Tchaikovsky: Pique Dame (Abridged)

On this CD:

1. Pique Dame (The Queen of Spades), opera, Op. 68 Introduction
Composed by Pyotr Il'yich Tchaikovsky

Conducted by Artur Rother

2. Pique Dame (The Queen of Spades), opera, Op. 68 Na, waren die Spiele gestrn fein?
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

3. Pique Dame (The Queen of Spades), opera, Op. 68 Ihren Namen, daß kann ich dir nicht sagen
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

4. Pique Dame (The Queen of Spades), opera, Op. 68 Na, es geht so, deshalb kein Blut und Degen
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

5. Pique Dame (The Queen of Spades), opera, Op. 68 Gibt es dies, ihr wolltet schreien
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hans Hermann Nissen, Rudolf Schock
Conducted by Artur Rother

6. Pique Dame (The Queen of Spades), opera, Op. 68 O Gott, was machen Sie
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

7. Pique Dame (The Queen of Spades), opera, Op. 68 O Gräfin, man darf doch gratulieren
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Margarete Klose, Hans Hermann Nissen, Rudolf Schock
Conducted by Artur Rother

8. Pique Dame (The Queen of Spades), opera, Op. 68 Was für ein Scheusal
Composed by Pyotr Il'yich Tchaikovsky

Conducted by Artur Rother

9. Pique Dame (The Queen of Spades), opera, Op. 68 Weh' ihm das Heil meiner Königin
Composed by Pyotr Il'yich Tchaikovsky

Conducted by Artur Rother

10. Pique Dame (The Queen of Spades), opera, Op. 68 Se non è vero, wie schaurig
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

11. Pique Dame (The Queen of Spades), opera, Op. 68 Es dämmert, leise fließe der Wolke mich ans Aug'
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Anneliese Muller
Conducted by Artur Rother

12. Pique Dame (The Queen of Spades), opera, Op. 68 Wir wünschen dir eine gute Fahrt
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Anneliese Muller
Conducted by Artur Rother

13. Pique Dame (The Queen of Spades), opera, Op. 68 Jetzt hab' ich's, den Himmel klage ich an
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Anneliese Muller
Conducted by Artur Rother

14. Pique Dame (The Queen of Spades), opera, Op. 68 Ach Mädchen, öffne die Tur
Composed by Pyotr Il'yich Tchaikovsky
Performed by Anneliese Muller
Conducted by Artur Rother

15. Pique Dame (The Queen of Spades), opera, Op. 68 Vor Unruhe all mein Sehnen und all mein Sein
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer
Conducted by Artur Rother

16. Pique Dame (The Queen of Spades), opera, Op. 68 Ich beschwöre Sie, was führt zu Nacht Sie hier
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Rudolf Schock
Conducted by Artur Rother

17. Pique Dame (The Queen of Spades), opera, Op. 68 Verzeihe mir, du himmlisch Wesen
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

18. Pique Dame (The Queen of Spades), opera, Op. 68 Lisa, mach doch auf!
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Margarete Klose
Conducted by Artur Rother

19. Pique Dame (The Queen of Spades), opera, Op. 68 Lieber Gott, bringen Sie Ihr einen fragsicheren Tod
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Rudolf Schock
Conducted by Artur Rother

20. Pique Dame (The Queen of Spades), opera, Op. 68 Weshalb so schweigsam, bist du traurig?
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Hans Hermann Nissen
Conducted by Artur Rother

21. Pique Dame (The Queen of Spades), opera, Op. 68 Bis hierher bin ich vorgedrungen, was nun
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

22. Pique Dame (The Queen of Spades), opera, Op. 68 In ein Versteck, hier, so spricht das Schicksal
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Rudolf Schock
Conducted by Artur Rother

23. Pique Dame (The Queen of Spades), opera, Op. 68 Ich will Ruhe, ich bin müde
Composed by Pyotr Il'yich Tchaikovsky
Performed by Margarete Klose
Conducted by Artur Rother

24. Pique Dame (The Queen of Spades), opera, Op. 68 Je crains de lui parler la nuit
Composed by Pyotr Il'yich Tchaikovsky
Performed by Margarete Klose
Conducted by Artur Rother

25. Pique Dame (The Queen of Spades), opera, Op. 68 Gräfin, ein Wort nur, keine Angst, ich will nichts Arges
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

26. Pique Dame (The Queen of Spades), opera, Op. 68 Sie ist tot! Ein Herzschlag begrabe das Geheimnis
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Rudolf Schock
Conducted by Artur Rother

27. Pique Dame (The Queen of Spades), opera, Op. 68 Ich bin überzeugt, daß du am Tod der Großmutter nicht schuldig bist...
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

28. Pique Dame (The Queen of Spades), opera, Op. 68 Entsetzen, Widern, da, da, es naht, jetzt will es hier hinein
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

29. Pique Dame (The Queen of Spades), opera, Op. 68 Bald ist es Mitternacht, mein Warten ist umsonst
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer
Conducted by Artur Rother

30. Pique Dame (The Queen of Spades), opera, Op. 68 Alles geht hier gut
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer
Conducted by Artur Rother

31. Pique Dame (The Queen of Spades), opera, Op. 68 Das fürchterliche Warten, Kommt er nicht, bin ich betrogen
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Rudolf Schock
Conducted by Artur Rother

32. Pique Dame (The Queen of Spades), opera, Op. 68 Ich halte dich wieder umschlungen und spür deinen zärtlichen Blick
Composed by Pyotr Il'yich Tchaikovsky
Performed by Elisabeth Grummer, Rudolf Schock
Conducted by Artur Rother

33. Pique Dame (The Queen of Spades), opera, Op. 68 Laß das sein, laß das sein für 'n Augenblick
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hans Hermann Nissen, Kurt Reimann, Wilhelm Lang
Conducted by Artur Rother

34. Pique Dame (The Queen of Spades), opera, Op. 68 Hört doch den Mädchen Flügel
Composed by Pyotr Il'yich Tchaikovsky

Conducted by Artur Rother

35. Pique Dame (The Queen of Spades), opera, Op. 68 Welch ein Gut Bruder Dumm wenn das Glück geht herum
Composed by Pyotr Il'yich Tchaikovsky
Performed by Kurt Reimann, Wilhelm Lang
Conducted by Artur Rother

