ludwig van Beethoven , Jacques Offenbach , Pietro Mascagni , Antonin Dvorak , Giacomo Puccini , Ralph Vaughan Williams , Alexander Borodin , Joaquin Rodrigo , and Samuel Barber
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

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

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

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

$9.99 and Under | Blowout Music | Stores | Music

Classical | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

$9.99 and Under | Prices | Blowout Music | Stores | Music

More Titles at Least 25% Off | Blowout Music | Stores | Music
Similar Items:

The Most Relaxing Classical Album In the World Ever, Volume II
The Most Relaxing Piano Album in the World...Ever!
The Most Relaxing Classical Music in the Universe
25 Classical Favorites
Best of the Millennium: Top 40 Classical Hits

ASIN: B00000I93Z
Release Date: 1999-03-30

Tracks:

Air 'On the G String' - Academy Of St. Martin In The Fields
Morning - Academy Of St. Martin In The Fields
Canon In D - Academy Of St. Martin In The Fields
Jesu, Joy Of Man's Desiring - Academy Of St. Martin In The Fields
Gymnopedie No.1 - City Of Birmingham Symphony Orchestra
II. Andante - Stephen Hough
Viens, Mallika - Mady Mesple
In Paradisum - Choir Of King's College, Cambridge
Clair De Lune - Dame Moura Lympany
II. Andate - Yehudi Menuhin
The Swan - Osian Ellis
II. Lento E Largo - Tranquillissimo - Zofia Kilanowicz
II. Andantino - James Galway
II. Largo - Yehudi Menuhin
Nimrod - London Symphony Orchestra
Blow the Wind - Pie Jesu - Jocelyn Pook
Variation 18 - Cecile Ousset
Pavane Op.50 - Gareth Morris

Tracks:

Zion Hort Die Wachter Singen - South German Madrigal Choir
Adagio In G Minor - Academy Of St. Martin In The Fields
Minuet - Academy Of St. Martin In The Fields
II. Largo - Andrei Gavrilov
Meditation - Hans Kalafusz
I. Adagio Sostenuto - Dame Moura Lympany
Belle Nuit, O Nuit D'amour (Barcarolle) - Elisabeth Schwarzkopf
II. Andante - Nigel North
II. Adagio - Jack Brymer
Intermezzo - Philharmonia Orchestra
I. Moderato - London Chamber Orchestra
O Mio Babbino Caro - Montserrat Caballe
Fantasia On 'Greensleeves' - Sinfonia Of London
II. Adagio Sostenuto (Opening) - Cecile Ousset
Nocturne - Academy Of St. Martin In The Fields
II. Adagio (Opening) - Julian Bream
Adagio For Strings Op.11a - The Philadelphia Orchestra
Entr'acte To Act III - Orchestre National De France

Amazon.com

You want relaxing classical music that'll soothe your soul but won't lull you into sleep? Here's a double CD for you. The Most Relaxing Classical Album in the World ... Ever! does its best to cover both well-worn classical favorites (Bach's "Air on the G String," Pachelbel's "Cannon," Debussy's "Clair de Lune") and some eclectic left-field choices (an excerpt from Górecki's Symphony No. 3, Jocelyn Pook's "Blow the Wind," and Samuel Barber's Adagio for Strings. The performances of most of these excerpts are top-notch--artists include Sir Neville Marriner, James Galway, Jacqueline du Pré and the Philadelphia Orchestra--and there's enough variety here for everyone. --Edward Garabedian

Customer Reviews:

Lives Up To The Title, Fine Variety Of Genre's........2007-02-04

This CD is a great way to enjoy a large variety of Classical Composers & many of their best known pieces. Vivaldi's "Four Seasons," is an all time favorite. There are vocals, Piano pieces, & some fine Violins. I found the latter the most enjoyable. Here you can find Rodrigo & Pachelbell. Samuel Barber's haunting Adagio will make your skin tingle. This may not be to everyones taste, but if you wish to relax? Give this a couple of listens.

Good for relaxing pregnant women.......2007-01-17

I stumbled onto this album whilst searching bit torrent websites for classical music. I don't normally listen to classical music but thought it might be relaxing for my pregnant wife. After hearing the quality of the performances, the arrangement, and the recording I decided to buy the album from amazon. All the songs you would expect from a "best album in the world" are there and they are not boring to listen to like a lot of other classical albums. I now play this album in the car constantly and the wife requested it be played at the hospital during the birth.

Too much opera.......2007-01-10

If it wasn't for the opera this would be a great CD.

Does what it set out to do, very well.......2006-11-15

So i'm a classical music veteran, someone who prefers to collect a complete work, rather than classical compilations. I probably would not have listened to this album at all if my dad didnt buy it for me as a gift. By now, i own the complete works that over half of the excepts on this disc come from. I am a purist if ever there was one.

That said, i totally adore this set because i have learned to take it on its own terms. These discs weren't meant for expert classical listeners, so a review from that sort of mindset is useless. This set was meant for pure, easy listening, and for a basic starters kit for classical newbies. Most of all, it was just meant to do what the title says, to relax the average human being. classical expert or not.

Yes, some of these pieces have been altered or shortened, like Mozart's Flute and Harp Concerto Andantino, but they have been edited for a good enough reason: the full versions would have been too long to flow with the rest of the album. And also, the full versions contain so much development that they don't become easy listening anymore. The shortened versions work in the context of the album. Most essentially, the shortened versions on the discs still convey the main flavor the composers were going for. The melodies and themes remain unchanged.

To sum up, it is true that when i want to actually listen deeply to classical music, this album would never be a choice. I would want to hear the complete works like the composers intended. But at certain times when i simply don't mind about that stuff, when i just need to loosen up and free my mind of stress with some nice melodies, this set does the job well enough.

Last but not least: being a purist and a classical buff, i am very particular about performance quality. I was very glad to find that EMI did not get lazy about this. All the artists are world-class, and all the performances are at least exceptional. Some performances are even quite excellent, like the Clair De Lune, which is one of the best i've heard. (Credit to Dame Lympany, the pianist.)

So once again, recommended for its stated purpose, to relax. I am a purist, a classical buff, and i still enjoy this disc. That says something.

TRULY The most relaxing and beautiful music ever written........2006-11-10

This album along with Volume 2 are now the two most valued albums in my music collection. I have all of the songs contained on these two albums but they are scattered through at least a dozen different albums and several are not performed by artists such as those that recorded this album and Volume 2.
SIMPLY BEAUTIFUL !!!!!!!!!!

Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)

Average customer rating:

Sweet
A Desert Island Disc
Ne plus ultra
One of the great Lucias
Crazy reviewers

Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
Gaetano Donizetti , Beverly Sills , Carlo Bergonzi , Thomas Schippers , and London Symphony Orchestra
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
Massenet: Manon
Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel
The Great Recordings
Bellini: I Capuleti e i Montecchi

ASIN: B000060P5O
Release Date: 2002-03-12

Tracks:

Part One: N.1 Preludio E Coro D'Introduzione: Percorrente Le Spiagge Vicine - Ambrosian Opera Chorus
Part One: N.2 Scena E Cavatina: Tu Sei Turbato! - E N'Ho Ben D'Onde - Piero Cappuccilli
Part One: No.2 Scena E Cavatina: Cruda, Funestsa Smania - Piero Cappuccilli
Part One: N.2 Scena E Cavatina: Il Tuo Dubbio E Ormai Certezza - Piero Cappuccilli
Part One: N.3 Scena E Cavatina: Ancor Non Giunse! - Beverly Sills
Part One: N.3 Scena E Cavatina: Regnava Nel Silenzio - Beverly Sills
Part One: N.4 Scena E Duetto - Finale I: Egli S'Avanza - Carlo Bergonzi
Part One: N.4 Scena E Duetto - Finale I: Sulla Tomba Che Rinserra - Carlo Bergonzi
Part Two: Act One, N.5. Scena: Lucia Fra Poco A Te Verra - Piero Cappuccilli
Part Two: Act One, N.6. Duetto: Appressati, Lucia - Piero Cappuccilli
Part Two: Act One, N.6. Duetto: Il Pallor, Funesto, Orrendo - Piero Cappuccilli
Part Two: Act One, N.7. Scena Ed Aria: Ebben? - Di Tua Speranza - Beverly Sills
Part Two: Act One, N.7. Scena Ed Aria: Ah! Cedi, Cedi O Piu Sciagure - Beverly Sills

Tracks:

Part Two: Act Two - Finale II, N.8. Coro E Cavatina: Per Te D'Immenso Giubilo/Per Poco Fra Le Tenebre - Ambrosian Opera Chorus
Part Two: Act Two - Finale II, No.9. Scena E Quartetto: Dov'E Lucia? - Qui Giungere Or La Vedrem.../Ecco Il Tuo Sposo - Piero Cappuccilli
Part Two: Act Two - Finale II. Sestetto Con Coro: Chi Mi Frena In Tal Momento?/Chi Raffrena Il Mio Furore? - Piero Cappuccilli
Part Two: Act Two - Finale II, No.10. Seguito E Stretta Del Finale II: T'Allontana, Sciagurato - Maledetto Sia I'Istante - Piero Cappuccilli
Part Two: Act Two, No.11. Uragano, Scena E Duetto: Orrida E Questa Notte - Piero Cappuccilli
Part Two: Act Two, No.11 Urgano, Scena E Duetto: Ashton! - Si/Qui Del Padre Ancor Respira - Piero Cappuccilli
Part Two: Act Two, No.12. Coro: D'Immenso Giubilo - Ambrosian Opera Chorus
Part Two: Act Two, No.13. Gran Scena Con Cori: Deh, Cessate Quel Contento - Justino Diaz
Part Two: Act Two, No.14. Scena Ed Aria: O Giusto Cielo! - Il Dolce Suono - Ambrosian Opera Chorus
Part Two: Act Two, No.14. Scena Ed Aria: Ardon Gli Incensi - Ambrosian Opera Chorus
Part Two: Act Two, No.14. Scena Ed Aria: S'Avanza Enrico! - Piero Cappuccilli
Part Two: Act Two, No.14. Scena Ed Aria: Spargi D'Amaro Pianto - Piero Cappuccilli
Part Two: Act Two, Scena - Recitativo: Si Tragga Altrove - Piero Cappuccilli
Part Two: Act Two, No.15. Aria E Finale: Tombe Degli Avi Miei - Carlo Bergonzi
Part Two: Act Two, No.15. Aria E Finale: Fra Poco A Me Ricovero - Carlo Bergonzi
Part Two: Act Two, No.15. Aria E Finale: Oh Meschina!/Tu Che A Dio Spiegasti L'Ali - Ambrosian Opera Chorus

Amazon.com

This Lucia was recorded in 1970, when Beverly Sills was at the peak of her vocal and dramatic powers. She had been singing the role of Lucia on stage for six years, and she knew the character. Here is a manic-depressive who is slightly crazy from the start, and Sills's embellishments to the vocal line (and there are tons of them; hardly a line is left as written), mostly composed especially for her, are always at the service of the drama. She is a far cry from the chirpy Pons and Peters (and even Sutherland, whose just-plain-singing of the role is unmatchable, but who was never all that interested in building character) and comes closer to Callas, but without the great Greek soprano's huge palette of colors or, for that matter, vocal limitations. Sills is gloriously fluent in the coloratura, the high notes are impeccable, and her reading of the words is truly involved and involving. Carlo Bergonzi has everything as Edgardo, while Piero Cappuccilli's Enrico is snarling and cruel. Schippers leads a very tight, exciting, complete performance, and for the first (and only) time on CD, the glass harmonica Donizetti asked for is used in the Mad Scene. This is a must for lovers of great singing. --Robert Levine

Customer Reviews:

Sweet.......2007-06-30

The opening chords and strains, the sextet and the mad scene. These of course are what I love about Lucia, though all of it is beautiful. I've had this recording for months and just listened to it today. I doubt I'll listen to it again. I have lots of Lucias, and no favorites. Though I especially like Sutherland's 1959 recording of the mad scene, it's beautiful, and her trills hadn't got muddy yet. I'm only going to comment on the mad scene in this recording. It sounds more like a lullaby than the ravings of someone who'd just murdered her husband. I was surprised, because I'd read (apocryphal) that Sills had said she'd pound tables and sing off key to get the drama out. I prefer bel canto coloratura to table pounding, I don't care about the drama. At all. Still, that said, I was both stunned and disappointed in Sills' mad scene. It was, well, flaccid. (I love Sills, am listening to the 1st disc of Sillsiana right now, and I have the Pons recording and do not think she chirped!)

A Desert Island Disc.......2007-06-11

Like many other reviewers here, I am a serious bel canto fan. And like many of them, I have heard many Lucias live and have several recordings of the great Lucias: Callas, Sutherland, and Sills. This opera is, in my view, along with Norma, fundamental to understanding bel canto properly as a style in which virtuosity is the servant of drama. Not just empty display by prima donnas.

I have known and loved this opera since I was a teenager and to me, Sills is simply the best Lucia I have heard. I recall as a college student going to the listening library on many Friday afternoons and listening to this recording on LP over headphones until well into the evening, as it was not released on CD until a decade later. I was simply entranced.

Sills really is Lucia, the perfect realization of the "Ophelia" type so beloved by the Romantic imagination: a delicate, sensitive, emotional girl driven mad by cruelty and betrayal and crushed by events outside her control. Her tone is delicate, yet clear, and she sounds girlish (which Callas, for all her considerable art, could not quite convey). The high notes are firm and a bit bright, but never shrill or wobbly. The words absolutely clear, even in the hushed tones Sills uses so devastatingly. Her ornamentations express joy, terror, or agitation, perfectly evoking those heightened emotions. Her mad scene is really spooky. Again, only she and Callas sound like they are wandering about in a trance, living a demented fantasy. Along with Callas' Norma, in my view, it is the greatest bel canto performance on record. Sills, like Callas as Norma, really makes you think she IS Lucia.

