Donizetti: Complete Piano Music, Vol. 2

On this CD:

1. Waltz for piano in C major ("Invito")
Composed by Gaetano Donizetti
Performed by Pietro Spada

2. Waltz for piano in C major ("For my friend Bouchot, Paris 1841")
Composed by Gaetano Donizetti
Performed by Pietro Spada

3. Waltz for piano in A major (I)
Composed by Gaetano Donizetti
Performed by Pietro Spada

4. Waltz for piano in A major (II)
Composed by Gaetano Donizetti
Performed by Pietro Spada

5. Waltz for piano in C major (III)
Composed by Gaetano Donizetti
Performed by Pietro Spada

6. Grand waltz on a theme from Don Pasquale, for piano in A major
Composed by Gaetano Donizetti
Performed by Pietro Spada

7. Giuseppina, polka-mazurka for piano
Composed by Gaetano Donizetti
Performed by Pietro Spada

8. Sinfonia for piano in D major (I)
Composed by Gaetano Donizetti
Performed by Pietro Spada

9. Un capriccio in sinfonia, for piano in E minor
Composed by Gaetano Donizetti
Performed by Pietro Spada

10. Sinfonia for piano in D major (II)
Composed by Gaetano Donizetti
Performed by Pietro Spada

11. Sinfonia for piano in C major (I)
Composed by Gaetano Donizetti
Performed by Pietro Spada

12. Sinfonia for orchestra ("La Partenza")
Composed by Gaetano Donizetti
Performed by Pietro Spada

13. Sinfonia for piano in C major (II)
Composed by Gaetano Donizetti
Performed by Pietro Spada

14. Sinfonia for piano in A major
Composed by Gaetano Donizetti
Performed by Pietro Spada

Tracks:

Operatic Fantasies, Paraphrases And Transcriptions: Ouverture aus der oper der Freischutz
Operatic Fantasies, Paraphrases And Transcriptions: Reminiscences de Don Juan
Operatic Fantasies, Paraphrases And Transcriptions: Aida di Verdi - Danza Sacra e Duetto Finale
Operatic Fantasies, Paraphrases And Transcriptions: Polonaise aus Tschaikowskys oper Jewgeny Onegin
Operatic Fantasies, Paraphrases And Transcriptions: Tscherkessenmarsch aus Russlan und Ludmilla
Operatic Fantasies, Paraphrases And Transcriptions: Sarabande und Chaconne aus dem Singspiel Almira
Operatic Fantasies, Paraphrases And Transcriptions: Benediction et Sermont- Deux motifs de Benvenuto Cellini
Operatic Fantasies, Paraphrases And Transcriptions: Valse de L'Opera Faust

Tracks:

Operatic Fantasies, Paraphrases And Transcriptions: Isoldens Liebestod - Schluss-szenn aus Tristan und Isolde
Operatic Fantasies, Paraphrases And Transcriptions: Remeniscences de Lucia di Lamermoor
Operatic Fantasies, Paraphrases And Transcriptions: Marche Funebre et Cavatine de Lucia de Lamermoor
Operatic Fantasies, Paraphrases And Transcriptions: Halloh! - Jagdchor und Steyrer aus der oper Tony
Operatic Fantasies, Paraphrases And Transcriptions: Illustrations de L'Opera L'Africaine
Operatic Fantasies, Paraphrases And Transcriptions: part 2
Operatic Fantasies, Paraphrases And Transcriptions: Three Pieces on Themes by Auber (1)
Operatic Fantasies, Paraphrases And Transcriptions: 2
Operatic Fantasies, Paraphrases And Transcriptions: 3
Operatic Fantasies, Paraphrases And Transcriptions: 4
Operatic Fantasies, Paraphrases And Transcriptions: Reminiscences de Norma

Customer Reviews:

One of the best Liszt CD's you can own.......2006-08-19

I echo what the reviewer below me says and repeat, "Where ARE the rave reviews" for this? This is probably one of the greatest Liszt CD's you can have. The virtuosic performance and wonderful interpretations from Leslie Howard are worth the price alone, but the music... god this music is incredible. Liszt's genius and proficiency in composition must be admired when you hear what he does with simple melodies or themes from operas. The originality and beautifully crafted paraphrases, not to mention the meticulous transcriptions, are simply breathtaking.

Liszt takes us through dramatic storms, rousing waltzes, terrifying marches, lamenting hymns, romantic songs, and brooding worlds of music. The unique melodies that Liszt augments with the piano has to be heard. These pieces just as great and musically complex as his other piano works. Why aren't more pianists reviving these fantasies on the concert stage?