36. Pique Dame (The Queen of Spades), opera, Op. 68 An die Arbeit, meine Herren
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hans Hermann Nissen, Kurt Reimann, Rudolf Schock, Wilhelm Lang
Conducted by Artur Rother

37. Pique Dame (The Queen of Spades), opera, Op. 68 Das Leben gleicht dem Spiel
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

38. Pique Dame (The Queen of Spades), opera, Op. 68 Bist du gerannt?
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hans Hermann Nissen, Rudolf Schock
Conducted by Artur Rother

39. Pique Dame (The Queen of Spades), opera, Op. 68 Fürst, verzeihen Sie mir! Das Schicksal wollt's
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

40. Pique Dame (The Queen of Spades), opera, Op. 68 O Herr, du holder Kraft, vergib ihm seine Schuld und Sünden
Composed by Pyotr Il'yich Tchaikovsky

Conducted by Artur Rother

41. Eugene Onegin, opera, Op. 24 Introduction
Composed by Pyotr Il'yich Tchaikovsky

Conducted by Wilhelm Schuchter

42. Eugene Onegin, opera, Op. 24 Mesdames!... Verzeih'n Sie meine Kühnbeit...Sag, wer von beiden ist Tatjana
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hugo Hasslo, Sena Jurinac, Gisela Litz, Rudolf Schock
Conducted by Wilhelm Schuchter

43. Eugene Onegin, opera, Op. 24 O Wonne, o Seligkeit, ich seh' dich endlich
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hugo Hasslo, Sena Jurinac, Gisela Litz, Rudolf Schock
Conducted by Wilhelm Schuchter

44. Eugene Onegin, opera, Op. 24 Mesdames, messieurs, zu ihren Plätzen bitte
Composed by Pyotr Il'yich Tchaikovsky
Performed by Horst Sellentin
Conducted by Wilhelm Schuchter

45. Eugene Onegin, opera, Op. 24 Hier im Hause verlebt' ich die Kindheit
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hugo Hasslo, Sena Jurinac, Gisela Litz, Rudolf Schock
Conducted by Wilhelm Schuchter

46. Eugene Onegin, opera, Op. 24 Nun, Lenski, wo bleibt euer Gegner
Composed by Pyotr Il'yich Tchaikovsky
Performed by Ernst Max Luhr, Rudolf Schock
Conducted by Wilhelm Schuchter

47. Eugene Onegin, opera, Op. 24 Wohin, wohin seid ihr entschwunden
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Wilhelm Schuchter

48. Eugene Onegin, opera, Op. 24 Da kommen sie!...Doch wer ist sein Begleiter?
Composed by Pyotr Il'yich Tchaikovsky
Performed by Hugo Hasslo, Ernst Max Luhr, Rudolf Schock
Conducted by Wilhelm Schuchter

49. Eugene Onegin, opera, Op. 24 Wohin seid ihr verschwunden
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock
Conducted by Artur Rother

50. Night, for voice & piano, Op. 73/2
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock

51. In dark hell, song for voice & piano, Op. 16/6
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock

52. Work(s) Im wogenden Tanze beim Fest, for voice & piano
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock

53. Pimpinella (The Florence Song), for voice & piano, Op. 38/6
Composed by Pyotr Il'yich Tchaikovsky
Performed by Rudolf Schock

Tracks:

La Traviata: Libiamo, ne' lieti calici (Brindisi)
Gianni Schicchi: O mio babbino caro
Il Barbiere Di Siviglia: Largo al factotum
Les Pecheurs Des Perles - Au fond du temple saint
La Boheme: Mi chiamano Mimi
Pique Dame: Yeletsky's Aria (Act ll, Scene1)
La Wally - Ebben? Ne andro lontana
L'elisir D'Amore: Una furtiva lagrima
Die Walkure: Du bist der Lenz
La Forza Del Destino: Pace, pace, mio Dio
Pagliacci: Vesti la giubba
Le Nozze Di Figaro: Dove sono i bei momenti
Rigoletto: La donna e' mobile
Madama Butterfly: Un bel di
Die Zauberflote: Ach, ich fuhl's
Aida: Se quel guerrrier io fossi; Celeste Aida
Carmen: L'amour est un oiseau rebelle (Habanera)
Turandot: Nessun dorma

Customer Reviews:

My FIRST opera cd .......2006-09-29

I purchased this compilation in late summer 1994. I always skipped over Merrill's "Largo al factotum", just because I am not a big fan of that aria - kinda hokey to me :) I fell madly in love with the two contributions by Miss Leontyne Price!!! Especially "Pace, pace mio dio", the reference recording of that aria! I like Caballe's performance of "Si, mi chiamano Mimi", and the Domingo and Hvorostovky recordings. This disc opened up a whole new world for me. Yes, I have discovered MANY different singers than those included on this cd, but it started it all for me. It is a good sample of some very fine singing on the RCA label. OH! Let's not forget the superb Pearl Fisher's duet, sung by Bjoerling and Merrill!!

Better compilations available.......2003-09-26

I recently began collecting compilations of great opera performances as raw material for custom CD's. After listening to this CD side-by-side with others, I ended up using not a single selection from it. Three double CD's that, in my opinion, have much more to offer, in both quantity and quality, are (1) Decca's The #1 Opera Album, (2) EMI's The Opera Album, and (3) Warner Brothers' Simply The Best Night At The Opera. If I could have only one, it would be the Decca product, but each has it's own strengths, unlike the RCA disc. The caveat here is that taste in music is a highly personal matter.

My desert island CD pick.......2003-01-10

I could -- and sometimes do -- listen to Nessum Dora over and over. I have never felt music so passionately as I do the selections on this CD. It is truly the best of the best: the best "songs" from the best operas being sung by the best singers at their very best. I challenge anyone who doesn't like opera or ever music to listen to this CD. You will fall deeply in love.