What more can you ask for? Well, you get a perfectly stylish Edgardo in Bergonzi (although I feel that Pavarotti is unbeatably ardent, passionate, and even sexy in the role) and as so many have noted, a conductor who loves the opera and conducts like he does, excellent stereo sound, and a complete edition of the score. And how about that wonderfully spooky glass harmonica in the mad scene!

This recording needs to be in the collection of every opera lover and above all is required listening for any fan of bel canto. Sills, through words and music, makes us "see" DONIZETTI'S Lucia (not Beverly Sills, Diva) and feel her plight. That is what great operatic artists do. Run to get this one!

Ne plus ultra.......2007-01-03

I have four "Lucia"s on my shelf, and this is the one I always listen to when I want to experience the full drama of this bel canto classic. (We can safely ignore the opinions of those tin-eared listeners who don't grasp the shattering drama delivered by bel canto at its best.) Granted I may be somewhat influenced by having seen and heard Sills in the opera house, but her superiority in all "departments" in conveying Donizetti's dramatic achievement is not bettered anywhere, not by Callas and certainly not by Sutherland, whatever the glories of her singing. Sills conveys Lucia's incipient madness with the first notes she utters and her performance traces an uninterrupted arc from the fountain scene until she's led away after the Mad Scene. And she's fully seconded by everyone else who takes part, especially Bergonzi and -- best of all conductors in this score -- Thomas Schippers. If you want to know why bel canto opera has such a large body of fans, immerse yourself in in this recording as soon as possible.

One of the great Lucias.......2004-12-03

Many people, me included, have often wondered at the supreme ugliness of, even in her "prime", Maria Callas' voice. Of course, the rejoinder always has been "But did you see her in the house?"

Obviously, since she blew herself out at a comparatively early age, the answer is "no".

Now, we have a whole new group of nay-sayers telling us the Sills voice is too small, too thin, too ugly, too whatever. To those, I would simply say "But did you see her in the house?". Fair is fair.

I saw Ms. Sills many times in the house throughout her lengthy career. She did not possess a "perfect" voice. Who does?

But, during her greatest years, of which this recording is one of several examples, she possessed a beautiful and remarkably expressive lyric coloratura instrument. While a shade "lighter" than some, she had the almost uncanny ability of always being heard, even in the heaviest ensembles and over the loudest orchestras (which happened often when Julius Rudel was at the helm). Her voice seemed to bounce around the house. When you saw her in person.

Lucia was one of her most remarkable achievements. Anyone who ever saw her in the house knows of what I speak. Those who did not see her in the house should remain silent in their envy.

Now, make no mistake. I adored Sutherland. I would be completely unable to chose between the two, so different were their approaches to their art.

Of course, Sills' tireless efforts to popularize opera and bring a new audience to the opera house are well known.

Thank God I was around to see them both in the house. Many times.

And as for Anna Moffo. Well, she was a beautiful woman with a beautiful voice. For a while.

Enough said.

Crazy reviewers.......2004-11-30

Sills is a great Lucia. For those who say her voice is too small for the role, especially compared to Sutherland and Callas, I say it is the right size for this role. Lucia, after all, was written for Fanny Persiani, who was a soprano with a light coloratura voice. Also, for those who say Sills' coloratura pales in comparison with Sutherland's, I say hogwash. Sills' coloratura is superb. She does smudge some staccati, but only does so for dramatic effect. Her trills and runs are breathtaking.

This role is NOT merely a display of stratospheric high notes and complicated coloratura. It is also a greatly dramatic role which must be ACTED with the voice. In this regard, Sills succeeds with flying colors. Her solo scenes are magnificent, just listen to her Mad Scene (her singing here reaches the highest pinnacle of vocal acting). Her work with her colleagues is also superb.

The rest of the cast is made up of great singers, especially Carlo Bergonzi as an elegant and passionately restrained, but still affecting Edgardo. One must hear his double-aria finale to realize his greatness. He sings with beautiful tone and magnificent phrasing and diction. He is truly in a class of his own.

The conducting of Thomas Schippers is great. He propels the action forward and gives every passage its dramatic due. His pacing of the three duets that follow "Regnava nel silenzio" is very exciting and makes for thrilling listening.

In short, this recording is truly one of the best on the market.

Average customer rating:

Sarah's Best Easy Listening CD
Best Brightman CD
Sarah Brightman is a Classic
Not The Best - Not the Worst - From Sarah Brightman
Nice Cover

Sarah Brightman Classics
Sarah Brightman , Tomaso Giovanni Albinoni , Francisco Tarrega , George Frideric Handel , Fryderyk Chopin , Sergey Rachmaninov , Giacomo Puccini , Antonin Dvorak , Andrew Lloyd Webber , Ludwig van Beethoven , Joseph Marie Canteloube , Francesco Sartori , and Paul Bateman
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Czech | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

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

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Adult Contemporary | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Pop | Styles | Blowout Music | Stores | Music

Broadway & Vocalists | Styles | Blowout Music | Stores | Music

Classical | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

More Titles at Least 25% Off | Blowout Music | Stores | Music
Similar Items:

Time to Say Goodbye
The Andrew Lloyd Webber Collection
Eden (US Release - 16 tracks)
Diva: The Singles Collection
La Luna

ASIN: B00005RD78
Release Date: 2001-11-20

Tracks:

Ave Maria (new recording)
La Wally (from Time To Say Goodbye)
Winter Light (new recording)
Anytime, Anywhere (from Eden)
Alhambra (new recording)
Lascia Ch'io Pianga (from Eden)
Dans La Nuit (new recording)
Serenade/How Fair This Place (from La Luna)
O Mio Babbino Caro (new recording)
La Luna (from La Luna)
Pie Jesu (new recording)
Figlio Perduto (from La Luna)
Nessun Dorma (new recording)
Bailero (from Eden)
Time To Say Goodbye (New solo version--previously unavailable)

Amazon.com

Have some friends who still haven't discovered what the Sarah Brightman fuss is all about? You'll find the perfect introduction to make converts of them all in Classics, so they'll have no more excuses to remain clueless. Sporting a Botticelli-inspired image of the platinum-selling soprano on the cover, Classics is a classy anthology including highlights from three of Brightman's chart-topping releases along with seven new tracks. Songs personally selected by the diva as her favorite classical interpretations are culled from her previous blockbusters: Time To Say Goodbye, Eden, and La Luna. And whether you're a fan already in the fold or one in the making, the new material here shows the diva at the top of her form, in new renderings of "O Mio Babbino Caro" and "Nessun Dorma" (accompanied by the Royal Philharmonic)--fascinating displays of the operatic confidence she's developed over her career. Other new offerings include a touching version of Schubert's "Ave Maria,' "Winter Light," a fresh take on her signature song "Pie Jesu" (from Andrew Lloyd Webber's Requiem). "Alhambra" and "Dans La Nuit"--a real treat, bathing the listener in Brightman's silky, sensuous vocalism--add two original titles to her famous adaptations of classical melodies to new lyrics (using Chopin's haunting E major Etude in the latter case). All told, a lovely affirmation of the directions Brightman has boldly taken in her career to date. -Sarah Chin

Amazon.com

Sarah Brightman Photos

More from Sarah Brightman

Time to Say Goodbye
Diva: The Singles Collection
Eden

Diva: The Video Collection
Live from Las Vegas
La Luna (Live in Concert)

Customer Reviews:

Sarah's Best Easy Listening CD.......2007-03-15

Sarah Brightman's talent is limitless. Her soprano and/or alto voice is among the best and she lets it show in 'CLASSICS'. CLASSICS is a beautiful, easy listening, and peaceful CD. CLASSICS is one to listen to in tranquil or relaxing moments. "CLASICS" is a collection of great pieces of music written by great composers (Shuburt, Handel, Chopin, Puccini, and the like). I have listened to CLASSICS about 15 times now and it always puts me in a quiet and peaceful mood (I am ~50 years old).