Where to start here... I have to comment on each work because there is not one piece here that should be overlooked! Each work here is exceptionally amazing and masterful. The transcription of the "Der Freischutz" overture is dramatic, powerful and memorable. "Reminiscences of Don Juan" speaks for itself, but as for the interpretation by Howard, I'm afraid it's not the best. I much prefer Bolet's. Verdi's "Aida" paraphrase is remarkably beautiful and potent in its melodies. The transcription of Tchaikovsky's "Polonaise from Eugene Onegin," is cheerful and brilliant. The march from Glinka's "Russlan and Ludmilla" is a perfect menacing concoction on the piano through Liszt's fingers with a devilishly awesome theme.

Most of all, the paraphrase of Handel's "Sarabande and Chaconne" is the most beautiful original piano work I've heard in years. That sad and mournful theme that Liszt plays with endless variations can move you to tears. Liszt picked one theme from a Handel opera and turned it into something as profound and moving as a Beethoven adagio and even more heart-felt than a Chopin nocturne. The transcription of Berlioz' "Benvenuto Cellini" is glorious and enticing; a testament to Liszt's transcribing abilities. And then Howard encores the listener on this first CD one last time with that catchy melody from the waltz in "Gounod's Faust." It's like any Mephisto Waltz Liszt ever composed and thrills the ear with its impish tempo and embellished Romantic sound.

On the second CD, the music only gets better! Howard gives one of the best executions of the Love-Death scene of "Tristan and Isolde." Those tender Wagner melodies on the piano which rise into a crescendo sound otherwordly on the piano and through Liszt's transcription. The wall of sound that builds, followed by the climax of crashes and wails on the piano sends chills up the spine. Howard plays it with such passion and touch. This is probably the only evidence one needs to realize Liszt was a genius with the piano.

The "Reminiscences of Lucia de Lammermoor" is another example of Liszt's prolific ability to make the piano speak and sing. More significantly, Liszt summons such darkness and tension in the marche funebre part; you're hearing a phenomenal piano composition here. Ernst's "Tony" is another stunning transcription by Liszt; the dynamics and craft of this transcription makes for an excellent piano piece. One of the greatest pieces on here though must go to the Paraphrases on Meyerbeer's "L'Africaine." The first one, especially, is beyond anything I've heard on the piano. Those first tragic chords from hell make way for a gentle melody of heaven. The entire piece rises and falls into a sea of heroic and virtuosic music; it simply speaks for itself of how good it is. The second paraphrase is original and uplifting, and of a whole different emotion than the previous one. By now, after you hear all of these fantasies and transcriptions you begin to realize how much the piano was like a bodily organ to Liszt; just as we can speak with our tongue in many gradations and accents, so can Liszt demonstrate any emotion, any subtle feeling or idea onto the piano.

Lastly, the Three pieces on Themes by Auber are not that noteworthy, but have their elegant and beautiful moments. The last piece on the second CD, the Reminiscences of Norma is another masterpiece beside the Reminiscences of Don Juan. However, I again prefer Bolet's more impassioned and thoughtful performance; Howard is ok, but not the best at exposing the magnificence and spirituality of this piece.

Bottom line: Any Liszt lover who has not heard these or does not own this must get it now! This is some of the best music of Liszt and it astounds me that this music has almost been dormant until Howard's discovery. It is superior music that proves Liszt was the most musical and original composer of his time. VERY HIGHLY RECOMMENDED

Where Are The Rave Reviews ? This is Incredible.......2005-04-28

This is a treat for opera fans and fans of classical piano. Franz Liszt loved the opera- a medium which is at heart musical and he felt inspired to transcribe operatic music for piano, probably out of his personal passion for opera and as a way for the middle-class folk of Europe who could play piano (and men and women did those days) to entertain in their homes. This is a vast collection of his best opera-to-piano transcriptions. The pianist last name Howard is a virtuoso, too bad he is'nt that well-known. He is playing piano music which is really quite difficult to execute. Liszt made the piano into an orchestra in itself and composed symphonic transcriptions of Beethoven and Berlioz. This is a rare and miraculous recording album and I feel that every fan of classical music and opera ought to own it.