Fine Querschnitt!.......2001-10-12

This is a good set as it includes some of the very finest moments of recorded opera history, noticably with Jussi Björlings Pearlfishes, which was one of his most inspired singings, Placido Domingo in his charming interpretation in The Loves Exlire, Anna Moffo outside the Wienniese standards is interesting, and Montserrat Caballe was really the best Mimi that ever sung that role, and I don't think that many today doubt that Lanza was one of the finest and most flexible voice that have sung Verdi. There is a nice querschnitt through the century as old pearls have been mixed with new. I enjoyed immensely to hear Caballes Mimi and Normans "Du bist der Lenz" or Kraus clicky "Donna Mobile" and a fresh new Ben heppner in 3D sound in one and the same hour.

A collection of opera gems on one CD.......2001-04-07

I have to agree that these are some of opera's greatest moments in the later part of the 20th century. The Pearl Fishers Duet (Au Fond du Temple Saint) sung by Jussi Björling, Robert Merrill is a big favorite of mine. Monserrat Caballe sings La Boheme here, and I couldn't believe my ears; maybe the best version of this I've ever listened to.

Tracks:

'Even Bravest Heart My Swell'
'I Am The Barber Everyone Wants, I Am!
'Must I Be Made To Suffer'
'Look Down, Oh Gentle Evening Star'
'You Have My Love And My Devotion
'Oh Wine, Deliver Me From Sadness' - Geoffrey Mitchell Choir
'Marriage Is Sacred' - I Was Right To Be So Suspicious'
'Turning My Gaze Upon This Proud Assembly'
'O Nadir, Best Of Friends'
Billy In The Darbies
'Though I'm Somewhat Out Of Practice' - Janice Watson
'Hello, Here's A Soldier Bold' - Janice Watson
'I Wonder What He'll Think Of Me!'
'In Visions, Illusions'

Customer Reviews:

A good collection.......2007-05-14

Unlike the huge names, collections by Allen are not many - plenty of his opera performances are recorded, but there are only a few collections. My voice teacher recommended I listen to him to understand better how to deliver power without weight, something we've been working on. Yes, it's all in English, but that's fine, and the quality of Allen's instrument comes through very well.

A Musician of Great Dignity and Style.......2005-07-27

Sir Thomas Allen is one of the enduring baritones who has been able to move throughout the operatic repertoire and the recital stage with intelligence, informed characterization, and immaculate musicianship. To have a recording of some of the roles he has inhabited at this point in his career is a gift (this CD was recorded in 2003). To have the added challenge of retaining the stature of the roles while sung in English translations at the request of Chandos is a credit to his abilities and communicative powers.

English is a difficult language to make musical, though saying that abruptly is countered by the fact that some of the most beautiful operas in history are by Benjamin Britten, a composer who truly understood his native tongue and kept it as fluid as the soaring melodies he wrote, as Thomas Allen proves here in 'Billy in the Darbies' from Britten's 'Billy Budd'. It is the other major arias from Korngold to Wagner to Tchaikovsky to Rossini, Bizet, Mozart, Gounod, Verdi, Thomas, Strauss, and Lehar that Allen proves that English translations do not detract at all from the performances!

For those purists who prefer opera sung in the original language (and for those who don't even need supertitles in the opera house!), then this recording may provide a temporary barrier to respecting Allen's singing. But once caught up in the ease with which he moves from style to style and comedy to drama, it is hard not to relinquish old preferences and not be wholly impressed with the beauty of the voice and the warmth and dignity of this fine musician. Highly recommended. Grady Harp, July 05

Passed the "Opera in English" test with flying colors........2005-07-04

For me, the test here was Figaro's Cavatina, from Rossini's Barber of Seville - sung in English, as is this entire compilation of 14 operatic favorites, sung by baritone Sir Thomas Allen. Could he pull it off? Could Chandos pull it off? The answer is an unequivocal, unqualified yes! The secret in singing classics in English, that were written and scored in another language, is in three things: pacing, vocal agility and appreciation for "fit", and what greater test for tongue and timing than Figaro? When you listen to this one song, you will understand why Chandos and its benefactor, Sir Peter Moores have such a passion for their Opera in English series. Sir Allen's voice is a matured unmistakably settled baritone voice that contains a lifetime's worth of understanding of the music and words he imparts through his magnificent delivery. For example, when he sings, Tchaikovsky's "You have my love and devotion" from The Queen of Spades, he delivers a smooth and deeply emotional rendition that lacks nothing in translation. Wagner's "Turning my gaze upon this proud assembly", from Tannhäuser is another example of how fine, full orchestration behind a seasoned voice that waxes eloquent with every phrase, can create a mood of relaxed familiarity with word and music, that may be lacking when sung in another tongue. Great Operatic Arias, serves up a smorgasbord of tunes that are familiar, made more so by the care and attention given to creating a place for the Opera in English series in every home library. The mood here is romantic, relaxed and with few exceptions consistent throughout. If you haven't heard Opera in English, this might be a good way to start, given the fact that the listener gets to sample how different composers might sound in other than German, Italian or French. You might be surprised to discover that when done with care, as is obviously the case here, the sound is about as good as it gets. As an added bonus, the booklet that comes with the CD is full of pictures, libretto in English, and biography that gives us a good insight into history of the singer and his identifying rolls.

Average customer rating:

Pique Dame
Tchaikovsky , Annaloro , Gencer , Radev , and Vinco
Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
ASIN: B000RGSVW6
Release Date: 2007-06-26

Average customer rating:

A great night at the Kirov
A Beautiful and Intense Opera
An Excellent Queen of Spades
Good, but contenders please????
The victorious Kirov company

Pytor Il'ich Tchaikovsky: Pique Dame

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Tchaikovsky - Eugene Onegin / Hvorostovsky · Focile · Shicoff · Borodina · Arkhipova · Orchestre de Paris · Bychkov

ASIN: B00000415X
Release Date: 1993-11-16

Tracks:

Pique Dame: Overture
Pique Dame: Gori, gori yasno
Pique Dame: Chem konchilas vchera igra?
Pique Dame: Ya imeni yeyo ne znayu
Pique Dame: Nakonets-to Bog
Pique Dame: Mne strashno!
Pique Dame: Kakaya vedma
Pique Dame: Odnazhdy v Versalye
Pique Dame: Se non e vero
Pique Dame: Duet Uzh vecher
Pique Dame: Obvorozhitelno!
Pique Dame: Da, vspomnila ... Podrugi milie
Pique Dame: Nu-ka, svetic Mashenka
Pique Dame: Mesdemoiselles
Pique Dame: Pora ush raskhoditsya
Pique Dame: Ne nado zatvorit
Pique Dame: Zachem zhe eti slyozy
Pique Dame: Ostanovites
Pique Dame: Prosti, prelestnoe sozdanye
Pique Dame: Liza, otvori!
Pique Dame: O poshchadi menya!

Tracks:

Pique Dame: Radostno, veselo v den sei
Pique Dame: Khozyain prosit dorogikh
Pique Dame: Vy tak pechalny
Pique Dame: Ya vas lyublyu
Pique Dame: Skoreye by yeyo videt
Pique Dame: Pod tenyu gustoyu
Pique Dame: Dance Of The Shepherds And Shepherdesses
Pique Dame: Moi milenki druzhok
Pique Dame: Kak ty mila
Pique Dame: Kto pylko i strastno lyubya!
Pique Dame: Vsyo tak, kak mne ona skazala
Pique Dame: Shagi! syuda idut
Pique Dame: Akh, postyl mne etot svet!
Pique Dame: Je crains de lui parler la nuit
Pique Dame: Ne pugaites!
Pique Dame: Yesli kogda nibud
Pique Dame: Chto zdes za shum?

Tracks:

Pique Dame: Entr'acte
Pique Dame: Ya neveryu chtobyu
Pique Dame: Ya prishla k tebe
Pique Dame: Uzh polnoch blizitsya
Pique Dame: Akh! istomilas ya gorem
Pique Dame: A yesli mne otvet
Pique Dame: O da, minovali stradanya
Pique Dame: Budem pit i veselitsya!
Pique Dame: Yeslib miliya devitsy
Pique Dame: Tak v nenastnye dni
Pique Dame: Za dela, gospoda
Pique Dame: Chto nasha Zhizn?
Pique Dame: Net yeshcho?
Pique Dame: Knyaz! knyaz, prosti menya!
Pique Dame: Gospod! Prosti yemu!

Amazon.com essential recording

The Queen of Spades was the opera that won Tchaikovsky the most popular acclaim in his lifetime, and with good reason. It's a powerfully dramatic story that offered the composer some irresistible opportunities. The Rococo setting encouraged Tchaikovsky to have a lot of fun in writing fake classical period dance and vocal music. But into this light-hearted and elegant atmosphere, the story itself presents the darkest possible picture of pathological obsession--with sex, gambling, money--all those juicy items that great opera seems best able to express. Tchaikovsky certainly rose to the occasion, and so does this excellent performance. With a superb all-Russian cast, it's without question the one to have. --David Hurwitz

Customer Reviews:

A great night at the Kirov.......2007-02-03

This 1993 Pique Dame would be hard to overpraise (although the Gramophone, perversely, was lukewarm). Gergiev and the ocrhstea are at their very best interpreting Tchaikovsky's kaleidoscopic score, which ranges from the most extreme, even lurid melodrama to Rococo pastishe in the court songs and dances. The line-up of singers represents the ensemble system at the Kirov at its best, mixing stellar names like Borodina, Chernov, and Arkhipova with names less known in the West. In fact, the two stirring leads, Gegan Grigorian in the taxing tenor role of Herman (sung to thrilling effect at the Met by no less than Domingo a few seasons back) and Maria Guleghina as Lisa, the naive heroine trapped in Herman's warring obsessions, were unknown to me. Both are splendid, and although one hears squally singing from her when the voice is under pressure and somewhat underpowered climaxes from him, Western ears will hear both as highly listenable voices.

The score itself is much less well known, and less often recorded, than Eugene Onegin. Have no fear that this reflects badly on Tchaikovsky's music, which is sustained in its dramatic inspiration and constantly propelled forward by the melodramatic stroy. But oh, that story. Herman's path is constantly downward, and the inevitability with which he drags himself, Lisa, and her grandmother down has a doomed quality that feels too Russian, perhaps. The score is also long, and a certain frenetic sameness sets in after a while. It really helps to see the Queen of Spades onstage.

Even so, this is impeccable music-making, and despite the effort it takes for non-Russians to follow the libretto closely for fear of missing a key event, the experience is very rewarding. This is easily one of the best installments in Gergiev's comprehensive traversal of Russian opera classics from Glinka to Prokofiev.

A Beautiful and Intense Opera.......2006-10-08

PIQUE DAME has the rare exception among Tchaikovsky's works of being beloved by the composer, hailed by the critics, at least most of the critics, and loved by the public during his lifetime. This could be with good reason. First, the story behind the opera, based on a short novel by Pushkin about a gambler who falls in love with Lisa, the granddaughter of a Countess with a secret for gambling success, only to face self destruction, is a compelling story and even though it was changed in large part in the opera, it still has dramatic intensity. The music is some of Tchaikovsky's best and most original, certainly his best for the stage and depicts the varied moods of the work. Its setting, the fashionable court circles of late 18th century Russia, calls for an elaborate stage. It's opera at its best and Tchaikovsky at his finest. It became an international success after its premiere, and while it may not be performed as often today as EUGENE ONEGIN, it still has a home in the larger opera houses around the world.

This recording by The Kirov Opera under the direction of Valery Gergiev does the opera justice. The orchestra is impeccable and the colorful choral scenes are superb. Listeners can easily imagine the grand scenes when listening to this set. The soloists likewise are phenomenal. Top of the list would be tenor Gegam Grigorian as Herman. Herman is a man of many emotions and the person who performs this role has to swing from despair to confidence and joy to sorrow almost without warning. Grigorian does this with a voice of astonishing color. Maria Gulegina has many of the same attributes as Grigorian as she portrays the youthful but soon to be heartbroken Lisa. The role of the countess has been performed on stage by a number of great and aging mezzos who still have something to offer. Who could resist a role that has a slightly tainted character who is wronged and comes back as a ghost to exact revenge? Irina Arkhipova has powerful voice and seems to be enjoying her performance as the Countess. Vladimir Chernov has become an international star since the fall of the Soviet Union, as has Nikolai Putilin. The two perform the baritone roles of Yeletsky and Tomsky respectively. Both are in excellent voice and have that deep rich sound that differentiates Russian opera from the German, Italian, and French repertoires.

In general, the rule of thumb for Russian opera is that the best casts and orchestras are those that are Russian and this applies to this set. Many of the performers in this set were trained under the old Kirov system and the singers know this opera well and the wonderful nuances of the opera. This is due to years of performance as opposed to learning the work for a one shot stage production and perhaps a recording. It is another wonderful recording of Russian opera performed by the Kirov and released by Philips.

An Excellent Queen of Spades.......2004-08-14

It is interesting that Pique Dame was first offered to Tchaikovsky's pupil Nikolay Klenovsky by Ivan Vsevolozhsky (who was a force in the composition of The Sleeping Beauty). Had it not been for the pupil's vacillation, Pushkin's story may never have been taken up by the composer. Modest Tchaikovsky had written a libretto for Klenovsky and made some changes for his brother, who composed the music in white heat and had completed the project in 5 months. Pique Dame was premiered at the Maryiinsky Theater on December 19, 1890 to great acclaim. The opera made its progress through Europe and within a decade had been performed at every major house.

There are not many recordings of Pique Dame but of them, this one is arguably the best for the energy of the performance and the quality of the singers. The Kirov Orchestra is superb, and they are recorded with great clarity. Valery Gergiev's conducting is outstanding and he produces a well-nuanced recording of Tchaikovsky's melodrama. The singers are well cast: Gregam Grigorian is an excellent Herman, particularly in his aria at the end of act 1 scene 1 when he declares he will get the secret of the three cards. I have had the pleasure of seeing Maria Guleghina singing different roles (most notably a thrilling Tosca) and always look forward to her performances. In this recording, she sings beautifully and her duets with Olga Borodina, who sings the role of Pauline, are particularly memorable for the nice blending of their voices. In the third act, Ms. Guleghina has some problems in scene 2 hitting her notes and her voice is somewhat stressed. I did not find that she has the heavy vibrato noted by another reviewer. Irina Arkhipova makes an excellent Countess and the supporting cast members are excellent.

This is an excellent recording that anyone interested in Russian opera will find of interest.

Good, but contenders please????.......2003-02-04

Gergiev really does deserve commendation for his invaluable contribution to exposing, what is for me, the greatest operatic form (Russian opera). Here is another good example and the conducting is beautiful. The vice that has hampered Russian opera generally however, is that there are too few recordings. A few artists therefore dominate the scene, sometimes benefitting from the overall excellence of the OTHER participants. I am here referring to Maria Guleghina. To have her in such a major role of Lisa should be described as no more than an "adequate performance," as the unsteady wobble in her voice is off-putting. As I have not heard other recordings of Pique Dame, I am unable to say that the role has been better sung...but I can say that there ARE better voices (e.g. Stefka Evstatieva).

Nevertheless, the recording benefits from a particularly superb performance by Grigoriam, Borodina and the legendary Arhipova....in addition to Gergiev's superb conducting. Gergiev appears not to be given to too many special effects, however (take for example, his reading of Rimsky-Korsakov's "The Tsar's Bride," where Lyubasha's violent death passes in silence). The Countess' ghost scene with Gherman is therefore sung without acoustic enhancement. This is however, a minor complaint. Pique Dame is a stunning composition and this recording has many merits....recommended.

The victorious Kirov company.......2002-12-19

Opera fans, if you enjoy Russian opera in general and Kirov company in particular, I am certain you see a lot of reviews posted all over by someone named moskvich (Russian for Moscovite) who consistently praises Bolshoi company and finds various faults in Kirov. For the lack of better word, this is baloney. The singers he mentions (Atlantov, Milashkina, Mazurok, et al) have been stars of the Bolshoi in the 70's and have been pretty average even at that time next to Galina Vishnevskaya, for instance. Their rise to fame was largely due to politicking and pushing talented singers our of Bolshoi for "not adhering to Communist Party line". Bolshoi's best conductor ever, Melik-Pashaev was driven to death by such accusations. The claims moskvich makes are completely groundless, basically resorting to saying "A is better than B", with A, naturally, being from Bolshoi. While this rivalry between the theaters ensued for the longest time, the supporters of the Moscow theater like the one in question fail to see that their company needs to have several things to stake their claim. These are:
1. Great Conductor. Bolshoi had several opportunities to get one, but failed. Gergiev's talent is so immense he needs a formidable opponent. Currently there isn't one at Bolshoi.
2. At least Two great sopranos. Kirov has Gorchakova AND Guleghina as two phenomenal dramatic (spinto) sopranos. Plus, Anna Netrebko as a true lyric one. Bolshoi, again, has no one of this caliber.
3. One good tenor. Grigoryan (on this recording) is a wonderful versatile artist. He can sing lyric parts expertly and has enough heft to attempt heavier parts, like the one of Gherman here, or Alvaro in La Forza. Atlantov (at Bolshoi) has several virtues, but there's not subtleness or real feeling in his singing. His legato is rough, and he often produces unattractive sound. Not to mention that his prime was in the 70's.
4. A mezzo, a baritone, and a chorus. Where do we start? Here we have Putilin and Chernov, two very different and incredibly exciting baritones, one Heldenbariton, one Kavalierbariton. Just listen to Putilin in Mazeppa and Chernov in Rigoletto. Olga Borodina is an internationally known all-around star, she can sing Dalila, or Olga, or baroque, and do each of these with charm and finesse. Opera News just ran a special feature on Larissa Diadkova, another great Kirov mezzo. Bolshoi currently has no one of such caliber, just drop by any day.
The list can go on and on. Last but not least, a theater needs to have a good recording label. Philips has done a spectacular job of digitally recording the masterpieces that until recently only have been available as pitiful restorations of Bolshoi's performances on LPs. As Bolshoi failed to draft the talents and enter the world arena with a formidable roster of operas, may they be Russian or western, Gergiev's company forged ahead, and, like it or not, they became The operatic face of Russia. Since we all have ears, we can easily appreciate the numerous virtues of Gergiev's recordings and enjoy the only thing that Bolshoi currently has - the ballet.

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Oh my gawd....
Bo Knows Opera
ANOTHER WONDERFUL BARITONE
Bo Skovhus at his best
Light years beyond Hampson

Bo Skovhus Sings Opera Arias
Erich Wolfgang Korngold , Ambroise Thomas , Charles Gounod , Jules Massenet , Giuseppe Verdi , Benjamin Britten , Richard Wagner , Pyotr Il'yich Tchaikovsky , English National Opera Orchestra , James Conlon , and Bo Skovhus
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bo Skovhus - Schwanengesang & Schubert's Last Songs
Bo Skovhus - Schubert: Die schöne Müllerin
The Very Best of Thomas Hampson
HOMAGE: The Age of the Diva
Lehar - Merry Widow / Kenny, Skovhus, Kirchschlager, Turay, Kunzel, San Francisco Opera

ASIN: B00000AG7L
Release Date: 1998-09-15

Tracks:

Die tote Stadt: 'Da Ihr befehlet, Konigin...Mein Schnen, mein Wahnen'
Hamlet: 'Spectre infernal!'
Hamlet: 'C'est en croyant revoir...O vin, dissipe la tristesse!'
Hamlet: 'J'ai pu frapper le miserable...Etre ou ne pas etre'
Hamlet: 'La fatigue alourdit mes pas...Comme une pale fleur'
Faust: 'Avant de quitter ces lieux'
Werther: 'Pourquoi me reveiller, o souffle du printemps?'
Don Carlos: 'C'est moi Carlos...Oui, Carlos! Oui, c'est mon jour supreme...Carlos, ecoute'
Billy Budd: Look! Through The Port... And Farewell To Ye, Old Rights O' Man!'
Tannhauser: 'Blick' ich umher in diesem edlen Kreise'
Tannhauser: 'Wie Todesahnung Dammrung deckt die Lande...O du, mein holder Abendstern'
Eugene Onegin: 'Vy mne pisali'
Eugene Onegin: 'Uzel ta samaja Tat'jana'
Pique Dame: 'Vy tak pecal'ny, dorogaja...Ja vas ljublju'

Customer Reviews:

Oh my gawd...........2004-06-24

What a wondrous singer...I absolutely agree with all the other reviews here but add:

1) he sounds as though he's singing in his First Language, whether it be French, English, German or Russian.

2) he lets his soul come out (simce Mme Callas this remains a rare event).

3) Sidebar: the San Francisco Merry Widow, whilst a delight and a wonder, is NOT fair to this man's voice.

A magnificent recital album. Every prominent opera singer out there should be jealous.

Bo Knows Opera.......2002-08-28

In the forward to this cd, John Bell Young, makes the argument that the darker, mellow baritone is an often underated part of the opera repetoire. I don't fully agree with him - there are fantastic, exciting lead roles for these men: Hamlet, Nabucco, Rigoletto, and The Barber of Seville - all glittering showcases of virtuoso. And even the supporting roles they often play, are thrilling - Scarpia can easily steal the show away from Tosca and her hero with his magnicent, albeit short, scenes; and Escamillo often wins not only the affection of Carmen, but that of an entire opera house... Still, all said and done, this is an interesting introduction to a man who is every bit as dashing, musical, and talented as any tenor to grace the stage.
Bo Skovhus showcases such extreme range in vocal talents and emotion. His tone is beautiful. His breath control and phrasing are astounding. Diction is clear and defined - especially the German arias. This is an extremely talented man.
The Korngold aria is mesmerizing in it's romantic beauty. But my favorite selections on this album are the pieces from "Hamlet"; this is french lyricism at its most marvelous, glorious, heart-sweeping grandeur. I can not imagine a better man to play this most famous anti-hero.
I cannot recommend this cd highly enough. While some Italian arias would have been a nice addition, I won't hold it against my recommendation. Skovhus's interpretation of the tenor's aria from "Werther" makes up for this.
Next time you are out purchasing yet another famous tenor's album, to hear the one hundreth version of "Celeste Aida", buy this cd instead. Give this baritone a chance, and soon you'll be humming songs a minor third lower.

ANOTHER WONDERFUL BARITONE.......2002-08-23

I first heard Bo Skovhus on a Laser Disc recording of the War Requem. I was very impressed. However until this opera recital I had not heard him again. This is truly an impressive recording. I place him up there with my other favorite baritones! He's still young so, hopefully, he has many more good years left in him!

Bo Skovhus at his best.......2002-05-17

Bo Skovhus' lovers undoubtedly awaited this comprehensive choice of arias, which almost concludes his (still young) operaic work. Well known alongside less known operas constitutes a perfect choice. From Verdi through Thomas, from Korngold to Britten and the Russian arias, mastering the variety of languages, and dealing with every single role in a very sensitive way. This unique choice and the qualities of his full, beautiful and warm voice makes one regret, that the entire opera was not recorded with him in the relevant roles, like Thomas's Hamlet for example, or Britten's Billy Budd. It leaves a taste of wanting to hear more of this young and talented Baritone, whose repertoire is much larger than could be presented in one - indeed excellent - CD.

Light years beyond Hampson.......2001-12-09

I just can't heap enough praise on Skovhus. I saw him for the first time at the Houston Grand Opera in a production of Billy Budd and was sold. This CD demonstrates very well what an immensely expressive and flexible voice Skovhus possesses. He has incredible core to his voice which allows him to attack bravado sections with zeal, but also has the musical expressivity to pull back and caress piano lines with ease and artistry while still maintaining his core sound. Hampson, who is notorious for becoming breathy and pop-like in pianissimo passages, can't touch Skovhus with a 10, 100, or 1000 foot pole.

Tracks:

Tchaikovsky: Uzh polnoch blizitsa
Puccini: In quelle trine morbide
Wagner: Einsam in truben Tagen
Wagner: Euch Luften, die mein Klagen
Tchaikovsky: Zachem zhe eti sliozi?
Verdi: Come in quest'ora bruna
Janacek: Mamicko, mam tezkou hlavu
Wagner: Der Manner Sippe
Wagner: Du bist der Lenz
Strauss: Ich kann nicht sitzen ins Dunkel starren
Lehar: Vilja-Lied

Amazon.com

This is a wonderful record. Karita Mattila's voice is ravishingly beautiful: velvety, caressing, intense, focused, gloriously radiant in the high register, full and warm in the low one, even in quality and purity throughout a span of more than two octaves. She can color and inflect it at will. Her intonation, breath control, and phrasing are impeccable.

Here, impersonating heroines from a heady mix of Russian, Czech, German, and Italian operas, Mattila displays an extraordinary vocal, stylistic, and emotional range--whether it's the wild despair of Janacek's Jenufa and Tchaikovsky's Lisa; the ecstasy of Wagner's Elsa and Sieglinde; the wistful nostalgia of Puccini's Manon and Verdi's Amelia (from Simon Boccanegra); the agonized outcry of Strauss's Chrysotemis; or the simplicity, humor, and charm of Lehar's Hanna, the famous Merry Widow. The program has the usual problems besetting excerpts from operas. The endings always seem arbitrarily cut off, and one of Sieglinde's arias begins in the middle. However, Mattila succeeds not only in setting mood and atmosphere, but also in creating real characters by purely musical and expressive means. The orchestra is excellent, balance and sound are first-rate, and Duncan Riddell plays the difficult violin solo in Jenufa's aria splendidly. --Edith Eisler

Customer Reviews:

a voice that lets you indulge.......2006-02-21

I had the pleasure of seeing Miss Mattila in Puccini's Manon Lescaut recently at Houston Grand Opera. Heretofore, I didn't know what her voice sounded like. An Italian friend of mine does not like her, so I figured she was one of those hyped-up divas that we encounter so frequently these days. But, I have to confess that Mattila blew me away in the theater. Her performance was full of nuances and telling gestures; Mattila is a very gifted singing actress, not to mention striking. Then there's that voice, which is creamy, with a touch of smokiness. The richness of her voice would lead you to believe her incapable of a thrilling high note, until she wows you by opening up her top with laser-like intensity.

Some Fleming fan had the nerve to claim that she ranked far below Fleming in terms of vocal assets. By that, I guess they meant scooping, sliding, conspicuously sighing, bellowing, etc.

This is a stupendous first CD recital for Karita. We are treated to some of the most dramatic and moving music in the whole opera canon. Mattila leaps head-first with an excerpt from Pique Dame. Here, she demonstrates how well she can connect with the words and mood of what she sings.

Next follows In Quelle Trine Morbide. Unfortunately, she mars the aria with some audible breathing, something I also noticed in the theater. Never fear- from here on, Mattila's top notch.

When I first heard Einsam in Truben Tagen, it was rather jarring. I was so accustomed to Nilsson's and Schwarzkopf's interpretations on disc. But, after repeated listens, I can say with confidence that Mattila's delivery of the aria is no less triumphant. Her richness pays even greater dividends in the second excerpt from Lohengrin.

By the time she sings Come In Quest'ora Bruna, I found myself really cheering the diva on. The role of Amelia is perfectly tailored to her voice. I asked myself why this aria almost never surfaces on recital discs. Maybe it took a Karita Mattila to demonstrate Verdi's genius.

Now, as others her have stated, the scene / prayer aria from Jenufa may well be the highlight in a disc full of highlights. Mattila masterfully navigates the complex range of moods in this pivotal sene, never succumbing to Fleming-like sighs and histrionics. Simply put, Karita proves capable of bringing a tear or two to your eye.

By now, you are in aural heaven. Mattila keeps you on cloud nine with two superb excerpts from Die Walkure, and a very fine one from Elektra. In the latter, she is given a formidable test of her vocal talents, and soars with flying colors.

Like many others, I find the Vilja-Lied as the end piece rather odd, after some twenty minutes-plus of riveting drama. I wish it could have been Sola, Perduta, Abbandonata instead. Oh well, nevermind. This recital is pure gold.

Don't let anyone tell you that the golden days of operatic singing are over. Grazie, Mattila.

Mattila's best album to start.......2005-01-12

This is my favorite soprano. So full of energy, clear and beatiful sound. The best about her is when you hear her or see her on stage. I just saw her the 1st of January at the Met in Janacek's Katia Kavanova, i just got hooked with the interpretation. She is magical.

This is for me the best cd of her collection. Because it has the best of her repertoire. My favourites arias here are Jenufa and Pique Dame. This album is very well done, and if you don;t kow her, this is the first one you have to buy. Then, i recommend the live album, and then, the last compilation. Is a must have!!

An Outstanding Recital.......2003-09-01

Karita Mattila, the famous dramatic soprano from Finland, has a wide-ranging repertory that includes Mozart, Verdi, Wagner, Puccini, and Richard Strauss, as well as Slavic composers like Tchaikovsky and Janacek (she is especially admired as Jenufa). Mattila's soprano is one of crystalline purity, with a rapid vibrato adding a thrill to the tone. Unlike many big voices, hers has lightness and grace -- obviously a result of her Mozart singing. Her musical/vocal precision reminds me of Birgit Nilsson, while her dramatic intensity and commitment recall Leonie Rysanek. Mattila sings each of the selections on this disc beautifully, and with a sense of drama that never distracts from the music. A favorite track of mine is "Come in quest'ora bruna" from Verdi's SIMON BOCCANEGRA, sung with the most exquisitely pure, youthful tone. The JENUFA, WALKEURE, and ELEKTRA excerpts are all thrilling and justify her reputation in those operas. My one and only regret is that Mattila did not include the two arias of Donna Anna in Mozart's DON GIOVANNI (a role for which she is highly acclaimed). This is a real shame: I would have loved to hear her sing those arias, as they are favorites of mine and would seem to be ideally suited to her voice and temperament. But as it is, this is an outstanding soprano recital.

Total excitement from Mattila in wide-ranging repertoire.......2003-06-13

It's not difficult to choose a highlight here: the stunning "Meditation and Prayer Scene" from Janacek's "Jenufa," eight minutes of some of the most moving singing you will ever hear. Alternating between stark drama and intimacy, the scene makes an unusual choice, and is perfect for Karita Mattila's powerful artistry.

But everyone who hears this gorgeous recording will have favorites, such as the two Tchaikovsky selections from "Pique Dame," and Mattila's choices from "Lohengrin" and "Die Walkure" -- all precisely sung. And no matter how many times one encounters the aria from Puccini's "Manon Lescaut," it will rarely sound as effortless as it does here.

The closing track, a frolicking "Vilja-Lied" from Lehar's "The Merry Widow," finds Mattila employing a slightly darker tone and adding mystery to a song that can sometimes sound relentlessly chirpy. In this case, it seems like a cannily judged encore, almost a balm following the intensity of music from "Elektra" that immediately precedes it.

Conductor Yutaka Sado, whose work is new to me, is superb. He finds colors in every track and encourages the London Philharmonic to play with terrific tone and nuance. The entire orchestra sounds marvelous, but special mention must go to Duncan Riddell, whose sensitive, heartfelt violin solo in the Janacek is one of the highlights of the whole recording. The sound quality is excellent; Erato's warm, natural ambience suits Mattila's velvety voice perfectly.

It would not be difficult to recommend this as one of the finest vocal recordings of recent years. In many ways, it's almost a model recital: a great artist, unusual selections, and intelligent collaboration from the conductor and orchestra -- just outstanding in every way.

Magnificent.......2001-11-28

My first impression of Karita Mattila and her voice was "breathtaking!" What a magnificent voice, expressive and true, and filled with a rich vibrato and a memorable tone. I've been recommending this CD to everyone I know who is into opera!

Tchaikovsky: Pique-Dame (The Queen of Spades) [HIGHLIGHTS]

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Tchaikovsky: Pique-Dame (The Queen of Spades) [HIGHLIGHTS]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000E6OS
Release Date: 1992-09-15

Average customer rating:

Tremendous singer--better than this disk suggests
Freezer bag of Borodina goodies
Truly disappointing
Greatest Voice of our Time
Beautiful

Olga Borodina - Arias
Gioachino Rossini , Giacomo Meyerbeer , George Frideric Handel , Henry Purcell , Camille Saint-Saens , Hector Berlioz , Amilcare Ponchielli , Pyotr Il'yich Tchaikovsky , Carlo Rizzi , Olga Borodina , Welsh National Opera Orchestra , and John Stien
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Olga Borodina: Portrait
Dolora Zajick - The Art of the Dramatic Mezzo-Soprano
Olga Borodina & Dmitri Hvorostovsky: Arias/Duets
Marina Domashenko - Mezzo-soprano opera arias
Denyce Graves - Voce di Donna

ASIN: B0000041KL
Release Date: 1997-05-13

Tracks:

La Cenerentola: 'Nacqui all' affanno'
Les Huguenots: 'Nobles siegneurs, salut' - 'Une dame noble et sage'
Dido And Aeneas: 'Thy Hand, Belinda' - 'When I'm Laid In Earth'
Serse: 'Frondi tenere' - 'Ombra mai fu'
Semiramide: 'Ah, quel giorno ognor rammento'
Samson Et Dialila: 'Printemps qui commence'
Samson Et Dialila: 'Samson, recherchant ma presence' - 'Amour! viens aider ma faiblesse'
Samson Et Dialila: 'Mon cour s'ouvre a ta voix'
La Damnation de Faust: D'amour l'ardente flamme
La Gioconda: 'Voce di donna o d'angelo'
The Maid Of Orleans: 'Da, chas nastal!' - 'Prostite v'i'
Pique Dame: 'Uzh polnoch' blizitsya'

Customer Reviews:

Tremendous singer--better than this disk suggests.......2005-09-28

Having seen her in live performance, I am perfectly willing to argue that Olga Borodina is one of the better singers of our times, perhaps the very best. Having listened to this recording, I am forced to admit that she could and should have been better. This is a recital from a very good mezzo, but Borodina should be more, much more, something extraordinary.

Four stars, nevertheless, for a rare and beautiful voice.

Freezer bag of Borodina goodies.......2005-09-03

The voice is wonderful: unbelievably smooth, rich, warm, with a particularly pure timbre. A very exceptional mezzo, and a joy to behold live: even though Borodina School of Acting often consists of not much more than standing there and looking busty and imperial, there is something smoldering going on- I have seen her recently on stage as Delilah and she was every bit as good as the hype has it. She can be surprisingly witty, too, especially in Rossini. Strangely then, how any drama or excitement or any particular distinction is missing from this collection. Delilah arias are beautiful, the runs in Rossini clean and pretty, Queen of Spades quite exciting actually; but the rest is ho-hum, expect for Dido, which is so overdone and bad, it's almost fun, and Handel, which is exceptionally deranged - as Baroque as double cheese burger with Russian dressing. However, even in these pieces, if you can ignore the heavy approach, the voice sounds great.
In other words, catch her live on stage, or at least on opera DVD if you can, but if she is not coming to a town near you any time soon, this CD will do as a basic introduction to the wonders of Borodina's voice.

Truly disappointing.......2004-09-11

I bought this CD because I wasn't sure I would ever get to hear Borodina live, and had heard great things about her voice. Well, it IS a strong, solid, beautiful instrument handled with excellent technique - and, in this case, well recorded too. So what's the problem? Cold, impersonal, Mack-truck approach to performing - very little real connection or involvement at all, as far as I could sense. I agree with another reviewer that the Russian pieces come off by far the best and do give some pleasure. But I'll never listen to this CD again because I find that sort of mechanical singing repellent and boring - so I think I wasted my money.

Greatest Voice of our Time.......2001-01-01

This recording shows Borodina at her most marvelous - so far - and she IS marvelous. Her technique is superb, with a range of notes, volumes, timbres, even vibratos which she uses with amazing skill to bring her characters and every word they sing to life. Her empathy with the audience and with the roles she plays comes across even on this CD, so no one can doubt her great ability as an actress as well as her phenomenal voice which is rich, solid, and full. The instrument is well trained and conditioned and Borodina uses it more skillfully than most. What a great treasure this CD is!

Beautiful.......2000-10-26

As my first experience with the voice of Olga Borodina, I must say that I am impressed. Her voice is sumptuous and seductive. I have not experienced Olga live, but I am sure that for one who has heard her on the stage, a recording does not do her justice. I must say, however, that I think this is a beautiful recording. Olga's voice is amazing, and I can only imagine how she must sound in a live concert if she sounds this good on a recording.

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Arias

Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

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

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ASIN: B000A7IHIU
Release Date: 2005-09-27

From The Official Barcelona Games Ceremony: Domingo, Carreras, Caballe, With Aragall Berganza Pons

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From The Official Barcelona Games Ceremony: Domingo, Carreras, Caballe, With Aragall Berganza Pons

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music