Best Brightman CD.......2007-02-07

A classical composition which showcases the beautiful voice of Sarah Brightman. A timeless CD which will continue to be a favourite over the years.

Sarah Brightman is a Classic.......2007-01-02

Sarah Brightman is at her best in "Classics." From Dvorak's "Rusalka" (Opera B.203) to Beethoven's haunting Op 52, slow movement (Symphony #7), Brightman's voice and lyrical style are a joy. I particularly enjoy her performances of Schubert's Ave Maria and Andrew Lloyd Weber's Pie Jesu. This is a great add to my collection of serious music.

Not The Best - Not the Worst - From Sarah Brightman.......2006-12-30

After purchasing this CD for my iPod for iTunes, I must say that I'm a little bit dissapointed. 7 new recordings and 8 old ones, ones that I already happen to have. I do like the fact that they're all on one CD! Some of her new recordings, including, "Ave Maria", "Winter Light", "Alhambra", "Dans La Nuit", and the new recording of "Pie Jesu" are just too breathy for my taste. It seems as with every changing CD, Sarah's voice changes. I'm not saying that the result is bad; it actually gives the songs more of a dream like quality, but I'm used to the younger, more Andrew Lloyd-Webber integrated Sarah. Scooping continually occurs in new recordings of "O Mio Babbino Caro", and "Nessun Dorma". In some tracks from La Luna, like "Figlio Perduto", Sarah's voice is TOTALLY dominated by harmonizing recordings that sound almost mechanical.

OVERALLY - The new songs sound O.K. and the old recordings are just as good as they were back then. This album is still a great buy!

Nice Cover.......2006-12-27

I'm a heterosexual guy who's not an opera aficionado - I only mention these facts because I seem to be right in the bull's-eye of the target market for this product. Sarah B. has a nice voice and she's pretty. Both of these are featured prominently on this CD. The cover and several pages in the insert are devoted to what must have been a very long and expensive photo shoot (and Photoshop) of a semi-clad Sarah looking marvelous. (The CD also comes with a flyer so you can buy various Brightman "Classics" apparel - perhaps not for the heterosexual male).

As far as the music goes: not bad, not great. I don't claim to have the most discerning ears for this sort of music, but everything was OK by me. However, the pieces on the CD with which I'm somewhat familiar, such as "O Mio Babbino Caro," didn't sound quite as good as other versions I've heard (and that includes by Charlotte Church, not just opera stars). Also, the solo version of "Time to Say Goodbye" didn't sound nearly as good to me as the duet with Bocelli.

In sum, there were 3-4 songs I liked enough to rip to MP3s - which is enough so that I didn't feel ripped myself...

Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra

Average customer rating:

A charming, humane, thoroughly enjoyable Barbiere
Recorded too late
A real joy
Rossini Does it Again
A Misfire

Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra
Beverly Sills , Sherrill Milnes , Ruggero Raimondi , Gioacchino Rossini , James Levine , and London Symphony Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

$7.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Bizet: Carmen (Complete Opera); Mirella Freni; Jon Vickers; Grace Bumbry
Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata
Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra
Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

ASIN: B0000CE7FU
Release Date: 2004-06-01

Tracks:

Overture
Piano, Pianissimo, Senza Parlar
Ecco Ridente In Cielo
Ehi, Fiorello
Mille Grazie, Mio Signore
Gente Indiscreta!
La Ran La Le Ra...Largo Al Factotum
Ah, Che Bella Vita!
Non E Venuto Ancora
Le Vostre Assidue Premure
Se Il Mio Nome Saper Voi Bramate
Oh Cielo!
All'Idea Di Quel Metallo
Una Voce Poco Fa
Si, Si, La Vincero
Ah, Disgraziato Figaro!
Ah! Barbiere D'Inferno
La Calunnia E Un Venticello
Ah! Che Ne Dite?
Ma Bravi! Ma Benone!
Dunque Io Son
Ora Mi Sento Meglio
A Un Dottor Della Mia Sorte

Tracks:

Finora In Questa Camera
Ehi, Di Casa, Buona Gente
Che Cosa Accadde, Signori Miei
Fredda Ed Immobile
Ma Signor...Ma Un Dottor
Ma Vedi Il Mio Destino!
Pace E Gioia Sia Con Voi
Insomma, Mio Signore, Chi E Lei?
Venite, Signorina
Contro Un Cor Che Accende Amore
Bella Voce! Bravissima!
Quando Mi Sei Vicina
Bravo, Signor Barbiere, Ma Bravo!
Don Basilio! Cosa Veggo!
Che Vecchio Sospettoso!
Il Vecchiotto Cerca Moglie
Dunque Voi Don Alonso
Thunderstorm
Alfine Eccoci Qua
Ah, Qual Colpo Inaspettato!
Ah, Disgraziati Noi!
Insomma Io Ho Tutti I Torti
Di Si Felice Innesto

Customer Reviews:

A charming, humane, thoroughly enjoyable Barbiere.......2007-07-11

In much the same manner that Lucia Popp forever standardized Mozart's Königin der Nacht, Beverly Sills redefines the role of Rossini's capricious Rosina. Her crystalline coloratura voice washes over "Una voce poca fa" with brisk, windswept ease. It is a mystery why any listener would prefer a mezzo-soprano, such as Teresa Berganza, despite the fact that the role was fashioned for a denser voice. (Agnes Baltsa is likely the most delightful deep Rosina on record.) Nicolai Gedda's mellifluous voice provides the ideal characterization for Rossini's vigorous youth, the Conte d'Almaviva. "Ecco, ridente in cielo" and "Se il mio nome saper voi bramate," the role's osciallating cavatina and sensual serenade, shine with two characteristics which often clash during tenor performances: stylistic perfection and taste. Sherrill Milnes is, without a doubt, the finest Figaro recorded since Robert Merrill. The Verdian baritone exhibits atypically droll flare during "Largo al factotum," especially during the aria's feverish repetition of "Figaro." He and Gedda harmonize flawlessly during the duet "All'idea di quell metallo"; his voice also complements the radiant Sills during "Dunque io son ... tu non m'inganni?"

