Donizetti: Complete Piano Music, Vol. 3

On this CD:

1. Fugue in G minor, for piano
Composed by Gaetano Donizetti
Performed by Pietro Spada

2. Pastorale, for piano in E major
Composed by Gaetano Donizetti
Performed by Pietro Spada

3. Grande Offertorio, for organ (or piano)
Composed by Gaetano Donizetti
Performed by Pietro Spada

4. Larghetto, theme & variations, for piano in E flat major
Composed by Gaetano Donizetti
Performed by Pietro Spada

5. Variations for piano (or harpsichord) in G major
Composed by Gaetano Donizetti
Performed by Pietro Spada

6. Variations for piano in E 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...

Average customer rating:

Ignore the primitive recording, listen to the performances.
Nevermind the quality of sound, listen for the music

The Complete Recordings, Vol. 1

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

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. 2
Enrico Caruso: The Complete Recordings, Vol. 3
Caruso: The Complete Recordings, Vol. 12
Enrico Caruso: The Complete Recordings, Vol. 6
The Complete Recordings, Vol. 4

ASIN: B00004VXD1
Release Date: 2000-09-26

Tracks:

Germania - Studenti, Undite
Germania - Ah, Vieni Qui ... No, Non Chiuder Gli Occhi
Regoletto - Qusta O Quella
Aida - Celeste Aida
Manon - O Doice Incanto (Il Sogno)
L'Elisr D'amore - Una Furtiva Lagrima
Mefisofele - Giunto Sul Passo Estremo (Epilogue)
Mefisto Fele - Giunto Sul passo estremo (Epilogue)
Tosca - E Lucevan Le Stelle
Iris - April La Tuna Finestra (serenata)
Mefistofele - Dai Campi, Dai prati
Fedora - Amorti Vieta (Acc. By Composer)
Aida - Celeste Aida
La Gioconda - Cielo E Mar!
I Pagliacci - Vesti La Giubba
Mascagni - Cavalleria Rusticana - O Lola (Siciliana)
Non T' Amo Piu
La Mina Canzone
Adriana Lecouvereur - No, piu nobile
Luna Fedel
Un Bacio Anchora
Luna Fedel
L'elisir D' Amore - Una Furtiva largima
Tosca - E Lucevan Le Stelle
Germina - No, Non Chiuder
Rigoletto - La Donna E Mobile
Cavalleria Rusticana - O lola (siciliana)

Customer Reviews:

Ignore the primitive recording, listen to the performances........2002-03-13

If you are interested in hearing the documents that launched the gramophone (or phonograph) as a serious recording medium, rather than a toy, then this is the disc to listen to. Of course, 100 years ago, the recording and reproducing process was very primitive, and current digital processing capabilities cannot really compensate for that. But, except for one very poor edit, the transfers from the original 78rpm discs are excellent.

Ignoring the recording deficiencies, what you can hear are marvelously enthusiastic performances by the greatest tenor ever to make records.

Simple as that.

Nevermind the quality of sound, listen for the music.......2000-10-16

This is a sturdy collection of songs, with the most famous pieces of the period (1902-1903, but the sound quality is lacking.The songs are recorded before the age of digital everything, the popping and cracking of the tracks could add charm or ruin the cd-depending on taste. Yet, the songs are incredibly beautiful and are worth a listen.

Mattia Battistini Complete Recordings, Vol. 1 (1902-11)

Average customer rating:

Mattia Battistini Complete Recordings, Vol. 1 (1902-11)

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | 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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Baritones | Voices | Opera & Vocal | Styles | Music
ASIN: B000001S42
Release Date: 1997-12-09

Tracks:

'Finch'han Del Vino'
'Forier Di Morte...O tu Bell'Astro (Wie Todes Ahnung)'
'Se Dell'imen La Dolce Cura'
'Deh, Vieni Alla Finestra'
La Mantilla
Occhi Di Fata
Ancora
'Deh, Non Plorar'
'Largo Al Factotum'
'Dio Possente, Dio D'Amor (Avant De Quitter Ces Lieux)'
'In Questo Suoio... Ah, L'Alto Ardor'
'Or Limpida M'Appare'
'Oh De'Verd'Anni Miei'
'Da Qual Di Che T'ho Venduta'
'Alla Vita Che T'Arride'
'Lo Vedremo, O Veglio Audace'
'Lo Vedremo, O Veglio Audace'
'Vieni Meco, Sol Di Rose'
'O Sommo Carlo'
Don Giovanni: Alfin Siam Liberati...La Ci Darem La Mano
'Povero Lionello...Il Mio Lionel'
'A Tanto Amor;

Tracks:

'O Lisbona'
'Eri Tu, Che Macchiavi'
'Su Queste Rose'
'Perche Tremar?'
'Si Puo?... Un Nido Di Memorie'
'Avrei Sul Mio Petto'
'Ah! Tutto Il Cor E Qui!'
'Come Il Romito Fior'
Le Soir
'Amour, Amour'
'Tre Sbirri, Una Carrozza...Te Deum'
'O Vin, Discaccia La Tristezza [O Vin, Dissipe La Tristesse]'
'D'Acqua Aspergimi'
'Allor Che Tu Coll'estro'
'O Santa Medaglia...Dio Possente, Dio D'amore'
'Ah Per Sempre Io Ti Perdei'
'D'Acqua Aspergimi'
'D'Acqua Aspergimi'
'Son Cifre...Bella E Di Sol Vestita'
'Bel Sogno Beato'

Amazon.com

Operaphiles in search of the lost art of the bel canto baritone will find a virtual holy grail in the form of Mattia Battistini. Born in 1856, he is the oldest singer of his generation who recorded extensively in his prime. In contrast to the emphatic, overt emotionalism typical of verismo singers, Battistini spins out effortless, lavishly decorated lines, sustained by virtue of prodigious breath control. Introspective phrases are embellished by unexpected accents and flamboyant, dynamic surges, best exemplified in a 1906 group of Ernani excerpts. Highlighting the 1902 Warsaw recordings are a snappy yet restrained "Largo al factotum" and Wagner's song to the Evening Star from Tannhaüser, sung in mellifluous Italian. Romophone's transfers auger well for what promises to be the definitive Battistini edition. --Jed Distler

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

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
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Liszt at the Opera, Vol 4
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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

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

4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
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Caruso: The Complete Recordings, Vol. 12
The Complete Recordings, Vol. 9
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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:

Aida: Celeste Aida
La Forza Del Destino: Solenne In Quest' Ora
Triste Ritorno
Ideale
L'Africana: O Paradiso
Rigoletto: Bella Figlia Dell'Amore - Louise Homer
Andrea Chenier: Un Di All'Azzurro Spazio
Pagliacci: Vesti La Giubba
La Boheme: O Mimi, Tu Piu Non Torni
The Pearl Fishers: Del Tempio Al Limita
La Boheme: O Soave Fanciulla Nellie Melba
Don Sebastiano: Deserto In Terra
Don Sebastiano: Deserto In Terra
Adorables Tourments
Rigoletto: Bella Figlia Dell'Amore
Lucia Di Lammermoor: Chi Mi Frena In Tal Momento?
Madama Butterfly: Quanti Occhi Fisi
La Boheme: Ackho, Dolce Svegliare Alla Mattina
Rigoletto: Bella Figlia Dell'Amore - Louise Homer

Customer Reviews:

Don't have to be an Opera Lover to appreciate this.......2002-09-05

If we try to compare someone like Caruso to the greats of today, it cannot be done. There just is no way to extract the full range of tonal quality out of these old recordings. But that withstanding, this does not mean you cannot enjoy some beautiful music. Put the pops out your mind, and just listen to the simple beauty. I cannot listen to these recordings without moisture oozing from my eye sockets. Buy and enjoy!

The tenor who started it all........2002-05-19

"Fee exorbitant, forbid you to record."

This was the reply to a telegram sent by Fred Gaisberg, a young American recording agent, who chanced to be in Italy in 1902 and had heard a young tenor named Enrico Caruso sing, and who cabled for permission to spend an afternoon recording him at the fee Caruso named.

Many believe that Gaisberg's disobedience marked the true birth of the whole recording industry.

A century later, Caruso's resplendent voice and the complete records he subsequently made can be heard at budget price in a series of Naxos reissues. Volume 3 is a good one to select. The voice is sumptuous - baritonal in timbre but encompassing the high tenor range with apparent ease - and the artistry in, for example, "O paradiso", is exemplary. You will hear two of Caruso's recordings of the "Rigoletto" quartet. You will also hear the only recording he made with Dame Nellie Melba. Although the Australian soprano and the Italian tenor were never personally compatible, their voices blend beautifully, especially at the very end of their "La Boheme" duet.

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

Beniamino Gigli: The Complete Victor Recordings, Vol. 1: 1921-25

Average customer rating:

gigli in his prime

Beniamino Gigli: The Complete Victor Recordings, Vol. 1: 1921-25

Manufacturer: Romophone
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
ASIN: B000001S3Y
Release Date: 1996-01-01

Tracks:

Mefistofele: Dai Campi, Dai Prati
Tosca: Recondita Armonia
Tosca: E Lucevan Le Stelle
Mefistofele: Giunto Sul Passo Estremo
La Gioconda: Cielo E Mar!
La Favorite: Spirto Gentil
Faust: Salve, Dimora Casta E Pura
Iris: Apri La Tua Finestra
Tu Sola
Santa Lucia Luntana
I Million D'Arlecchino: Notturno D'amore
Le Roi D'ys: Vainement, Ma Bien Aimee
I Pagliacci:Vesti La Giubba
Serenata
Andrea Chenier: Un Di All'azzurro Spazio
Andrea Chenier: Come Un Bel Di Di Maggio
Tosca: O Dolci Mani
L'Africana: O Paradiso

Tracks:

Loreley: Nel Verde Maggio
Romeo Et Juliette: Ange Adorable
Romeo Et Juliet: Ah, Ne Fuis Pas Encore
Canto Del Cigno
Martha: M'appari
Paquita
Fumiculi, Funicula
Povero Pulcinella
Sentinella
Sto Penzanno 'A Maria
Come, Love With Me
Mandulinata A Napule
L'eliser D'Amore: Quanto E Bella
Lucia Di Lammermoor: Tombe Degl'avi Miei
Lucia Di Lammermoor: Tombe Degl'avi Miei
Tu Che A Dio Spiegasti L'aliLucia Di Lammermoor:
Good Bye, Marie
Quanno 'A Femmena Vo'
Maria, Mari

Customer Reviews:

gigli in his prime.......2001-04-21

Gigli went to US in 1920, having made some tonally beautiful but poorly acted acoustics for 'HMV'. Linking to his appearance at the Met, 'Victor' began a long association of recordings both acoustic & electric, and this album from Romophone is the 1st of 3 dealing with this period. Gigli's tone developed to its full during these recs, parallel with some intrusive bad vocal habits - nobody needs to use aspirates at all, and certainly not to the degree of Gigli. The mix on the album balances opera & song. He was one of the best interpreters of Neapolitan songs, having a more ringing style than Schipa and a more affectionate style than Corelli; perhaps di Stefano was a natural successor? On several tracks he has magnificent partners (e.g. Rethberg, Pinza). Some alternative takes are offered, which provide little extra knowledge about the singers, but make things complete. In summary: attractively toned, Italianate singing, if you can ignore his bad habits. The Obert-Thorn transfers are clear, but can sound oversharp with clinical-sounding hardware plus silver-based cabling.

Music Track:

Music Track

music track

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