The excerpts here, with some variations by Liszt's part, include Mozart's Don Giovanni, Verdi's Aida (the Finale) Webber's Die Freeschutz, Tchaikovsky's Eugene Onegin- the Polonaise, Wagner's Tristan and Isolde, Isolde's Liebestod, Berlioz' Benvenuto Cellini, music of Auber, Gounod's Faust (the Waltz) and Bellini's Norma among others. This is worth the price. The music is clear, crisp, beautiful and transcendent. Do not miss your chance of owning this glorious music, which if you are musically inclined, you can play on your own home. Opera on piano is great recital music.

Wonderful operatic transcriptions.......1999-09-17

Liszt at the opera--would he never left. Don Juan is a stand-out, as is the Weber, and the Tchaikovsky, and the...

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. VI (Complete Music for Solo Piano, Vol. 54)

Average customer rating:

A grand finale to the series
Some of Liszt's best opera transcriptions here

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. VI (Complete Music for Solo Piano, Vol. 54)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

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General | Chamber Music | Classical | Styles | Music

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Liszt at the Opera, Vol 4
Liszt at the Opera II
Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. I (Complete Music for Solo Piano, Vol. 6)
Liszt Transcriptions of Berlioz, Chopin, Saint-Saëns
Schumann: Piano Sonatas Nos. 1 & 3

ASIN: B00000IAE4
Release Date: 1999-03-09

Tracks:

La Fiancee: Grande Fantaisie Sur La Tyrolienne De La Fianc- First Version, S385i
Ernani: Premi Paraphrase De Concert - S431a
Les Huguenots: Rniscences Des Huguenots - 2nd Version, S412ii
La Sonnambula: Fantaisie Sur Des Motifs Favoris De L'op La Sonnambula - 1st Version, S393i
Lucia di Lammermoor: Marche Des Tchrekesses De L'op Rouslan Et Loudmila De Glinka - 1st Version, S406i

Tracks:

Lucia Di Lammermoor: Valse A Capriccio Sur Deux Motifs De Lucia Et Parisina - 1st Version, S401
Tannhauser Und Der Sangerdrieg Auf Wartburg: Ouvert R Wagners Tannher - S442
I Puritani: Rniscences Des Puritains - 2nd Version, S390i
Der Freishutz: Fantasie Uber Themen Aus Webers Der FreischS451
Il Giuramento: Rniscences De La Scala - S458

Customer Reviews:

A grand finale to the series.......2006-08-24

Leslie Howard and Hyperion have brought us a glorious plethora of Liszt's neglected operatic transcriptions/fantasies; ambrosia to the Lisztian or Romantic piano lover. While the previous volume lost some steam a bit, only able to deliver a few new pieces in the midst of numerous revisions, this final recording makes up for that. To the person familiar with the previous volumes, you'll notice more alternate versions on these CD's that were recorded in previous volumes. However, the newly recorded fantasies and transcriptions here make up for the duplicates extremely well.

First, I'll mention the "alternate versions" here that can be heard on previous volumes. The Auber Grande fantaisie (first version) is presented here, but was also found on the previous Vol. 5. However, do not be mistaken in thinking it a near duplicate. Compared to the previous (third) version at 11 minutes, this "first" version almost makes 15. Liszt tacks on an extra 4 minutes of thematic enhancements, decorations, and extended phrases. I actually prefer this first version over any other.

The famous warhorse (seems like a favorite of Howard's) the Reminiscences des Huguenots makes its third appearance, this time as the "second version." The version is a good 7 more minutes than the first version but only a few seconds more than the third version on the previous volume (sorry if that makes your head spin). In other words, it's not that different to my ears and so there's nothing new here, really.

The Bellini fantasie on La Sonnambula, the Reminiscences des Puritains, the Glinka transcription, and the Donizetti valse a capriccio are more alternate versions that don't offer much new music material or startling contrasts. Only to the astute listener or Liszt aficionado will there be any significant differences or reasons to enjoy them over the previous versions recorded.

Now for the new stuff: The Ernani Premiere paraphrase de concert is a wholly original work, quite different from the Ernani paraphrase found on Vol. 1. New thematic material from the opera is given an extended fantasy-like intro, which makes way for that recognizable haunting theme which Liszt puts through a set of variations. While I prefer the darker mood found in the other paraphrase, this one has a beautiful eloquence and extended elaboration of the main theme not heard in the first paraphrase.

The colossal transcription of the Tannhauser overture is given its flawless execution here. This is probably the most perfect delivery, beating even Moiseiwitsch's famous recording and many other contemporaries who gave it a shot. Indeed, I think Howard's interpretation and performance *the* best you can find of this titan piano work. On a concentrated listening you will not find a single mistake, nor signs of exhaustion by the final explosion of chromatic octaves. Liszt, himself, often commented how he preferred not to play it in his old age because of the immense physical requirements. I don't know - that somehow makes Howard's efforts even more amazing. It's top-notch in technique and has no hints of roboticism; instead, Howard plays with an indefinable warmth and a clear articulation of the fiery Lisztian grandeur found in the virtuosic end.

Next up is the Fantasie on Themes from Weber's Der Freischutz, not to be confused with the transcription of the overture found on Vol. 1. Liszt weaves a reflective and impassioned fantasy here, accentuated and bolstered by the wonderful Der Freischutz themes. It's not as heavy or focused on the lower bass of the piano as the overture commanded, but its delicate melodies and gradual progressions create a new mood out of the work; in simple words, it's lovely.

As Liszt was inclined to do in his days, he wrote fantasies based on many obscure operas and composers. The obscurity comes as a surprise to me when I hear this fantasy on an opera by Mercadente. It is based off of Mercadente's 'Il giuramento' opera and contains some evocative music ranging from warm beauty to passionate meditations. The fantasy, or Reminiscences de La Scala is one of Liszt's best minor operatic fantasies. Its music and romantic lyricism recalls just as much emotional power as his Liebestraumes, Consolations and romantic-inspired fantasies like the Les Adieux or the Tristan and Isolde love-death scene. It's original, fresh, seductive, gorgeously rich with great melodies, and a thrill ride of romance and passion.

Bottom line: Howard has given us a spellbinding, immaculate and much-appreciated series: Liszt at the Opera. I'm sad to realize that this is the final volume and so there won't be any more great operatic paraphrases or transcriptions to hear. But it's been a great run and truly a milestone in Liszt recording. Face it: no one else has supplied such oustanding premiere recordings or had the guts to play some of Liszt's unjustly neglected pieces. It's their loss, I say, because anyone who enjoys Liszt will find some of the most brilliant high-quality music of his oeuvre here. This should not be missed by any one who has an interest with Liszt or has heard the previous "Liszt at the Opera" series. HIGHLY RECOMMENDED.

Some of Liszt's best opera transcriptions here.......2001-07-12

Volume VI concentrates on longer pieces: Reminiscences des Huguenots (Meyerbeer), Fantaisie on La sonnambula (Bellini), Tannhauser overture (Wagner), etc. Solid final entry in the "Liszt at the Opera" series. Highly recommended.

Enrico Caruso: The Complete Recordings, Vol. 10

Average customer rating:

Caruso for a song.
Number Ten and Counting; And Simply the Best Caruso on CD

Enrico Caruso: The Complete Recordings, Vol. 10

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Caruso: The Complete Recordings, Vol. 12
The Complete Recordings, Vol. 9
The Complete Recordings, Vol. 8
The Complete Recordings, Vol. 1
Enrico Caruso: The Complete Recordings, Vol. 6

ASIN: B0000BX5KY
Release Date: 2003-10-21

Album Description

When complete the Naxos Historical Caruso edition will constitute the complete cycle of all Caruso's recordings issued in chronological order, thus enabling the artistic development of this great artist to be followed in detail. In 1919, shortly after the period covered by this CD, Caruso was to celebrate his twenty-fifth year, yet in these recordings there is no sign of strain or wear on the voice at all, only the brilliant sounds that made Caruso world-famous and the first real operatic star of the gramophone.

Customer Reviews:

Caruso for a song........2004-03-15

In the liner notes provided with this CD, you will read that opera patrons during the years these recordings were made sometimes paid the equivalent of $1,000 to attend a Caruso performance. Modern marketing, Naxos, and restoration engineer Ward Marston allow us to hear 77 minutes of Caruso recordings for merely a fraction of this cost.

Doyen of reviewers J Scott Morrison has already given Volume 10 of the Naxos Complete Recordings of Enrico Caruso series a rave review, so I shall add only a few comments. Regarding track identification: the composer Faure to whom Track 1 is attributed is not Gabriel but the less well-known French composer J B Faure (1830-1914). The Tchaikovsky item in Track 4 is his Op 6, No 5. The starry quartet and sextet items (2 takes of each) are the ones to go for in the Caruso discography. They are (almost) debut recordings for his compatriot Amelita Galli-Curci, one of the few singers whose voice, like Caruso's, was wonderfully well caught by the acoustic recording process.

Number Ten and Counting; And Simply the Best Caruso on CD.......2003-11-08

Naxos, praise be, is issuing all of Caruso's known recordings in the order in which they were recorded. In this, the tenth of the series, we have reached the era which, for some of us, is the ne plus ultra as regards Caruso's depth of musicianship and richness of voice, 1916 to early 1917. Not long afterward his health began to ebb. But in this time period his tenor voice was at its most baritonal, his breath control inhuman, and his musicianship scrubbed of it earlier vulgarity. I know there are those who revel in the latter, but I'm not one of them. We also get several alternate takes that were not issued on 78 at the time of their recording--one of the opening of the Quartet from 'Rigoletto' that only goes to the point where the mezzo enters, another of the complete Lucia 'Sextet' with Amelita Calli-Curci, Giuseppe de Luca and Marcel Journet among others.

Of special interest here are the selections sung in French--with excellent diction, it must be said--Tchaikovsky's 'Pourquoi?,' and Lensky's aria from 'Eugène Onegin' (gorgeous!), as well as Godard's 'Chanson de Juin,' Saint-Saëns's 'Vois ma misère, hélas' from 'Samson et Dalila.' Best of all are the two arias from Bizet's 'Pearl Fishers': 'De mon amie, fleur endormie,' and especially an absolutely stunning 'Je crois entendre encore.'

Other highlights: the full Quartet from 'Rigoletto' with Galli-Curci, Flora Perini, and de Luca; 'M'appari' from Flotow's 'Martha' with a final B-flat that will knock your socks off (and SO much better than the version he recorded more than ten years earlier).

Fauré's 'Sancta Maria' sounds Italian, I must say. 'Santa Lucia' is just a tad hokey. But Caruso's own 'Tiempo antico' is delightful. Andrea Chenier's 'Come un bel di di maggio' is sung with delicacy, grace and ardor. There are a couple takes of a ditty ('L'alba separa dall luce l'ombra') by Tosti and another couple of popular songs by Castaldon and De Crescenzo.

Finally, two takes of an aria I'd never heard before from Anton Rubinstein's 'Nerone,' 'Ah! lumière du jour.' Caruso's trumpet-like high notes are really something here.

I've acquired all but two of the previous Caruso CDs on Naxos. I've also had earlier transfers of some of the material and I have to say that Naxos and their miracle man, Ward Marston, are doing an amazing job of presenting cleaned-up yet true-sounding transfers. Evviva!

TT=76:59

Tracks:

A La Luz De La Luna
Sei MOrta Ne La Vita Mia
La Partida
Ne Gustare M'e Dato; Sleale! Il Segreto Fu Dunque Violato? - Giuseppe De Luca
Over There
Pieta, Signore
A Granada
Campane A Sera 'Ave Maria'
Inno Di Garibaldi
La Campana Di San Giusto
Le Regiment De Sambre Et Meuse
Sultanto A Tte
Je Viens Celebrer La Victoire - Louise Homer
Venti Scudi!
'A Vucchella
Vieni Sul Mar
Tu, Ca Nun Chiagne
Addio A Napoli

Customer Reviews:

Caruso, aged 45........2004-02-10

Here is 67 minutes of Caruso, as recorded in 1918 and 1919. The voice is wondrously powerful. Not only is he represented at his best here but colleagues who make a strong impression also join him. The great baritone Giuseppe de Luca, glorious especially in his upper register, features in two duets, including a rarely recorded item from "La Forza del Destino", an opera Caruso had recently added to his repertoire. Luise Homer and Marcel Journet join Caruso in another rarely recorded item, a trio from "Samson et Dalila". Emilio de Gorgoza is the baritone heard in the opening track with Caruso in a duet he recorded ten years later with Tito Schipa.

Italians are rarely successful when attempting to sing in English. Although he spent more time in the USA than elsewhere during these years, Caruso's English, as heard in the patriotic song "Over There", is very peculiar. The order to "send the word" is heard as "send da woid".

Tracks:

Tosca: Recondita Armonia
Manon Lescaut: Donna Non Vidi Mai
I Millioni D'Arlecchino: Notturno D'amore
Serenata
Serenata
Torna, Amore
Stornelli Marini
Santa Lucia Luntana
Rondine Al Nido
La Forza Del Destino: Solemne In Quest'ora
La Boheme: O Mimi, Tu Piu Non Torni - Beniamino Gigli/Titta Ruffo
La Gioconda: Enzo Grimaldo, Principe Di Santafior! - Beniamino Gigli/Titta Ruffo
Mefistofele: Dai Campi, Dai Prati
Addio A Napoli
Mefistofele: Giunto Sul Passo Estremo
La Boheme: O Mimi, tu Piu Non Torni
La Forza Del Destino: Solemne In Quest'ora
O Bei Nidi D'amore
I Pescatoridi Perle [Les Pecheurs De Perles]: Del Tempio Al Limitar [Au Fond Du Temple Saint] - Beniamino Gigli/Giuseppe De Luca

Tracks:

La Gioconda: Enzo Grimaldo, Principe Di Santafior! - Beniamino Gigli/Giuseppe De Luca
La Giocondo: Enzo Grimaldo, Principe Di Santafior! - Beniamino Gigli/Giuseppe De Luca
Lucia Di Lammermoor: Tombe Degl'avi Miei
Lucia Di Lammermoor: Giusto Cielo, Rispondete - Beniamino Gigli/Ezio Pinza/Metropolitan Opr Chor
Lucia Di Lammermoor: Tu Che A Dio Spiegasti L'ali
Lucia Di Lammermoor: Tombe Degl'avi Miei
Lucia Di Lammermoor: Giusto Cielo, Rispondete - Beniamino Gigli/Ezio Pinza/Metropolitan Opr Chor
Lucia Di Lammermoor: Tu Che A Dio Spiegasti L'ali
Lucia Di Lammermoor: Chi Mi Frena In Tal Momento? - Beniamino Gigli/Amelita Galli-Curci/Louise Homer/Angelo Bada/Giuseppe De Luca, Ezio Pinza
Rigoletto: Bella Figlia Dell'amore - Beniamino Gigli/Amelita Galli-Curci/Louise Homer/Giuseppe De Luca
Rigoletto: Bella Figlia Dell'amore - Beniamino Gigli/Amelita Galli-Curci/Louise Homer/Giuseppe De Luca
Cavalleria Rusticana: Viva Il Vino Spumeggiante 'Brindisi' - Beniamino Gigli/Metropolitan Opr Chor
La Traviata: De' Miei Bollenti Spiriti
Mignon: Ah, Non Credevi Tu [Elle Ne Croyait Pas]
Mignon: Addio, Mignon, Fa Core [Adieu, Mignon, Courage]
L'Africana [L'Africaine]: O Paradiso [O Paradis]
Voce'e Notte
Canta Pe' Me

Customer Reviews:

A must have!!.......2001-06-01

Beniamino Gigli was one of the finest Tenors of all time. That being said, this set offers some of the best work the great Tenor ever recorded. Real standout renditions here are all of the duets recorded with Baritone and friend Giuseppe De Luca, the two lovely arias from Mignon, O Paradiso (rivaled only by Bjoerling and Lanza), Lucia selections (pretty much the entire final scene of the last act), and the Neapolitan selections (such as Toselli's hauntingly beautiful "Rimpianto"). The duets with Ruffo are interesting, but without the subtlety and finesse the same selections with De Luca possess. All three of the Romophon sets of Gigli's Victor recordings are prizes indeed (the third volume being only 1 CD), but this is, in this reviewer's humble opinion, the best of the three. Treat yourself to some truly fine singing and purchase this set now, before it goes out of print.

MAGNIFICENT COLLECTION!!!.......1998-09-22

A WONDERFUL COLLECTION BY WHOM I CONSIDER, THE GREATEST TENOR OF ALL TIME (EXCLUDING CARUSO). HEARING BOTH THE PUBLISHED AND UNPUBLISHED TAKES OF THE DE LUCA/GIGLI DUETS IS SIMPLY A PRIZE, AS WELL AS, THE PUBLISHED AND UNPUBLISHED TAKES OF TOSSELLI'S SERENADE (RIMPIANTO). A MUST HAVE FOR ANYONE WHO APPRECIATES GREAT SINGING. GIGLI'S VOICE IS SIMPLY BREATHTAKING HERE. THIS IS GIGLI IN HIS GLORIOUS PRIME.

MAGNIFICENT COLLECTION!!!.......1998-09-22

Average customer rating:

More gemstones marred only by revisions and drafts

Liszt: Complete Piano Music, Vol. 50

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. VI (Complete Music for Solo Piano, Vol. 54)
Schumann: Piano Sonatas Nos. 1 & 3
Liszt at the Opera, Vol 4
Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. I (Complete Music for Solo Piano, Vol. 6)
Liszt: Excelsior! and Other Rare Original Works

ASIN: B000007SZQ
Release Date: 1998-06-09

Tracks:

Les Huguenots: Reminiscences des Huguenots S412i
La Fiancee: Souvenir de La fiancee S385iii
Tannhauser: Einzug der Gaste auf der Wartburg S445, 1
Masaniello, ou La muette de Portici: Tarantella (di bravura) d'apres la Tarantelle de la 'Muette de Portici' d'Auber S386i
La Juive: Reminiscences de La juive - Fantaisie brillante S409a

Tracks:

Niobe: Grande fantaisie sur des themes de l'opera Niobe S419
Lohengrin: Festspiel und Brautlied (Aus Richard Wagners Lohengrin - I) S446, 1i
La Sonnambula: Fantaisie sur des motifs favoris de l'opera La sonnambula S393ii
Guillaume Tell: Ouverture de l'opera Guillaume Tell S552
Lucrezia Borgia: Fantaisie sur des motifs de l'opera 'Lucrezia Borgia' de G. Donizetti S399a

Customer Reviews:

More gemstones marred only by revisions and drafts.......2006-08-23

I guess it was only a matter of time before Leslie Howard's fantastic "Liszt at the Opera" series would begin to lose steam. Howard has provided us with some unbelievably underrated and wonderful music from Liszt: fantasies, paraphrases, and transcriptions that sound as original and well-crafted as his own piano compositions. Each Volume (5 so far) in this "Liszt at the Opera" series has pumped out neglected but masterful pieces, so one can expect that the pool of operatic fantasies is almost exhausted. Howard, though, instead of organizing a CD of only new works, records lots of alternate versions and drafts to fantasies and transcriptions already introduced in the previous volumes.

Now, these "alternate" versions are either "first" or "second" versions, and only the Liszt scholar or connoisseur could truly enjoy comparing them to other versions. I mean, it's still great music, but for me, slight enhancements, changes of tempo, or additional bars are not that interesting. I don't think Liszt would ever have consented to having two versions of his fantasies and paraphrases published. Just like Chopin, before his impending death, asked for all his manuscripts and drafts to be burned, most composers don't want their drafts to be viewed by the public unless in their finalized version. Beethoven never published a Piano Sonata Op. 106 (second version).

But I understand what Howard is doing; he wishes to record every Liszt note we have in notation. It's surprising then that in his entire Liszt excursion, he ignored the two-piano versions of the Faust/Dante symphonies and the symphonic poems, but I digress. Ordinarily I would have loved to give this CD 5 stars simply because Howard's efforts are impeccable and admirable. But there are only four or five new works out of ten showcased on this volume. On a two disc-set, though, the Lisztian already familiar with the previous volumes may get tired of hearing basically the same pieces with very subtle modifications, and may just rush to the new pieces. Therefore, it's frustrating when the new works are spread out on both CD's so you can't help but listen to everything.

Well, I'm pleased to say that these new pieces are at least all very good. The first new piece, the Souvenir de la fiancee of Auber is charming and engaging. Its date at 1829 makes it an extraordinary glimpse into Liszt's budding musical prowess of his youth. In the beginning it sounds almost like classical Beethoven with a splice of Schubert and Hummel. It only separates itself because of its undeniable romantic decorations, figurations and virtuosic sparkles. Underneath those shimmering and tinkling notes are some wonderful melodies of beauty.

The next original and new piece to the series is the amazing Reminiscences de La juive. It's fascinating because the composer of the opera, "La juive," Jacques Halevy, is virtually unknown. I certainly never heard of him; I can only imagine all of his operas buried under dust in a few archives over in Europe. Liszt proves with his dramatic fantasy that there was much musical wealth to acquire from even the most lesser known operatic composers. From the immediate opening, the piece reminds me of the diabolical side to Liszt's piano playing. Liszt's fantasy on the valse infernale from Meyerbeer, some Mephisto Waltzes and even the Scherzo and March all seem kindred to this devilish dance.

The second CD only has two new works featured in the series: the Niobe Grande fantaisie and the transcription of Rossini's Overture to Guillaume Tell. But these last two are smash hits. The Niobe fantasy is a ravishing and tantalizing work; the music is as riveting and exciting as you can get. The scherzo-rhythm and pleasant main theme is so evocative, one can only imagine the scene in 1837 when Liszt dueled Thalberg and played this monster to an eager audience. Following this encore piece are some repeated pieces from previous volumes in the series: a first version of Wagner's "Festpiel und Brautlied" from Lohengrin, the second version fantasy on Bellini's La Sonnambula, and the fantasy on Donizetti's Lucrezia Borgia.

The last thundering achievement is the breathtaking transcription of Rossini's Guillaume Tell overture. What a magnetic and powerful transcription: the gloomy introduction capped off by the famous theme known so well today as the "Lone Ranger" music. Certainly, Liszt captures and adopts the music to piano in a nearly flawless way, achieving what not even the orchestra can attain as far as sonorities, augmentations and overall clarity of the piece. Where the orchestra may get monotonous or when it can even drown out the sound, Liszt's piano transcription is fresh air. While I actually prefer Kemal Gekic's version from the Naxos Complete Piano Music of Liszt (Vol. 7 Rossini Transcriptions), Howard plays it as well as you could expect, with sheer virtuosity and endurance that startles the ear.

Bottom line: While not as great as the previous volumes of "Liszt at the Opera," there are still plenty of reasons to buy this. I knew full well that I would be getting this for only 5 new works. The quality of these five are not to be overlooked, though, and some won't be found recorded anywhere else. Just be warned that the alternate versions of fantasies do not offer much, and so they tend to feel like duplicates. Having said that, I still feel I can recommend this CD for the Liszt lover or fan of the "Liszt at the Opera" series. Ultimately recommended.

Amelita Galli-Curci: Complete Acoustic Recordings, Vol. 2 (1920-24)

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Amelita Galli-Curci: Complete Acoustic Recordings, Vol. 2 (1920-24)

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000001S37
Release Date: 1995-11-01

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Wonderful Recordings

The Complete Recordings, Vol. 2

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
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The Complete Recordings, Vol. 1
Enrico Caruso: The Complete Recordings, Vol. 3
The Complete Recordings, Vol. 4
Caruso: The Complete Recordings, Vol. 12
Enrico Caruso: The Complete Recordings, Vol. 10

ASIN: B00004WMWW
Release Date: 2000-10-17

Tracks:

Tu Non Mi Vuoi Piu Bene
Tosca - E Lucevan Le Stelle
Les Huguenots - Qui Sotto Il Ciel
Rigoletto - Questa O Quella
Rigoletto - La Donna E Mobile
L'Elisir D'Amore - Una Furtiva Lagrima
Aida - Celeste Aida
Tosca - Recondita Armonia
Tosca - E Lucevan Le Stelle
Cavalleria Rusticana - Siciliana
Pagliacci - Vesti La Giubba
Manon - II Sogno: Chiudo Gli Occhi
Mattinata
I Pescatori Di Perle - Mi Par D'udir Ancor
Don Pasquale Serenata - Com'e gentil
Carmen - Il Fior Che Avevi A Me
Les Huguenots - Bianca Al Par Di Neve Alpina
La Gioconda - Cielo E Mar!
Cavalleria Rusticana - Brindisi
Martha - M'appari Tutt'amor
La Boheme - Che Gelida Manina
Faust - Salut, Demeure Chaste El Pure
Il Trovatore - Di Quella Pira
La Favorita - Romanza: Spirito Gentil, Ne' Sogni Miei

Customer Reviews:

Wonderful Recordings.......2002-01-26

Despite what anyone else says, the Naxos transfers and reissues of Caruso's complete recordings are wonderful! They seem to have taken GREAT care to ensure only the finest quality, and after purchasing vols 1 and 2 in this set, I can say that they do. And (unlike the other reissues by Pearl and RCA) the price is unbeatable! I highly suggest that any Caruso fan or vintage record buff pick up a set of these CDs.

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Delightful Piano Music from an Opera Composer!

Donizetti: Complete Piano Music, Vol. 1

Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000005ARG
Release Date: 1998-02-17

Customer Reviews:

Delightful Piano Music from an Opera Composer!.......2002-04-14

I am selling this CD, so you can take what I have with a grain of salt, but as an avid opera collector, I was intrigued by this disc. The pieces are tuneful and light, but several of them display compositional ingenuity and more complexity than you might expect. The sound of the recording is fine, and the approach that Pietro Spada takes to these seems just right (though I have no other performances to guage against this). These pieces are the work of a composer as at home at writing for the keyboard as he was at writing for the theater. Good fun.

Music Track:

Music Track

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