Fernando Corena possessed the most pristine and genuinely humorous interpretation of the cranky Dottore Bartolo. Renato Capecchi, a buffo bass whose range is quite impressive though occasionally unstable, provides a performance which can almost parallel Corena's. Where Corena was blusterous, Capecchi is sniveling; where the former was wickedly serpentine, Capecchi is morose and self-pitying. His greatest achievement is that he is never maudlin; his performance is constantly fluid (he is gut-wrenchingly hilarious during the Act II duet "Pace e gioia sia con voi" with Gedda disguised as a garrulous music teacher) and his characterization, though it transcends all realms of reality, is delightful in its over-the-top perfection. Ruggero Raimondi's Don Basilio is quite the opposite; his rendition of the "Slander Song" ("La calunnia è un venticello") is almost doomful. He provides archaic and gloomy weight where the inimitable Nicolai Ghiaurov was effervescent. The illustrious mezzo-soprano Fedora Barbieri supplies a very satisfying performance as Berta, Bartolo's disgruntled old maid, especially during her aria "Il vecchiotto cerca moglie."

With James Levine leading the London Symphony Orchestra with exquisite charm, one can barely begin to praise this brilliant 1975 recording of Rossini's landmark opera. It is not only an essential Il Barbiere di Siviglia for aficionados of the comedy, but a touching and compelling accomplishment no music lover should exist without.

Recorded too late.......2007-07-06

I wish that I could speak more highly of this performance, as it was made by some of my favorite singers (and conductor). Alas, I can not. Milnes is a fine Figaro. Sills (I love her) should have recorded this role about 10 years earlier. Really unfortunately, I found Gedda's work painful. A fine, stylish tenor in his prime, he is well past it here.

Sometimes great talents come together and misfire. But, if you are a Sills fan...

A real joy.......2007-01-24

It is a great pleasure which what I hear this wonderful recording of Rossini's masterpeace, vividly conducted by a young James Levine and sung by a cast of first-class singers including Milnes, Sills, Raimondi and the unsurpassable Gedda as Count Almaviva. This production has not lost anything of it's freshness since over 30 years!

Rossini Does it Again.......2007-01-08

A wonderful opera that even the "opera hater" would love. Great music that can be recognized by all.

A Misfire.......2005-10-09

On paper, this looks like a dream cast, but the reality proves unfortunate. BVeverly Sills, Nicolai Gedda and Sherril Milnes are some of my favorite singers, but here, Sills sounds fatigued (though her "Un Vene Poco fa" is charming and winsome), Milnes misses the finese of Figaro, and Gedda, sad to say, sounds old and tired. Renato Cappecchi is a miscast Bartolo, but Raimondi is an imposing Bartolo, if without the nuances that Zaccaria brings to the role or the sheer glee Ramey and Montarsolo do. Levine's tempi are plodding, and Fedora Barbieri shows up in a cameo as Bertha, compleatly ill-equiped. If it were not for Sill (who can do no real wrong) and Raimondi, I wouldn't even bother looking at it. 2/5

Average customer rating:

Correction to the entry by "sergiocqh"
Fantastic!
HATE OPERA? THIS ONE WILL CHANGE YOUR MIND
"Ultimate" only if you like your opera "al fresco"!
Wonderful Performance but Average Recording Quality

The Ultimate Puccini Collection
Giacomo Puccini , Herbert von Karajan , Riccardo Chailly , Stephen Barlow , Tullio Serafin , Lorin Maazel , Sir Edward Downes , Giuseppe Patane , Zubin Mehta , Alberto Erede , John Mauceri , Plácido Domingo , José Carreras , Kiri Te Kanawa , John Alldis Choir , Luciano Pavarotti , London Philharmonic Orchestra , Bologna Community Theater Orchestra , Ettore Bastianini , Carlo Bergonzi , Renato Cesari , Fernando Corena , Cesare Siepi , Renata Tebaldi , Gianna D'Angelo , Saint Cecilia Academy Orchestra , Franco Corelli , Alfredo Mariotti , Regine Crespin , Royal Opera House Orchestra Covent Garden , London Symphony Orchestra , Maggio Musicale Fiorentino Orchestra , Rome Opera House Orchestra , Pilar Lorengar , Berlin Philharmonic Brass Ensemble , Mirella Freni , Rolando Panerai , Jussi Bjorling , Leontyne Price , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Italian | Languages | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Crespin, Regine | Divas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

Gheorghiu, Angela | Divas | Opera & Vocal | Styles | Music

Nilsson, Birgit | Divas | Opera & Vocal | Styles | Music

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

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music

Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Essential Verdi
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
Puccini Without Words
Puccini: Great Opera Arias
The #1 Opera Album

ASIN: B000007OU1
Release Date: 1998-06-09

Tracks:

Turnadot: Nessun Dorma!
Gianni Schicchi: O Mio Babbino Caro
Manon Lescaut: Donna Non Vidi Mai
La Boheme: Musetta's Waltz Song
Tosca: Recondita Armonia
Madame Butterfly: Un Bel Di
TOSCA: E Lucevan Le Stelle
La rondine: Il Sogno Di Doretta
La Boheme: Che Gelida Manina
La Boheme: Si, Mi Chiamano Mini
La Boheme: O Soave Fanciulla - Love Duet, Act I
Ch'ella mi creda libero
TOSCA: Ah, Quegli Occhi...Qual'occhio Al Mondo - Love Duet, Act I
TOSCA: Vissi D'Arte
Madame Butterfly: Vogliatemi Bene - Love Duet, Act I
La Boheme: Donde Lieta Usci
Turandot: Signore, Ascolta!
Turandot: In Questa Reggia

Amazon.com essential recording

Ordinarily, it pays to be wary of collections such as these, which often promise a lot but deliver a mishmash of disconnected excerpts. This disc, however, is something of an exception: you really do get just about all of Puccini's best arias, which is possible, because he didn't write so many operas that choosing the best moments becomes a matter of the producer's personal taste. Also, Puccini's operas are so popular that every major label has excellent complete recordings of all of them, so in making this compilation it was possible to cast from strength: all the singers here are fine. In fact, the only proviso that needs to be made before you rush out and add this disc to your collection is that it's wrong to assume that all of Puccini's best tunes lie in his arias. The opening 10 minutes of any one of his operas will tell you that's not true. So by all means enjoy this disc--then start sampling the operas complete. --David Hurwitz

Customer Reviews:

Correction to the entry by "sergiocqh".......2005-11-08

"Quando m'en vo" is not omitted from this CD; it is just called "Musetta's waltz song." It is the same aria.

Fantastic!.......2003-10-14

This is one of the first opera CDs I ever got. It's wonderful for just about any body;from the newbies like me or the opera fanatics. I especially like 'In Questa Reggia'. Buy it now!!

HATE OPERA? THIS ONE WILL CHANGE YOUR MIND.......2003-09-04

The Ultimate Puccini Collection features some of Puccini's most arias and will appeal to even the most ardent operaphobes.

A great listening experience featuring some of the greatest opera performers of all time.

"Ultimate" only if you like your opera "al fresco"!.......2002-06-13

The music is without question, among the most beautiful ever written. But the quality of the fidelity tells me that many of the selections were recorded live in concert in outdoor venues. I wish that was clear to me before I bought the disc. So, is the music the ultimate? YES! Is the recording the ultimate? NO!

Wonderful Performance but Average Recording Quality.......2002-02-18

I love opera! I love Puccini! Not only is the vocalism important to me, but the quality of the recording as well. I enjoy my hi-tech sound system. I like to feel as if I am sitting in the front row of the first balcony when I listen to opera. This CD is excellent! The vocalists were well chosen. The technical performances are eloquent and emotional, as Puccini should be. However, the quality of the recording is not very good. No matter how you adjust your sound system, the recording is a bit tinny and as a result, the emotional high points of the arias are not as vibrant as they could be if the recording were of better quality. I would recommend this CD to anyone who loves Puccini and who is not as finicky as I!

Average customer rating:

Woo Hoo!
Einstein
The baby danced.
A Lot of Fun for Playtime
Synthesized dreck

Baby Einstein: Playtime Music Box

Manufacturer: Buena Vista
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Czech | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Children's Music | Styles | Music

Lullabies | Children's Music | Styles | Music

CDs Under $7 | Children's Music | Today's Deals in Music | Formats | Music

All Bargain Titles | Children's Music | Today's Deals in Music | Formats | Music

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

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

CDs | Music & Video | Products |
Similar Items:

Baby Einstein: Lullaby Classics
Baby Einstein: Traveling Melodies
Baby Mozart
Baby Neptune
Baby Einstein: Music Box Orchestra

ASIN: B0006SSRP6
Release Date: 2004-12-21

Tracks:

Carmen Suite Medley
Snow Maiden, Dance Of The Birds
William Tell Overture, 'Lone Ranger'
Flight Of The Bumblebee
Humpty Dumpty/Child's Verse Medley
The Bartered Bride, Furiant
Minute Waltz
Gaite Parisienne, Vivo
Hey Diddle Diddle
Wellington's Victory, Op.91, 'England'
Wellington's Victory, Op.91, 'Victory Finale'
Swan Lake, Waltz
Old MacDonald Had A Farm
Happy Farmer
Farmer In The Dell
Jack & Jill
Symphony No.4
Dance Of The Hours
The Bartered Bride, Skokna
Voices Of Spring, Waltz

Product Description

The Playtime Music Box music CD is a 20-track, 31-minute concert featuring a collection of up-beat classical melodies and traditional song favorites to inspire your little one to dance, clap and play! Each delightful piece was specially selected and produced to bring musical fun to any activity - playtime, travel time, tummy time and more. Playtime Music Box includes classical pieces such as Rossini's William Tell Overture and Schumann's Happy Farmer, as well as Old MacDonald Had a Farm.Musical Selections:1. Carmen Suite, Medley, G. Bizet2. Snow Maiden, Danse des Oiseaux, N. Rimsky-Korsakov3. William Tell Overture, G. Rossini4. Flight of the Bumblebee, N. Rimsky-Korsakov5. Humpty Dumpty, W. Weisbach (traditional verse)6. The Bartered Bride Suite, Furiant, B. Smetana7. Minute Waltz, F. Chopin8. Gaite Parisienne, Vivo, J. Offenbach9. Hey Diddle Diddle, W. Weisbach (traditional verse)10. Wellington's Victory, Op 91, England, L. Beethoven11. Wellington's Victory, Op 91, Victory Finale, L. Beethoven12. Swan Lake, Waltz, P. Tchaikovsky13. Old MacDonald Had a Farm, traditional14. Happy Farmer, R. Schumann15. Farmer in the Dell, traditional16. Jack & Jill, W. Weisbach (traditional verse)17. Symphony No. 4, Italian, F. Mendelssohn18. Dance of the Hours, A. Ponchielli19. The Bartered Bride Suite, Skocna, B. Smetana20. Voices of Spring, Waltz, J. Strauss IIAge: birth +

Customer Reviews:

Woo Hoo!.......2007-05-07

This is by far the best CD in the Baby Einstein collection--it will put your toddler in hyperactive playful mode and exhaust you as you try to keep up. But for today's overweight, tv- and game- addicted children, this is great!

Einstein.......2007-04-09

Anything that has an Einstein in the title my twins love. I used to play this for them at night while they slept.

The baby danced........2007-03-09

I gave Baby Einstein: Playtime Music Box to a little boy on his first birthday. He loves it and dances and dances to the music.

A Lot of Fun for Playtime.......2006-01-04

This CD is a lot of fun. The music is bubbly and upbeat and makes you want to get up and dance or just jump around. It's a great way to spend some play time with your kids. And the classical music exposure is a bonus.

Synthesized dreck.......2005-08-13

Why did the producers use synthesizers for this music? It's awful. It's possible to hook kids on classical music using the actual instruments written for it - that's how I got hooked. That's what Mel Blanc and Disney did in their cartoons, Bugs Bunny and Fantasia. I do NOT recommend this CD to anyone. It was a shower gift. If you are not familiar with classical music, then I recommend "Baby Needs Beethoven", which is a collection of music using real instruments (albeit shortened - no full length symphonies here).

Average customer rating:

Not A Music Critic ... But A Lover Of All Music ...
Misleading title scheme
Don't Bother...Really!
Could have been better
Some great tracks, but flawed nonetheless

25 Romantic Classics

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

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Italian | Languages | Opera & Vocal | Styles | Music

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

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

25 Classical Favorites
25 Mozart Favorites
25 Beethoven Favorites
25 Tchaikovsky Favorites
25 Vivaldi Favorites

ASIN: B0000058HR
Release Date: 1996-01-30

Tracks:

Suite No. 3 In D Major: Air On The G String - Frank Shipway
Fur Elise - Beethoven
Piano Concerto No. 23 In A Major, K. 488: II. Adagio - Arie Vardi
The Four Seasons, Op. 8: Summer: I. Allegro - Alberto Lizzio
Nutcracker Suite: Dance Of The Flutes - Jonel Perlea
Ombra mai fu: Handel's Largo - Philip Gibson
Waltz In A-Flat Major, Op. 39 - Brahms
Prelude In A Major, Op. 28 No. 7 - Chopin
Reverie - DeBussy
Canon In D - Gunter Kehr
Spring Song - Mendelssohn
Symphony No. 9 In C Major, K. 73: III. Menuetto - Gunter Kehr
Sarabande - I Musici di Zagreb
Eine kleine Nachtmusik: III. Menuetto; Allegretto - Libor Pesek
Suite No. 2 In B Minor: Menuet - Gunter Kehr
Concerto Grosso In D Major, Op. 6 No. 4: Vivace - I Musici di Zagreb
Ave Maria - Hans Hagan And His Orchestra
Sleeping Beauty Ballet Suite: Waltz - Lawrence Siegel
Concerto In D Minor For 2 Oboes & Strings, Op. 42 No. 2: I. Largo - Piero Santi
Trumpet Concerto In D Major - Gunter Kehr
Lullaby - Hans Hagan And His Orchestra
Nutcracker Suite: Chinese Dance - Don Jackson
Symphony No. 5 In D Minor, Op. 107: Andante - David Zinman
Oboe Concerto In D Minor: II. Andante e spicatto - Paul Angerer
Gianni Schicci: O mio babbino caro - Nikea Baroza

Customer Reviews:

Not A Music Critic ... But A Lover Of All Music ..........2006-08-29

Let's not be too harsh regarding this CD. I purchased this as my first baby step into the classical genre and it absolutely made me fall in love with classical music and appreciate it in a way I never could when people tried to make me like it. It is such a wide variety of classical music and I find romance to be joyful, tragic, gentle, harsh & a complete roller coaster that I found all in this ONE CD! It also made my boyfriend who hates, or shall I say HATED classical music NOW like it! That was an amazing feat! We now have many classical cd's and we always go back to this one for dinner parties, romantic baths and other things... I played this CD so much, that it got damaged and I just purchased another one to replace the one I bought years ago. If you are a critic, stay away from this cd, you will rob it of its beauty & innocence. If you are a beginner and want to open your mind to all that classical music has to offer, then this is the best money you can spend. BUY & ENJOY!!!

Misleading title scheme.......2006-01-01

This is what bothered me about the CD. Three of the biggest eras in classical music were: the baroque era, the classical era, and the romantic era. Now, with CD's titled baroque favorites, classical favorites and romantic classics, one would expect these CD's to be era specific. Such is not the case. If you read the back of the CD it even says "from the romantic era of music", but the there are composers like Vivaldi (baroque) and Debussy (impressionism) on this CD. About more than half are from the wrong eras. So this music is romantic in the non-musical sense of the word, which is fine, but a little bit misleading.

Don't Bother...Really!.......2005-02-21

Not what I call classical composers! THis cd is annoying in a way I really can't stand. It lacks the pure elegance of the classical days. Don't buy this cd unless you want a phony all around bad album played by cheap ameteurs.

Could have been better.......2004-02-19

I think the quality is good, and better on a few tracks, but all these romantic tracks?? Not what I listened to. Actually I was kind of disappointed; I had purchased an abundance of the "Favorites" collection some were better than others.
I was kind of perturbed when some same tracks on this CD were on another CD, and visa versa.

Still, I suppose for the price, one can't go wrong.

Some great tracks, but flawed nonetheless.......2004-01-12

Whether or not this CD lives up to its promise of "Romantic" music is not truly a concern, being that the entire nature of classical music is that it is open to one's own interpretation. However, I can speak to the quality of the recordings themselves.

A few of the tracks (Reverie, Canon, Sarabande, a few others) are absolutely superb. Well recorded, and played with genius bravado, coupled with great arrangements (it was interesting to hear Reverie outside of its native instrument, the Piano). Most of the tracks, however, are absolutely horrid. Fur Elise for the sheer amateurish quality, Vivaldi's Concerto for oboe and strings sounds like it was copied from an old phonograph record, as does Tchaikovsky's Sleeping Beauty Suite, Mendelssohn's Spring Song, and Puccini's Gianni Schicci, and a few others. A few other tracks still are played horribly, most of them already mentioned.

Tracks:

Parlez-moi d'amour
Ouvre ton coeur
Oh, quand je dors
Waltz From Mireille
Si tu le veux
Les filles de le Cadiz
Les chemins de l'amour
Plaisir d'amour
Villanelle
Goyescas: Interludio
Goyescas: La maja y el ruisenior
Estrellita
La morena de mi copla

Customer Reviews:

Point of Information.......2007-07-06

Folks, please read the recording data! This album does not present merely the "older Sills" of 1975. Tracks 10 to 13 were recorded in February 1961, when Sills was about three months shy of 32 years old. To hear her any younger on disc, you have to go to her splendid recording of *The Ballad of Baby Doe*, released in 1959. (If anyone knows of still earlier recordings, please holler!) So these 1961 tracks alone make the album priceless, especially since it offers vastly better sound than the slightly boomy acoustic of *Baby Doe*.

For me, the initial main attraction here was the Granados, and it was a hallelujah moment when I spotted this CD in the bins almost 10 years ago. While this disc represents the commercial first release of the *Goyescas* selections, they received limited issue around December 1963 on a holiday-bonus LP ("The Sound of Genius 1963") from the Columbia Record Club.

That LP was my introduction to Sills, and it made me fall in love with her voice. It was always a special treat to play her vocal track for those who had no idea it existed and watch their astonishment as Beverly's voice floated through sonic space like the very nightingale she sings about. It is simply some of the loveliest, most haunting singing I've ever heard. To get two additional tracks from the same recordings sessions -- especially "Estrellita" -- was an unexpected blessing.

So get this CD for the last three tracks, if nothing else (track 10 is purely orchestral). They capture Sills at a magical moment. Even if you like nothing else on the disc (and I think you'll like much more), you can claim these three special treasures for a mere pittance. How much more precious are they, now that she has gone on to sing, we pray, in other realms.

Estrellita.......2006-12-07

The incomparable Beverly Sills beautifuly sings here a true bouquet of songs in French and Spanish. A pleasure to the ear.

Estrellita is not a Spanish song as claimed by some commentators, but a Mexican one, whose author is the late Manuel M. Ponce.

Ugly.......2004-05-20

Sills screeching a mezzo-role? She already ruined belcanto with her puny, fake screeching!

Carmen.......2004-04-26

She DID sing Michaela. And it's said that she also did Carmen. But if she did, she was completely miscast. She also did Aida, live-recording of her Aida is...interesting. Anyway, Sills rules in the French rep, esp. as Manon.

Excellent disc.......2004-03-21

This is a fantastic disc and shows Beverly Sills at her interpretive best with zesty, go-for-broke vocalism that is truly wonderful to hear.

Tracks:

Requiem: 1. Requiem & Kyrie
Requiem: 2. Dies Irae
Requiem: 3. Offertory
Requiem: 4. Sanctus

Tracks:

Requiem: 5. Agnus Dei
Requiem: 6. Lux Aeterna
Requiem: 7. Libera Me - 1. Libera Me - 2. Dies Irae - 3. Requiem Aeternam - 4. Libera Me
Requiem: Spuntato Ecco
Requiem: Patria Oppressa!
Requiem: Fuoco Di Gioia
Requiem: Va Pensiero
Requiem: Gloria All'Egitto

Amazon.com

Robert Shaw learned from Arturo Toscanini, and in his stupendous 1987 recording for Telarc he managed to surpass the master on some points. He is unerring in his pacing and staging of climaxes, and draws phrasing and dynamics from the chorus that other conductors can only dream of. Points are made with exhilarating effect throughout the account: never has the bass drum in the Dies irae been as splendidly hammered as here, and the whooping brass in the Tuba mirum is breathtaking. The all-American solo quartet sounds a bit driven, especially the light-voiced Susan Dunn and Jerry Hadley, but their contribution is a strong one nonetheless. --Ted Libbey

Customer Reviews:

A memorable album by Robert Shaw.......2007-04-16

I sometimes wonder why any top choral conductor would want to conduct, least of all record, a piece where the soloists invariably command center stage at the expense of the chorus.

Robert Shaw (1916 - 1999), of course, is practically a god in the choral world. And while he has done well as an orchestral conductor, his claim to fame to most will always be his work with choruses.

So here we have an operatic requiem written by one of history's greatest opera composers, conducted by one of history's greatest choral conductors. How does it turn out?

The Atlanta Symphony Chorus is very, very good. Their sumptuous sound becomes even more memorable thanks to the stunning reverberation of Atlanta Symphony Hall. Their Libera Me fugue was literally a wall of sound that seemed for a moment to encompass your entire world. The Dum Veneris passage following that was the best I'd ever heard: all four parts were distinct and incredibly powerful.

The four soloists, however, really stole the show for me. Susan Dunn and Diane Curry displayed a lot of passion in Recordare. They also created a wonderfully blended sound through their Agnus Dei duet, probably the best blend I'd ever heard so far.

Jerry Hadley is definitely one of my all-time favorite Verdi Requiem tenors. He reminded me of Richard Tucker in his commanding Kyrie entrance. His Ingemisco possessed a ringing power that left me breathless.

Paul Plishka was probably the "weakest" of the four. In Confutatis, it sounded like he was punching his voice. However, he sounded very good in the Offertorio.

And speaking of Offertorio, that was truly a soloist high point for me. The four singers literally turned into a mini-opera; it was quite dramatic hearing their voices trade back and forth.

The sound of the orchestra was truly a pleasure to hear. This music demands power and virtuosity, and the Atlantans provided both in spades. And drum lovers will be quite satisfied with the almost violent sound of the bass drum in Dies Irae.

The album also features five popular choruses from Verdi's operas. If, like me, you got carried away listening to the Requiem soloists, here's your chance to hear this remarkable chorus without any soloist distraction. The "Don Carlos" chorus (sung in Italian not French) was a rousing affair. "Patria oppressa" was appropriately subdued and melancholy. Fuoco di gioia proved the virtuosity of these choral masters. "Va pensiero" was smooth and rich. "Gloria all'Egitto" featured the chorus in all its mighty grandeur. The orchestra provides excellent accompaniment throughout. You will thoroughly enjoy listening to these choruses.

The recorded sound is absolutely fabulous. The four sections of the chorus are much more evenly miked than on most CDs. The great engineering makes the orchestra an audiophile's dream.

The liner notes contain texts and translations. However, a previous reviewer has found that the "Hostias" paragraph is missing the words "Fac eas, Domine, de morte transire ad vitam."

The tracks use an index system which I suspect is not available on most DVD players, the result being that the Dies Irae is put on a single 36 minute track.

This CD was recorded in April 1987 in Atlanta Symphony Hall, Atlanta, GA. The Requiem duration is 84'23", so the tempos are about average for this piece.

Great version.......2007-02-26

There are version of Verdi's Requiems in that market. I consider this to be onre the best ones I have heard. What adds to this perfomance is the quality of the manufacturer's transfer.

Superb.......2005-10-20

I don't have anything to add to the excellent reviews, I just want to chime in with my vote. This was rated as the top recording of this piece when I bought it on recomendation of a tenor friend back in 1990 or so and it is probably the best sustained operatic performace I have found thus far. The power and the majesty of this piece needs to be heard to be believed. So... Buy it, make sure the neighbors are out, turn the lights out, it in your best listening spot, turn up the volume and press play.

Don't miss the final track on the second disk!

Brings back memories.......2001-05-04

How could I possibly top the splendid review by Dominic Grant below? And his later graceful apology for a mere typo? Well, I just cannot. But I'd like to share my own thoughts, anyway.

With all the flap over the recently released Gergiev recording of the Verdi Requiem on Philips, with its unfortunate choice of Andrea Bocelli - a pop singer masquerading as an operatic singer - as tenor soloist, it is once again - and always - a pleasure to turn to a truly definitive recorded performance, that of Robert Shaw. As points of reference whenever I turn to this performance, I always have in mind earlier recordings by Giulini and Solti, among others. (I include a truly visceral one by Karel Ancerl and the Czech Philharmonic, featuring Galina Vishnevskaya with a "Libera me" to die for, and the type of Slavic excitement that Gergiev tries for but fails.)

Verdi's Requiem is, without doubt, the most operatic of such works as have become part of the liturgical canon. But it doesn't necessarily follow from this that the best recordings are the ones which utilize operatic superstars. Were that the case, Solti's recording, with Joan Sutherland, Marilyn Horne, Luciano Pavarotti and Martti Talvela, would be unchallenged (particularly when one throws in the Vienna Philharmonic, as well as the typically excellent mid-60's sound that Decca was so good at). But, true to form, Solti just couldn't find the proper sensitivity and balance to make his performance the definitive one.

Shaw does what Solti could not do. In a work that requires efforts of equal quality by orchestra, soloists and chorus, there simply is no better chorus than a Shaw chorus. Shaw's four soloists, while perhaps not of the marquee value of the ones on the Solti recording, are outstanding. A previous customer reviewer certainly got it right when he said that Susan Dunn was a Verdi soprano to be reckoned with. And Diane Curry, Jerry Hadley and Paul Plishka are equally excellent. (Plishka, as I mention later, is one of my "memories.") Moreover, in a work which demands that the cataclysms of the Dies Irae and the tenderly supplicant closing pages of the Libera me be captured in proper proportions, none are better than Telarc at this challenge.

The personal friendship between Robert Shaw and the Cleveland-based Telarc team of Bob Woods and Jack Renner goes back to the days when Shaw was George Szell's assistant at the Cleveland Orchestra. Thus it was, when Woods and Renner introduced the "all-digital" Telarc label in the late 70's, that they turned to Shaw and his Atlantans as an enduring source for the recording of choral masterpieces. With the passing of Shaw some two years ago, it is now time that someone sum up his recorded legacy, which, under the aegis of Telarc, exceeds three dozen recordings. In my humble opinion, he will be remembered for a long, long time for three works that Telarc recorded with his forces: The Bach B Minor Mass, the Brahms German Requiem, and this Verdi Requiem.

Oh! The memories! For several years, at a time when Shaw's Atlanta forces were as good as they were to get, in the early 80's, I was fortunate to live in the Atlanta area, and to attend many of his concerts. And, in the fall of 1965, when Paul Plishka had just won a "young artist" award that was to lead to his Metropolitan Opera career, I was fortunate to have been a member of an amateur chorus which performed this work with a semi-pro orchestra and four young soloists. The names of the other three soloists were long ago relegated to the dustbin of history. But the bass soloist at that 1965 performance was none other than Paul Plishka. He's still banging the boards at the Met. One durable dude!

Once again, kudos to Mr. Grant for his superb review, and for his reminding me that I had some "unfinished business" to attend to.

Bob Zeidler

Apologies to Puccini........2000-12-04

Further to my review of the 18th of June below,it's just been brought to my attention by a kind reader that I have inadvertently ascribed the composition of the famous aria,"Nessun Dorma" from Turandot to Verdi himself.First of all,my sincere apologies to Puccini (probably still revolving in his grave !),and my apologies to you for grossly offending your musical sensibilities as you pass this way.That will teach me to spend a little longer editing my reviews before submitting them !

Music Track: