Viva Verdi!

On this CD:

1. Nabucco, opera (Nabucodonosor) Tu sul labbro dei veggenti
Composed by Giuseppe Verdi
Performed by Nazzareno de Angelis

2. I Lombardi alla prima Crociata, opera La mia letizia infondere
Composed by Giuseppe Verdi
Performed by Ferruccio Tagliavini

3. Ernani, opera Ernani, Ernani, involami
Composed by Giuseppe Verdi
Performed by Ina Souez

4. Ernani, opera O sommo Carlo
Composed by Giuseppe Verdi
Performed by Riccardo Stracciari

5. Attila, opera Te sol quest' anima
Composed by Giuseppe Verdi
Performed by Beniamino Gigli, Ezio Pinza, Elisabeth Rethberg

6. Macbeth, opera Ah! la paterna mano
Composed by Giuseppe Verdi
Performed by Enrico Caruso

7. Macbeth, opera Una macchia è qui tutt'ora!
Composed by Giuseppe Verdi
Performed by Margherita Grandi, Ernst Frank

8. Luisa Miller, opera Il mio sangue, la vita darei
Composed by Giuseppe Verdi
Performed by Tancredi Pasero

9. Rigoletto, opera Ella mi fu rapita...Parmi veder le lagrime
Composed by Giuseppe Verdi
Performed by Tito Schipa

10. Rigoletto, opera Povero Rigoletto...Cortigani, vil razza dannata
Composed by Giuseppe Verdi
Performed by Giuseppe de Luca

11. Rigoletto, opera Bella figlia dell'amore
Composed by Giuseppe Verdi
Performed by Amelita Galli-Curci, Beniamino Gigli, Louise Homer, Giuseppe de Luca

12. Il Trovatore, opera Stride la vampa
Composed by Giuseppe Verdi
Performed by Irene Minghini-Cattaneo

13. Il Trovatore, opera Ah! si, ben mio coll'essere
Composed by Giuseppe Verdi
Performed by Jussi Bjorling

14. Il Trovatore, opera Di quella pira
Composed by Giuseppe Verdi
Performed by Giuseppe Taccani

15. Il Trovatore, opera D'amor sull'ali rosee
Composed by Giuseppe Verdi
Performed by Rosa Ponselle

16. La Traviata, opera È strano...Ah! fors'è lui
Composed by Giuseppe Verdi
Performed by Magda Olivero

17. La Traviata, opera De' miei bollenti spiriti
Composed by Giuseppe Verdi
Performed by Giuseppe di Stefano

18. La Traviata, opera Addio del passato
Composed by Giuseppe Verdi
Performed by Claudia Muzio

19. I Vespri siciliani, opera (Les vêpres siciliennes) O tu Palermo
Composed by Giuseppe Verdi
Performed by Ezio Pinza

20. I Vespri siciliani, opera (Les vêpres siciliennes) Arrigo! Ah parli a un core
Composed by Giuseppe Verdi
Performed by Ester Mazzoleni

21. Simon Boccanegra, opera Il lacerato spirito
Composed by Giuseppe Verdi
Performed by Alexander Kipnis

22. Un ballo in maschera, opera È scherzo ed è follia
Composed by Giuseppe Verdi
Performed by Salvatore Baccaloni, Alessandro Bonci, Giuseppe Menni, Aurora Rettore

23. Un ballo in maschera, opera Ma dall'arido stelo divulsa
Composed by Giuseppe Verdi
Performed by Hina Spani

24. La forza del destino, opera Madre pietosa vergine
Composed by Giuseppe Verdi
Performed by Gina Cigna

25. La forza del destino, opera O tu che in seno agli angeli
Composed by Giuseppe Verdi
Performed by Aureliano Pertile

26. La forza del destino, opera Io muoio! Confessione!...Non imprecare
Composed by Giuseppe Verdi
Performed by Giovanni Martinelli, Ezio Pinza, Rosa Ponselle

27. Don Carlo, opera Dio che nell'alma infondere
Composed by Giuseppe Verdi
Performed by Enrico Caruso, Antonio Scotti

28. Don Carlo, opera Ella giammai m'amò
Composed by Giuseppe Verdi
Performed by Boris Christoff

29. Don Carlo, opera O don fatale
Composed by Giuseppe Verdi
Performed by Ebe Stignani

30. Aida, opera Se quel guerrier...Celeste Aida
Composed by Giuseppe Verdi
Performed by Giovanni Martinelli

31. Aida, opera O patria mia
Composed by Giuseppe Verdi
Performed by Giannina Arangi-Lombardi

32. Otello, opera Ora per sempre addio
Composed by Giuseppe Verdi
Performed by Giovanni Zenatello

33. Otello, opera Si, pel ciel marmoreo giuro!
Composed by Giuseppe Verdi
Performed by Giacomo Lauri Volpi

34. Otello, opera Ave Maria
Composed by Giuseppe Verdi
Performed by Elisabeth Rethberg

35. Falstaff, opera L'onore! Ladri!
Composed by Giuseppe Verdi
Performed by Mariano Stabile

36. Falstaff, opera Sul fil d'un soffio etesio
Composed by Giuseppe Verdi
Performed by Toti Dal Monte

Tracks:

Let It Rain
Stop
How Do I Live Without You
I Hate You Then I Love You
Higher Ground
'O Surdato 'Nnammurato
Se Bastasse Una Canzone
Betcha Never
Viva Forever
Va, Pensiero
Napule e'
Une Place Pour Moi
Non Ti Scordar Di Me
Tonight
Dreams
Adeste Fideles
Peace Wanted Just To Be Free

Amazon.com

Is music for a good cause a good cause for music? Not really, if you expect artistry. But this smorgasbord of popular international musical stars brings together extreme musical genres for an excellent purpose, and is enjoyable enough for almost anyone. Pavarotti's relaxed and buoyant leadership and still gorgeous tenor add beauty to the rock/pop selections. Trisha Yearwood, Celine Dion, and Stevie Wonder impressively hold their own against Opera Spice; but the other artists pale against the master's presence. The Spice Girls will never be confused with Anonymous 4; Zucchero's growling is scary; Florent Pagny exemplifies French rock; and Pino Daniele's breathy tenor is mellow and soothing. Best for those wanting to experience Pavarotti's vocal beauty in a more popular idiom. --Barbara Eisner Bayer

Customer Reviews:

A Superb Collection of Music.......2002-11-14

As a musician, I first ran into this disk as a PBS broadcast. What caught my ear was that every song in the concert has "the groove." Other than a children's choral cut, not a single song in the entire collection has a flaw. You'd think the Spice Girls would be a silly addition to the concert, but they do a tremendous job. Each artist appears twice, usually with Pavaotti in one of their songs, sometimes twice. Vanessa Williams is Hot! and does an incredible dance number. The engineering is excellent, with solid side-to-side separation for a really "big" sound. All in all, this is one of the favorite CDs in my music library.

This is a delightful combination of music talents to enjoy!.......1999-04-01

We first saw Pavarotti and Friends on Public Television as a fundraising event. We found the CD and especially love to listen to this CD in our car which has a great sound system. Each vocalist is so special and you will be singing along with them after a couple of plays!

This will tenderize your heart........1999-03-07

Brilliant talent for needy children, that touches the soul, and sets it on fire. Your tears will soak your socks. James

Phenomenal !! A must have for any music library........1998-12-29

A most wonderful gathering of some of the world's greatest vocalists. Such a unique blend of international Modern & Classical. If one were to put to test the ability of a vocalist to adapt to a variety of melodies, this is it. Grab your lover and take a trip in their arms with this CD!!

Outstanding Music, bringing Pavarotti to new heights........1998-12-06

Easily the best in the Pavarotti & Friends series. Always an artist on the cutting edge, with this album, Pavarotti's work will have great appeal to his fans and to scores of new enthusiasts. His duets with the Spice Girls, Vanessa Williams, Zucchero, and Stevie Wonder make it obvious that his voice has adaptability and a passion that takes it into many musical genres with ease. This shouldn't be a surprise to anyone. Sting once commented that great music occurs in the "synaptic gaps" where many different styles come together - this is an album that epitomizes the concept. Neopolitan music is a folk music in Italy, with overtones of American folk/country/jazz/rock, and Pavarotti is the Neopolitan master. This is a perfect fit of artists and selected titles. Earlier combinations of artists in this series were often much too somber, much less fun. Give this one to your teens or your great grandmother ... they'll find they have more musical tastes in common than they'd have ever imagined.

Average customer rating:

The Very Best of Giuseppe di Stefano

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

The Very Best of Franco Corelli
The Very Best of Beniamino Gigli
Giuseppe Di Stefano Sings Neapolitan Songs
Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
The Very Best of Nicolai Gedda

ASIN: B0000A5BXQ
Release Date: 2003-09-02

Tracks:

Addio, Mignon
Ah! Non Credevi Tu
Io Son Solo...Ah! Dispar, Vision
E La Solita Storia (Lamento Di Federico)
Lunge Da Lei...De' Miei Bollenti Spiriti
Fra Poco A Me Ricovero
Tu Che A Dio Spiegasti L'Ali
Son Gia Lontani!...Corre A Valle
Intanto Amici Qua...Viva Il Vino Spumeggiante
Mamma, Quel Vino E Generoso
Recondita Armonia
E Lucevan Le Stelle
Dovunque Al Mondo
Addio, Fiorito Asil
Recitar!...Vesti La Giubba
La Vita E Inferno...O Tu Che In Seno Agli Angeli
Una Parola Sola...Or Son Sei Mesi
Ch'ella Mi Creda Libero
Avete Torto!...Firenze E Come Albero
Non Piangere, Liu
Nessun Dorma

Tracks:

Questa O Quella
Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
La Donna E Mobile
Ah Si, Ben Mio
Di Quella Pira
Di' Tu Se Fedele
Teco Io Sto...Non Sai Tu Che Se L'Anima Mia...Oh, Qual Soave Brivido - Maria Callas
Forse La Soglia Attinse...Ma Se M'e Forza Perderti
Che Gelida Manina
In Un Coupe?...O Mimi, Tu Piu Non Torni - Rolando Panerai
Donna Non Vidi Mai
Oh, Saro La Piu Bella - Maria Callas
No! Pazzo Son! Guardate!
A La Barcillunisa
Cantu A Timuni
'O Sole Mio
Marechiare
Core 'Ngrato
Torna A Surriento

Average customer rating:

warning: no libretto
Excellent in every way, yet another ignored Verdi Voice!
Musical Sheet Lightning

Verdi: La Forza del Destino

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Verdi: Il Trovatore
Verdi: Macbeth
Verdi - Un ballo in maschera / Arroyo · Domingo · Cappuccilli · Cossotto · Grist · NPO · Muti
Vivaldi: In furore, Laudate pueri e concerti sacri
Puccini - La Rondine / Gheorghiu · Alagna · Matteuzzi · Mula · Rinaldi · Ciofi · Bacelli · LSO · Pappano

ASIN: B000BO0GPO
Release Date: 2006-01-10

Tracks:

Overture - Philharmonia Orchestra
Introduzione-Scena: 'Buona Notte, Mia Figlia' - John Tomlinson
Recitativo: 'Temea Restasse Qui Fino A Domani' - Jean Rigby
Romanza: 'Me Pellegrina Ed Orfana' - Rosalind Plowright
Scena: 'M'aiuti, Signoria' - Jean Rigby
Duetto: 'Ah, Per Sempre, O Mio Bell'angiol...Seguirti Fino Agl'ultimi' - Jose Carreras
Scena-Finale I: 'E Tardi...Vil Seduttor' - Various Artists
Coro-Ballabile: 'Hola, Hola, Hola! Ben Giungi, O Multattier' - Mark Curtis
Scena: 'La Cena E Pronta'/Recitativo: 'Viva La Guerra' - Various Artists
Canzone: 'Al Suon Del Tamburo' - Various Artists
Preghiera: 'Padre Eterno Signor...Pieta Di Noi' - Various Artists
Scena: 'Viva La Buona Compagnia'/Recitativo: 'Poich'imberbe E L'incognito' - Various Artists
Ballata: 'Son Pereda, Son Ricco D'onore' - Various Artists
Scena, Coro E Ripresa Della Danza: 'Sta Bene' - Various Artists

Tracks:

Aria: 'Son Giunta! Grazie, O Dio!...Madre, Pietosa Vergine' - Ambrosian Opera Chorus
Scena: 'Chi Siete?' - Juan Pons
Scena E Duetto: 'Chi Mi Cerca?...Infelice, Delusa, Reietta' - Paata Burchuladze
Finale II: 'Il Santo Nome Di Dio Signore...La Vergine Degli Angeli' - Various Artists
Scena: 'Attenti Al Gioco' - Jose Carreras
'La Vita E Inferno All'infelice' - Jose Carreras
Romanza: 'Oh, Tu Che In Seno Agli Angeli' - Jose Carreras
Scena E Duettino: 'Al Tradimento...Amici In Vita, In Morte' - Jose Carreras
Scena: 'All'armi!'/Battaglia: 'Arde La Mischia!'/Scena: 'Piano...Qui Posi' - Various Artists
Duettino: 'Solenne In Quest'ora' - Renato Bruson
Scena: 'Morrir! Tremenda Cosa!' - Renato Bruson
Aria: 'Urna Fatale Del Mio Destino...Egli E Salvo! Oh Gioia Immensa' - Jose Carreras

Tracks:

Ronda: 'Compagni, Sostiamo' - Abrosian Opera Chorus
Scena E Duetto: 'Ne Gustare M'e Dato Un'ora Di Quiete...Oh Tradimento!' - Renato Bruson
Coro: 'Lorche Pifferi E Tamburi' - Abrosian Opera Chorus
Strofe: 'Venite All'indovina' - Agnes Baltsa
Scena: 'Que, Vivandiere, Un Sorso' - Agnes Baltsa
Arietta: 'A Buon Mercato'/Coro: 'Pane, Pan Per Carita' - Various Artists
'Che Vergogna!' - Ambrosian Opera Chorus
Coro-Taratella: 'Nella Guerra, E La Follia' - Various Artists
Predica: 'Toh, Toh! Poffare Il Mondo'/(Recitativo): 'Lasciatelo Ch'ei Vada' - Juan Pons
Rataplan: 'Rataplan' - Various Artists
Coro Ed Aria Buffia: 'Fate La Carita...Che? Siete All'osteria?' - Ambrosian Opera Chorus
Scena E Duetto: 'Auf! Pazienza Non V'ha Che Basti...Del Mondo I Disinganni'/Scena: 'Giunge Qualcun..Aprite' - Paata Burchuladze
Scena E Duetto: 'Invano, Alvaro, Ti Celasti Al Mondo...Col Sangue Sol Cancellasi L'infamia' - Renato Bruson
Melodia: 'Pace, Pace, Mio Dio' - Jean Rigby
Scena E Terzetto Finale: 'Io Muoio...Confessione!...Non Imprecare, Umilitati' - Various Artists

Customer Reviews:

warning: no libretto.......2007-02-22

This is a good recording, no doubt about it, but costumers should be aware of the fact that there is no libretto included, but only a detailed synopsis.

Excellent in every way, yet another ignored Verdi Voice!.......2007-01-06

Fortunately, we do not have too many recordings of Forza to choose from. It is hard to cast those roles, so dramatic and long winded and phrases requiring piano and fortissimo and Rosalind Plowright was up to the challenge, but you need more than a big voice to justify Forza, you need TEXTURE too - depth, width, and sheen! No wonder, the opera has vanished from the repertory.

According to what I've heard, she was a Verdi soprano par excellence! Her tendency to cut the top notes short, play with the rhythm at times, and bottle up the tone can't detract from that awesome exciting voice AND that excellent Verdi beat. HOWERVER, Rosalind Plowright seemed to assiduously avoid the typical Verdian soprano sound a la Milanov, Price, Dunn, and Arroyo etc but opted for a brighter sound every bit as huge and crisp as Crespin and as veiled as the Callas of the 1960's. All this makes for an avalanche of a voice that must have raised the roof. She is very very thrilling to hear and this explains why she was a Verdi soprano of choice in Europe during the Milllo and Dunn years. I assume her voice didn't please everyone because it was unwieldy at the top, again like Crespin and also the tone hardened at times; in fact, i must repeat, she sounds exactly like a combination of Callas and Crespin. But make no mistake, those great divas never wrapped their great voices around Verdian phrases like Plowright, especially in .."Son Giunto, grazie o Dio" for in this regard she joins that long line of Verdians going way back to Arangi-Lombardi, Ponselle, and Milanov -- this is Art and anyone who has studied Verdi can identify a Verdian of this caliber. You Verdians out there know what I mean.

Carerras is close to the microphone, and this forcing does not do well in Verdi. Nevertheless, there is an honesty with this man, a passion, an innate truth. I prefer him dead or alive to Domingo, but he is not at the technical level of Domingo or Aragall. Preziosilla is Ms. Baltsa, and how well she sings. I am a FAN of RENATO BRUSON so its not fair to sing his praises!

Giuseppe Sinopoli is intense and he achieves a noble Verdi sound appropriate for Forza, nice and warm sounding but rhythmic indeed. I do like his work in this Forza and I think his work as a Verdian has NOT been bettered, not even by Jimmy Levine who I also really like. However, Trovatore belonged to Zubin Mehta and Humberg (I think I spelled it right - he is on the Naxos Trovatore)

TOP MODERN VERDI -- THAT IS MY ASSESSMENT!

Musical Sheet Lightning.......2006-10-11

Although Verdi's basic style was established early in Nabucco (1842), he keeps getting better down through the 1860s with the spectacular La Forza del Destino and Don Carlo. In listening to his operas after 1870, I am too familiar with Aida and Otello to be deeply impressed with them; and I have never cared for Falstaff. The progress toward "true music drama" climaxing in Otello does not concern me although Boito's brilliant libretto makes that 1887 opera one of Verdi's best. The setting and plot of La Forza del Destino interest me more than any other Verdi opera. The accidental killing of a father, the brother's irrational but deadly vendetta and ,above all, the role played by Italian monasticism capture my imagination. Verdi's supercharged music is convincing at every point. What could be more electric than the brooding overture with its mournful clarinet melody? Leonora prays convincingly to the Virgin and then with a group of monks in Act II. I recall the role played by Italian monasticism in Ann Radcliffe's striking novel The Italian published in the 1790s, the same decade that Cherubini's Medee set the pattern of "grand opera," a basic element in Verdi despite all the talk about "music drama" without arias. Ewen observes, "With its pronounced dramatic content and enriched harmonic and orchestral writing, La Forza del Destino represents a gradual departure from the style of La Traviata toward that of Aida." I prefer to see this brilliant opera as a end in itself apart from any progressive scheme.

I appreciate most the interaction of keen drama with religion in a form preferable to the rather morbid religious-secular dualism of Wagner's Tannhauser. Although Verdi's monks may sing quietly, the religious element blends with the plot more convincingly than in Wagner's schematically opposed Pilgrim's Chorus and Venusberg music. Even more striking is the contrast between Verdi's opera and Tchaikovsky's frantic Eugen Onegin where the protagonist's stupid egotism results in a tragic duel. In Act IV of La Forza del Destino the noble lover Alvaro tries to convince the vengeful Carlo that "God alone can bring retribution." Although Carlo murders his sister and Alvaro is weak enough to curse his "destiny" (secular language for the overruling sovereignty of God), the last word goes to Padre Guadiano in "Non imprecare, umiliati." In addition to all these features the performance gives us Agnes Baltsa as an entertaining gypsy Preziosilla. Verdi measures out just the right amount of this change of pace rather than making us wallow in it as does Bizet's Carmen. In his great tragic opera, Verdi proves once for all that one of the best forms of opera is high-tension theater. His work forms a perfect complement to the operas of Meyerbeer.

Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Average customer rating:

A Classic Set
Callas is okay- Price the ONLY VERDI SOPRANO????
An excellent "Forza" but not the best all round performance
Brilliant Forza and a stupid reviewer
Brilliant - But I also love Tebaldi

Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music

Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan
Puccini: Manon Lescaut (complete opera) with Maria Callas, Giuseppe di Stefano, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan

ASIN: B000002RY5
Release Date: 1997-08-19

Tracks:

La forza del destino: Sinfonia
La forza del destino: Act One: Buona notte, mia figlia (Leonora)
La forza del destino: Act One: Temea restasse qui fino a domani! (Leonora)
La forza del destino: Act One: Me pellgrina ed orfana (Leonora)
La forza del destino: Act One: M'aiuti, signorina, piu presto andrem (Leonora)
La forza del destino: Act One: Ah, per sempre, o mio bell'angiol (Alvaro, Leonora)
La forza del destino: Act One: Vil seduttor! Infame figlia! (Leonora, Alvaro)
La forza del destino: Act Two: Scene One: Hola, hola, hola! Ben giungi, o mulattier
La forza del destino: Act Two: Scene One: La cena e pronta (Carlo)
La forza del destino: Act Two: Scene One: Che vedo! Mio fratello! (Leonora, Carlo)
La forza del destino: Act Two: Scene One: Viva la guerra! (All)
La forza del destino: Act Two: Scene One: Al suon del tamburo (All)
La forza del destino: Act Two: Scene One: Padre Eterno Signor (Leonora, Carlo)
La forza del destino: Act Two: Scene One: Viva la buona compagnia! (Carlo, Preziosilla)
La forza del destino: Act Two: Scene One: Poich'e imberbe l'incognito (Carlo)
La forza del destino: Act Two: Scene One: Son Pereda, son ricco d'onore (Carlo)
La forza del destino: Act Two: Scene One: Sta bene (Preziosilla, Carlo)
La forza del destino: Act Two: Scene Two: Sono giunta! Grazie, o Dio! (Leonora)
La forza del destino: Act Two: Scene Two: Madre, pietosa Vergine (Leonora)
La forza del destino: Act Two: Scene Two: Chi siete? (Melitone, Leonora)
La forza del destino: Act Two: Scene Two: Chi mi cerca? (Guardiano, Leonora, Melitone)
La forza del destino: Act Two: Scene Two: Infelice, delusa, rejetta (Leonora, Guardiano)
La forza del destino: Act Two: Scene Two: Il santo nome di Dio Signore sia benedetto (Guardiano)
La forza del destino: Act Two: Scene Two: La Vergine degli Angeli (Guardino, Leonora, All)

Tracks:

La forza del destino: Act Three: Scene One: Attenti al gioco, attenti, attenti al gioco
La forza del destino: Act Three: Scene One: La vita e inferno all'infelice
La forza del destino: Act Three: Scene One: O tu che in seno agli angeli (Alvaro)
La forza del destino: Act Three: Scene One: Al tradimento! (Carlo, Alvaro)
La forza del destino: Act Three: Scene One: All'armi!
La forza del destino: Act Three: Scene Two: Arde la mischia!: Piano...qui posi...approntisi il mio letto (Alvaro, Carlo)
La forza del destino: Act Three: Scene Two: Solenne in quest'ora (Alvaro, Carlo)
La forza del destino: Act Three: Scene Two: Morir! Tremenda cosa!
La forza del destino: Act Three: Scene Two: Urna fetale del mio destino (Carlo)
La forza del destino: Act Three: Scene Two: E s'altra prova rinvenir potessi? (Carlo)
La forza del destino: Act Three: Scene Three: Compagni, sostiamo
La forza del destino: Act Three: Scene Three: Ne gustar m'e dato un'ora di quiete (Alvaro, Carlo)
La forza del destino: Act Three: Scene Three: Lorche pifferi e tamburi par che assordino la terra (Preziosilla)
La forza del destino: Act Three: Scene Three: Qua, vivandiere, un sorso
La forza del destino: Act Three: Scene Three: A buon mercato chi vuol comprare?
La forza del destino: Act Three: Scene Three: Pane, pan per carita!
La forza del destino: Act Three: Scene Three: Nella guerra e la follia (Preziosilla)
La forza del destino: Act Three: Scene Three: Toh! Toh! Poffare il mondo! Che tempone! (Melitone, Preziosilla)
La forza del destino: Act Three: Scene Three: Rataplan, rataplan, della gloria (Preziosilla)

Tracks:

La forza del destino: Act Four: Scene One: Fate la carita, e un'ora che aspettiamo! (Melitone, Guardiano)
La forza del destino: Act Four: Scene One: Giunge qualcuno, aprite (Guardiano, Melitone)
La forza del destino: Act Four: Scene One: Invano Alvaro ti celasti al mondo
La forza del destino: Act Four: Scene One: Le minaccie, i fieri accenti (Alvaro, Carlo)
La forza del destino: Act Four: Scene Two: Pace, pace mio Dio! (Leonora)
La forza del destino: Act Four: Scene Two: Io muoio! Confessione! (Carlo, Alvaro, Leonora)
La forza del destino: Act Four: Scene Two: Non imprecare, umiliati a Lui ch'e guisto e santo (Guardiano, Leonora, Alvaro)

Amazon.com

If it were not for Maria Callas, we would all think that La Forza del Destino is essentially a prime exercise and showcase for great soprano voices, with a few goodies thrown in for the rest of the cast and the chorus. In this recording, Callas's voice is not technically great, though it is usually good.She makes most of her points by other means: close attention to the value of words, subtle nuances of tone and phrasing, an uncompromising determination to confront the emotions in the text and convey them honestly and strongly, even when they reach a terrifying intensity. We have here, under the absurdities of plot, a compelling psychological portrait of a woman driven beyond her limits--a woman whose brother wants to kill her lover, who has killed her father. The supporting cast is skilled and Serafin shapes a powerful interpretation. -- Joe McLellan

Customer Reviews:

A Classic Set.......2006-11-09

Despite the few cuts and the mono recording this is still one of the most desirable sets of "La Forza del Destino". The main reason is of course Maria Callas's traversal of the role of Leonora. She was still in pretty good voice at this stage in her career and, though there are moments more comfortably vocalised by some of her rivals ("la vergine degli angeli" for instance), she is the complete Verdi heroine. No other soprano sets before us so well a character torn between conflicting feelings in the first act - on the one hand, love and filial duty, and on the other, love for Don Alvaro. Her very first utterances have a thrill unmatched on other recordings. Later, in the second scene of Act II, she is absolutely superb. Whenever she is before the microphone, we are aware of the greatness of the score as music drama. Here she is helped immeasurably by Serafin's command of the dramatic impulse of the music, and the magisterial, kindly and protective Padre Guardiano of Nicola Rossi-Lemeni. Others may have sung the role with better technique and more beautiful tone, but few, if any, are more interesting in the role. Of the other principals, Richard Tucker is almost their equal. With a voice so splendid and so suitable for the role, it seems a pity that he occasionally feels the need to make up for the fact that he is not Italian, by breaking the line of his singing with unmusical aspirate and sobs. In all other respects he is ideal. Carlo Tagliabue is a little past his best (he was 56 at the time of the recording), but he sings with authority, if without great immagination. Elena Nicolai is, if not the best or most accurate of Peziosillas, at least a spirited and involved performer. Both Plinio Clabassi as Il Marchese di Calatrava and Renato Capecchi as Melitone give strong accounts of their roles.
I have never quite been able to understand why in some of EMI's Callas recordings from this time the mono sound is pretty open and in others quite constricted. This, like the De Sabata "Tosca" is really pretty good. I hardly missed stero at all. And Serafin is superb. He is still, to my mind, a severely underrated conductor. Seen as a singer's conductor, he is somehow thought of as being a little anonymous, but for me, he allows the music and the drama to unfold in a completely natural way, without drawing too much attention to himself, as so many modern conductors tend to do. His "Otello", after all, is considered one of the best conducted versions in the catalogue.
As the previous reviewer noted, this is probably the most expensive way of acquiring this set, but it does come with full notes, libretto and translation. If they are not important to you, you may wish to wait until it is issued at super bargain price, as it inevitably will be, by Naxos, Regis and EMI themselves.

Callas is okay- Price the ONLY VERDI SOPRANO????.......2006-09-06

Callas, not my favorite, could sing Verdi well so could Leontyne Price. Any statements suggesting that these were the only Verdi sopranos - Opera Lover's refusal to acknowledge anyone but Price suggests either very limited listening experience- what about Ponselle, or Milanov or poor hearing.
In this role Tebaldi is as good as I ever heard although she did not sing as much Verdi as the above mentioned divas. CAVEAT!!!! Unfortunately, I did not hear Ponselle either live or in the whole opera or all bets might be off with Tebaldi. Ponselle was a unique vocal and dramatic presence.

An excellent "Forza" but not the best all round performance.......2006-08-24

I'm saddened by the intemperate nature of some of the preceding reviews of this recording, so let's try to keep it objective and fair. First, no-one inflects the text and caresses those glorious melodies as affectingly as Callas although Price in 1964 and Tebaldi in the (pretty raw!) live Mitropoulos recording run her close. The infamous "flap" in Callas' voice is only occasionally in evidence and she more than compensates with heart-wrenching portamenti and thrilling excursions into her lower register. Tucker is very, very good, if occasionally guilty of his besetting fault of being too lachrimose, but the top rings out magnificently. The rest of the cast, with the exception of Capecchi's firm, characterful Melitone, is not up to their standard, though Nicolai is wholly acceptable in the essentially irritating role of Preziosilla, with her silly tub-thumping music. Tagliabue is clearly past his best but does not disgrace himself, despite some rather nasal, laboured sounds. My one real bugbear is Rossi-Lemeni; I have never understood why he was so esteemed. The voice is woolly, unsteady, lacking centre and without the true bass gravitas the role of Padre Guardiano requires - although he certainly sounds old! Serafin's conducting is typically well-judged, in turn both pacy and intense as this gloomily beautiful music demands and you soon forget that the recording is mono, the sound being so clear, clean and brilliant. My favourite "Forza" is still the 1964 Schippers for the all-round excellence of the cast, though the 1947 Marinuzzi (available cheaply on Naxos) is worth having as it's a real period recording with a pulsating sense of live theatre about it (and you can hear Tancredi Pasero sing the role of Padre Guardiano as it should be sung). The above-mentioned live Mitropoulos contains the single most exciting piece of tenor singing I have ever heard in Del Monaco's "O tu che in seno" - the audience go wild and start mooing their appreciation like demented cattle - so you have quite a choice, the Schippers being the safest.

Brilliant Forza and a stupid reviewer.......2004-11-22

What does such drivel give you? Do you have to bash a devoted artist in order to have a life? What a shame this is! This Sills-sycophant accuses Callas' fans of bashing while HE is the one who posts profane, unmusical and tasteless nonsense. I've worked with singers and conductors for over 50 years and am appalled by such awful manners and stupidity. This is a great La Forza del Destino. Even IF one were not to "get" Callas, how [...] he rate the work of a Tullio Serafin who experienced Verdi himself in such a horrenduous way? Go, listen to your Sills and leave the reviewing to those who have taste and musical knowledge!

Brilliant - But I also love Tebaldi.......2004-10-18

The Callas-Forza is brilliant. Wonderful. But Callas was neither a mezzo (Well, with an F in her throat?) nor was her voice ugly IMHO but had a very unique beauty to it, very bittersweet, not all whipped cream like Tebaldi or today Fleming. But hey, I love many flavours. That's why I can heartily recommend both sopranos' Leonoras here.

Giuseppe Di Stefano: Historical Recordings 1952 - 1963

Average customer rating:

Very good CD for the price
A musical history
Only for die-hard Di Stefano fans

Giuseppe Di Stefano: Historical Recordings 1952 - 1963

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Tracks:

La Boheme: Che Gelida Manina
Rigoletto: Questa O Quella
La Forza Del Destino: La Mia Vita E Inferno All' Infinito
Lucia Di Lammermoor: Fra Poco A Mi Ricovero
Lucia Di Lammermoor: Tu che a Dio spiegasti l'ali
Cavalleria Rusticana: Viva Il Vino Spumeggiante
Cavalleria Rusticana: Mamma, Quel Vina E Generoso
La Traviata: Un Di, Felice, Eterea
La Traviata: De Miei Bollenti Spiriti
Rigoletto: La Donna E Mobile
Turandot: Nessun Dorma
Aida: Se Quel Querrier Io Fossi.. Celeste Aida
Un ballo in maschera: La Rivedra Nell'estasi
Un ballo in maschera: Di Tu Si Fedele
Un ballo in maschera: E Scherzo O E Follia
Turandot: Non Piangere Liu
'L'elisir d'amore': Quanto E Bella, Quanto E Cara
'L'elisir d'amore: Una Furtiva Lagrima
Luisa Miller: Quando Le Sere Al Placido

Customer Reviews:

Very good CD for the price.......2000-08-14

I have just listened to the whole CD and except for three tracks I think Pippo's singing is excellent.We have to listen to this CD for what it really is.A re-recording of live performances dating back almost 50 years.We can't expect today's digital quality recordings sound.On the first track,we hear Che Gelida Manina from a 31 year old Pippo who obviously was having a bad night,which is not uncommon with most singers.Tracks 18 & 19 definitely show Pippo in decline,but I didn't find band 18 as bad as another reviewer did.I counted only two vocal flaws.The rest of the aria is sung not that bad for a declining Pippo.Track 19 is sung well,but as in track 18 the voice sounds like it's getting tired.The rest of the singing on the CD,I enjoyed,especially the Addio Alla Madre.I would say that is my favorite on the CD.In my opinion,it's an ecellent CD for the price and it does contain some excellent singing and also is of historical value.

Pippo's Biggest Fan.

A musical history.......1999-12-12

I purchased this recording when it first became available. It is an important for as a historical document on one of the greatest tenors in the history of opera. Yes, his voice has a very apparent decline. And yes track 18 (Una furitiva lagrima) has cracked notes and other obvious vocal flaws. What the other reviewer has missed (but the audience didn't - which is why the aria was greeted with such enthusiasm) was the passion, the emotion that Di Stefano put into his singing. I make no excuses, I am an ardent Di Stefano devotee. His early singing was glorious, pure beauty. His later singing lost it's pure beauty, but gained passion and emotion.

This disc is important because it traces this transition.

Only for die-hard Di Stefano fans.......1999-03-24

I picked up this CD on a whim. The liner notes are useful, and describe the meteoric rise and fall of DiStefano's career, his temperment and ego.

The CD covers a period of only 11 years, but the deterioration of his voice during that period is frightening. Track 1 (1962) 'Che Gelida Manina' showcases a much fresher voice, but he strains terribly for the high 'C' and never even gets close. Track 18 (1963) 'Una furtiva lagrima' is full of embarrassments- chokes, flat notes, etc. - yet the live audience eats it up.

Album Description

Disc 1: Donizetti Arias from L'elisir d'amore, Maria Stuarda, Lucia di Lammermoor, La Fille du Regiment, Linda di Chamounix, La Favorita, and Don Paquale

Disc 2: Bellini/Donizetti/Verdi Includes arias from I Capuleti e i Montecchi, Norma, La Sonnambula (1976 Duet Recording), I Beatrice di Tenda, I Puritani, Don Sebastien, Il Duca d'Alba, I Lombardi, I due Foscari, Ernani, and Attila

Disc 3: Verdi 1 Includes arias from Macbeth, Luisa Miller, Rigoletto, Il Trovatore, La Traviata, and Les Vepres Siciliennes

Disc 4: Verdi 2 Includes arias from Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello, and Requiem

Disc 5: Puccini Includes arias from La Boheme, Madama Butterfly, and Turandot

Disc 6: Puccini and Verismo Includes arias from Cavalleria Rusticana, Manon Lescaut, Pagliacci, Andrea Chenier, and Tosca

Disc 7: Arias 1 Includes arias from La Griselda, Atalanta, Orfeo ed Euridice, Don Giovanni, Cosi fan Tutte, Guillaume Tell, and more. Includes Unreleased Material.

Disc 8: Arias 2 Includes arias from Martha, Mefistofele, La Giocanda, Adriana Lecouvreur, Rosenkavalier, Fedora, Werther, Faust, Carmen, and more

Disc 9: Italian Songs Includes: In questa tomba oscura, Me voglio fa'na casa, Non t'amo piu, Pace non trovo, and more

Disc 10: Neapolitan and Italian Popular Songs Includes: O sloe mio, Torna a Surriento, Core 'ngrato, Funiculi Funicula, Non ti scordar di me, Mamma and more

Bonus CD: The 1964 EP (previously unreleased) "Che Gelida Manina," "E lucevan le stelle," "Questo o quella," "La Donna e mobile," and "Parmi veder" with Orchestra of the Royal Opera House, Covent Garden, Edward Downes conducting

Customer Reviews:

Beyond all description..........2006-09-19

As a boy, I heard so many hyperbolic references to the legendary Enrico Caruso that I chose to purchase a remastered copy of his "Greatest Hits" when I first began to acquire recordings as a young man. Soon after, I discovered Pavarotti and my life was changed by his music. Caruso ended up in the Goodwill Store. I am convinced that in 500 years, should the earth cool again and the Muslim hoards abate, the civilized world will still tell tales of the greatest tenor. I have often found myself grumpy when searching for recordings of Pavarotti because of the inconsistent fidelity of the recordings. That search for the definitive Pavarotti recordings, regarding both content and fidelity, has ended with the release of this extraordinary collection. Worth it's weight in gold, the Puccinni Volume (#5) alone is enough to send someone like me into hyperspace. I am astounded by the beauty and power of these performances. I will always remember the day, not long ago, when a NPR commentator glibly mentioned between the weather and the night's playlist the terrible words, "Luciano Pavarotti has announced that he is retiring from Opera." I felt as if something indescribably beautiful was fading from the world. Of course, beauty in all of its earthly forms is fleeting at best, but these discs contain a reflection of it that will surely bolster any soul.

An Absolute Must-Have for Any Pavarotti Fan.......2004-01-09

...and that certainly goes without saying. My one tiny little problem with it is that his recordings of "Santa Lucia" and "Caruso" are not on this incredible box-set. Even though I have those recordings on other CDs, I still think those are very important pieces to include on this set (assuming that this set of Pavi hits would be the only compilation that that any fan of this phenomenal tenor would have). He is probably my biggest idol, and he deserves to have been one of the biggest opera stars in history.

Wonderful!!!!.......2002-11-07

This Pavarotti set; The Pavarotti Edition; is a wonderful collection of Arias and songs that cover Luciano's great career. Pavarotti is THE Voice of the 20th Century and this set does him justice. It includes 10 CDs with over 750 minutes of music; Includes Music from All of His roles; has a beautiful 76 page full color booklet; Has a wonderful write up; and includes a bonus CD of Pavarotti's fist album, a 45, from 1964, which has never been released on CD before this set. Every Song is hear, This SET is a must have for every Pavarotti Fan.

Average customer rating:

The greatest Otello (despite the sound)

Giuseppe Verdi: Otello

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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Verdi - Giovanna d'Arco (Joan of Arc)/ Caballé · Domingo · Milnes · LSO · Levine

ASIN: B000006L7P
Release Date: 1990-10-25

Customer Reviews:

The greatest Otello (despite the sound).......2005-09-25

You can get this Otello in the EMI studio version being reviewed here or as a live performance on Opera d'Oro, both almost identical in every detail musically. Vickers was the supreme Otello of his generation, with a huge, magnificent voice and heartbreaking pathos--he doesn't bluster or fake it emotionally for even a bar. His death scene is one of the great things in the Verdi canon on disc.

Freni is equally wonderful, exemplary in eveyr way musically and a prime example of how to act through the voice. Her Desdemona is ravishing and her last-act solos heartrending. The only weak member of the cast, unfortunatley, is the English bass-baritone Peter Glossop as Iago. (Karajan had a weak Iago on his famous Otello with Tebaldi and Del Monaco on Decca, too.) Glossop has dramatic force but no venom, and his wobbly voice isn't adequate to the role.

While we're mentioning negatives, the sound is very uneven and doctored with. That's typical of Karajan's EMI period because he tried to take over the producer's job and botched things--you'll never find one volume level that suits both the softest and loudest music.

Even so, these negatives can't override the enormous achievement this set represents--a classic Otello that will live a long, long time.

Average customer rating:

A Worthy Trovatore
Strangely fascinating!

Verdi: Il Trovatore

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Verdi: La Forza del Destino
Cilea: Adriana Lecouvreur
Mascagni: Cavalleria Rusticana
Puccini: La fanciulla del West
Puccini: La Bohème (Tebaldi, Prandelli, Erede)

ASIN: B00006LENP
Release Date: 2003-02-11

Tracks:

All'erta! All'erta! - Giorgio Tozzi
Di Due Figli Vivea Padre Beato - Giorgio Tozzi
Che Piu T'arresti?
Tacea La Notte Placida E Bella In Ciel Sereno
Di Tale Amor, Che Dirsi Mal Puo Dalla Parola
Tace La Notte! ... Il Trovator! - Ugo Savarese
Deserto Sulla Terra ... Anima Mia!
Infida!...- Qual Voce! ... Di Geloso Amor Sprezzato ... Un Istante Almen Dia Loco il Tuo Sdegno Alla Ragione
Vedi! Le Fosche Notturne Spoglie ... Chi Del Gitano I Giorni Abbella? (Anvil Chorus) - Coro Del Maggio Musicale Fiorentino
Stride La Vampa! ... Mesta E La Tua Canzon - Mario Del Monaco
Soli Or Siamo; Deh, Narra Quella Storia Funesta ... Condotta Ell'era In Ceppi - Mario Del Monaco
Non Son Tuo Figlio? - Mario Del Monaco
Mal Reggendo All'aspro Assalto ... L'usato Messo Ruiz Invia! - Mario Del Monaco
Perigliarti Ancor Languente Per Cammin Selvaggio Ed Ermo! - Mario Del Monaco
Tutto E Deserto - Giorgio Tozzi
Il Balen Del Suo Sorriso ... Quel Suono! ... Ardir!... Andiam ... Per Me, Ora Fatale, I Tuoi Momenti Affretta - Giorgio Tozzi
Ah!... Se L'erro T'ingombra, O Figlia D'Eva, I Rai ... Perche Piangete?
E Deggio... E Posso Crederlo? ... Urgel Viva!

Tracks:

Or Co' Dadi, Ma Fra Poco Giocherem Ben Altro Gioco - Giorgio Tozzi
Squilli, Echeggi La Tromba Guerriera - Giorgio Tozzi
In Braccio Al Mio Rival! ... Che Fu? ... Innanzi, O Strega - Giulietta Simionato
Giorni Poveri Vivea ... Tu Vedi Chi L'infame, Orribil Opra Commettea ... Deh, Rallentate, O Barbari, Le Acerbe Mie Ritorte - Giulietta Simionato
Quale D'armi Fragor Poc'anzi Intesi?
Ah! Si, Ben Mio; Coll'essere Io Tuo, Tu Mia Consorte - Mario Del Monaco
L'onda De' Suoni Mistici ... La Zingara, Vieni, Tra Ceppi Mira
Di Quella Pira L'orrendo Foco ... All'armi! All'armi!
Siam Giunti: Ecco La Torre
D'amor Sull'ali Rosee Vanne, Sospir Dolente
Miserere ... Quel Suon, Quelle Preci Solenni ... Ah, Che La Morte Ognora E Tarda Nel Venir
Tu Vedrai Che Amore In Terra Mai Del Mio Non Fu Piu Forte
Udiste? Come Albeggi, La Scure Al Figlio, Ed Alla Madre Il Rogo - Ugo Savarese
A Te Davanti. - Qual Voce!
Mira, Di Acerbe Lagrime Spargo Al Tuo Piede Un Rio
(Vivra!... Contende Il Giubilo I Detti A Me, Signore...)
Madre?... Non Dormi? ... Vedi?... Le Sue Fosche Impronte - Mario Del Monaco
Si; La Stanchezza M'opprime, O Figlio - Mario Del Monaco
Che!... Non M'inganna Quel Fioco Lume?
Parlar Non Vuoi?
Ti Scosta... - Non Respingermi
Prima Che D'altri Vivere... Io Volli Tua Morir! ... Sia Tratto Al Ceppo!

Customer Reviews:

A Worthy Trovatore.......2006-05-13

I decided to buy a used copy of this half century old Trovatore on the strength of the earlier review posting. I'm certainly glad I did.

First, there is the pleasure of hearing Tebaldi in a role that wasn't central to her repertory. Having heard her Violetta on an early '50s Decca recording of Traviata I was not expecting much in the way of florid singing. I was pleasantly surprised. True, some of the runs are sketchy and the tone isn't always ideally equalized when she goes for the high notes, but Tebaldi isn't far behind the fabled Milanov, a favorite in this role. Tebaldi's italianate timbre is a decided plus. A few days ago I played the first act aria and cabaletta for some friends without any identification. After some puzzled looks, someone commented that whoever it was, she was great and though she sounded like Tebaldi, the florid singing was too good for it to be her. Needless to say, they were all pleasantly surprised.

I think Simionato is simply the finest Azucena on disc - whether here or in the legendary Salzburg broadcast of a few years later.

Del Monaco isn't an intellectual tenor by any stretch of the imagination, but this is elemental, viscerally exciting singing. I'll give up the subtle nuances for a vital, heroic Manrico like this.

Savarese is a competant Di Luna. He's certainly not offensive, but there's not much here to convince the listener he belongs in the company of the great exponents of the role. I have to admit that I think the role's showpiece, "Il balen" is a problem for any interpreter. I think organ grinder every time I hear it.

It's always a pleasure to hear the young Tozzi's richly overtoned voice as Ferrando.

Erede is no Karajan (or Mehta) but he gives us a well routined reading of the score. Finally, the sonics of this 1956 recording are very impressive early vintage stereo. Despite its occasional flaws, I quickly have become very attached to this venerable Trovatore.

Strangely fascinating!.......2004-01-01

This old Trovatore recording has aspects that would normally make one avoid it. However, I find myself listening to it more and more and actually enjoying it more than other, more popular recordings of this opera.

Mario Del Monaco is, as expected, a heroic Manrico. He rarely sings piano and knows little about elegant phrasing but the sheer vigour and ring of his voice strikes in magnificiently! Only F. Corelli equals Mario in force and exciting high notes. Musically, Corelli is certainly more creative but I've always found Del Monaco's voice more handsome. Tastes differ, though. Del Monaco is particularly thrilling in "mal reggendo, all'aspro assalto", "ah! Si, ben mio" and "Di quella pira" even if he could hold the last note longer in the cabaletta.

The casting of Renata Tebaldi as Leonora is for most opera fans controversial. She is a spinto with little agilty; it's interesting to see what such a voice can offer. Indeed, she barely manages the florid parts and the highest notes sound effortfull. In this part she's nowhere near Caballe, Milanov, Callas or even Price. However, there are other moments that no other soprano in my experience has ever sung so idiomatically. In "mira, di acerbe lagrime" for example, the way she sings those long phrases using her glorious spinto instrument is unique. She firmly grasps each note and the result is intoxicating! Same with Miserere and the proceeding Manrico - Leonora encounter. Dramatically her outbreaks are few. However, Tebaldi was THE FIRST who made me realise that Leonora is a woman in love!

If one can argue about the performances of Tebaldi and Del Monaco, little can be said about Simionato's Acuzena. Along with Barbieri and Cossotto she's one of the best interpreters of this wonderful role, probably Verdi's greatest mezzo part. The weakest link of the cast is Ugo Savarese's routine Conte di Luna. If only Bastianini had joined this recording instead. Tozzi does an OK job as Ferrando. Erede conducts well but nothing really memorable. Decca's early stereo sound certainly impresses; pity that EMI and RCA didn't adopt stereo so early as well.

On the whole, this set won't beat famous Trovatores like Karajan's live performance but it will always attract my attention!

Verdi: Don Carlo
Average customer rating:

A beautiful reading despite the casting of some light voices

Unfortunately, the minority standpoint

Verdi: Don Carlo

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Don Giovanni: Lepovello's Revenge (Soundtrack)

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Olga Borodina & Dmitri Hvorostovsky: Arias/Duets

Rimsky-Korsakov: The Tsar's Bride

Arie Antiche [Australia]

ASIN: B0000C6IVZ
Release Date: 2004-03-09

Tracks:

Su, Cacciator!
Fontainebleau! Forest Immensa E Solitaria!
Io La Vidi
Il Suon Del Corno Alfin Nel Bosco Tace
Al Mio Pie, Perche?
Di Qual Amor, Di Quant'ardor
Al Fedel Ch'ora Viene, O Signora
L'Ora Fatale E Suonata!
Inni Di Festa Lieti Echeggiate
Il Glorioso Re Di Francia, Il Grande Enrico
Carlo Il Sommo Imperatore
Al Chiostro Di San Giusto
E Lui! Dessa! L'Infante!
Dio, Che Nell'alma Infondere
Sotto Ai Folti, Immensi Abeti
Nei Giardin Del Bello
La Regina!

Tracks:

Io Vengo A Domandar Grazia All Mia Regina
Il Re!
Non Pianger, Mia Compagna
Restate!
O Signor, Di Fiandra Arrivo
Oso Lo Sguardo Tuo
Preludio
A Mezzanotte, Ai Giardin Della Regina
Al Mio Furor Sfuggite Invano
Spuntato Ecco Il Di D'Esultanza
Sire, No, L'Ora Estrema
Sire! Egli E Tempo Ch'io Viva!

Tracks:

Ella Giammai M'Amo!
Il Grande Inquisitor!
Nell'ispano Suol Mai L'Eresia Domino
Giustizia! O Sire!
Ah! Sii Maledetto, Sospetto Fatale
Pieta! Perdon! Per La Rea Che Si Pente
O Don Fatale
Son Io, Mio Carlo
Per Me Giunto E Il Di Supremo
O Carlo, Ascolta...
Mio Carlo, A Te La Spada Io Rendo!
Tu Che Le Vanita
Francia, Nobile Suol
E Dessa
Ma Lassu Ci Vedremo In Un Mondo Migliore
Si, Per Sempre!

Customer Reviews:

A beautiful reading despite the casting of some light voices.......2007-01-20

To get the bad news over with quickly, the voices in Haitink's 1997 Don Carlo from London tend to be on the light side, and few of the performers are steeped in Italian style. The King Philip, Roberto Scandiuzzi, is Italian, but his voice sounds woolly and lacks authority. Elisabetta is the then-promising Russian soprano Galina Gorchakova. She has the vocal heft to sing any of Verdi's great dramatic soprano roles, but here she is a bit mature-sounding, and throaty in a Slavic way that takes some getting used to. She's at the opposite extreme from Mirella Freni, whose lyric soprano was clearly too light in Karajan's otherwise gripping set on EMI.

After that it's clear sailing. We get a fine orchestral reading from Haitink, more straightforward than either Karajan or Giulini but refined and beautifully balanced--only at times does the pacing feel too relaxed. It's certainly possible to play the score as a mroe haunted, doomed affair--the three leads, after all, are consumed by guilt almost from the beginning--but that's not Haitink's approach. Hvorostovsky gives one of his best performances on disc as Rodrigo, and the American tenor Richard Margison comes amazingly close to superstars like Domingo and Carreras as Don Carlo. The three bass roles of the Monk, Philip II, and the Grand Inquisitor are taken by very good singers, even if they don't erase memories of Boris Christoff or Nicolai Ghiaurov. Olga Broodina makes for a world-class Eboli, as one would expect. The orchestra and chorus of the Royal Opera Covent Garden sound just right in scale, not overblown like Karajan's Berlin Phil.

Editions have become complicated for this opera. Here we have the 1886 Modena version, an Italian translation in effect of the five-act French score premiered in Paris. I msut say I thoroughly enjoyed it. to the point that even Gorchakova's miscasting can't bring five stars down to four.

Unfortunately, the minority standpoint.......2005-10-04

Haitink's Don Carlo is very much like Giulini's, but better recorded, better conducted (!) and overall more accomplished as a concept.

His cast is very different. While not all ideally suited to their roles, they are sensitive to the drama and have something interesting to say - no weak link among them. The one standout is Hvorostovski as Posa, in what must be his best recorded performance. Also, I prefer Gorchakova and Scandiuzzi here to many others. Margison as Don Carlo is in good voice, but in terms of characterisation not a patch on Carreras, Domingo (live or for Abbado), or Alagna. Recommended!

Average customer rating:

Great performance spoiled by the sound engineers

Verdi: La forza del destino

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

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Verdi: Il Trovatore

ASIN: B000026CZ4
Release Date: 1993-01-01

Tracks:

Ov - Orch Del Teatro Alla Scala, Milano/Riccardo Muti
Act One. Intro - Scena: Buona Notte, Mia Figlia - Giorgio Surian/Mirella Freni
Act One. Recitativo E Romanza: Temea Restasse Qui Fino A Domani - Francesca Garbi/Mirella Freni
Act One. Recitativo E Romanza: Me, Pellegrina Ed Orfana... - Mirella Freni
Act One. Scena E Duetto: M'aiuti, Signorina, Piu Presto Andrem - Francesca Garbi/Mirella Freni
Act One. Scena E Duetto: Ah, Per Sempre, O Mio Bell'angiol... - Placido Domingo/Mirella Freni/Francesca Garbi
Act One. Finale I: Vil Seduttor! Infame Figlia! - Giorgio Surian/Mirella Freni/Placido Domingo
Act Two. Chor Ballabile: Hola, Hola, Hola! Ben Giungi, O Mulattier - Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Two. Scena: La Cena E Pronta - Silvestro Sammaritano/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Giorgio Zancanaro
Act Two. Scena: Che Vedo! Mio Fratello! - Mirella Freni/Silvestro Sammaritano/Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano...
Act Two. Recitativo E Canzone: Viva La Guerra! - Dolora Zajic/Giorgio Zancanaro/Silvestro Sammaritano/Chor Del Teatro Alla Scala, Milano...
Act Two. Recitativo E Canzone: Al Suon Del Tamburo - Dolora Zajic/Giorgio Zancanaro/Silvestro Sammaritano/Chor Del Teatro Alla Scala, Milano...
Act Two. Prayer: Padre Eterno Signor... - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Giorgio Zancanaro/Silvestro Sammaritano...
Act Two. Scena: Viva La Buona Compagnia! - Giorgio Zancanaro/Dolora Zajic/Silvestro Sammaritano/Chor Del Teatro Alla Scala, Milano...
Act Two. Scena E Ballata: Poich' E Imberbe L'incognito... - Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Silvestro Sammaritano
Act Two. Scena E Ballata: Son Pereda, Son Ricco D'onore - Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Two. Scena, Coro E Ripresa Della Danza: Sta Bene - Silvestro Sammaritano/Dolora Zajic/Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano...
Act Two. Aria: Sono Giunta! Grazie, O Dio! - Mirella Freni
Act Two. Aria: Madre, Pietosa Vergine... - Mirella Freni/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Two. Scena: Chi Siete? - Sesto Bruscantini/Mirella Freni
Act Two. Sena E Duetto: Chi Mi Cerca? - Paul Plishka/Mirella Freni/Sesto Bruscantini
Act Two. Sena E Duetto: Infelice, Delusa, Rejetta... - Mirella Freni/Paul Plishka

Tracks:

Act Two. Finale II: Il Santo Nome Di Dio Signore Sia Benedetto - Paul Plishka/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Two. Finale II: La Vergine Degli Angeli - Sesto Bruscantini/Paul Plishka/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Scena E Romanza: Attenti Al Gioco, Attenti, Attenti Al Gioco... - Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Scena E Romanza: La Vita E Inferno All'infelice... - Placido Domingo
Act Three. Scena E Romanza: O Tu Che In Seno Agli Angeli... - Placido Domingo
Act Three. Scena E Duettino: Al Tradimento! - Giorgio Zancanaro/Chor Del Teatro All Scala, Milano/Giulio Bertola/Placido Domingo
Act Three. Scena E Battaglia: All'armi! - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Frank Hadrian
Act Three. Scena E Duettino: Piano...Qui Posi...Approntisi Il Mio Letto - Giorgio Zancanaro/Frank Hadrian/Placido Domingo
Act Three. Scena E Duettino: Solenne In Quest'ora - Placido Domingo/Giorgio Zancanaro
Act Three. Scena Ed Aria: Morir! Tremenda Cosa! - Giorgio Zancanaro
Act Three. Scena Ed Aria: Urna Fatale Del Mio Destino... - Giorgio Zancanaro
Act Three. Scena Ed Aria: E S'altra Prova Rinvenir Potessi? - Giorgio Zancanaro/Frank Hardian
Act Three. Ronda: Compagni, Sostiamo... - Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Scena E Duetto: Ne Gustare M'e Un'Ora Di Quiete - Placido Domingo/Giorgio Zancanaro/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Chor E Strofe: Lorche Pifferi E Tamburi Par Che Assordino La Terra - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Three. Scena Ed Arietta: Qua, Vivandiere, Un Sorso - Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Scena Ed Arietta: A Buon Mercato Chi Vuol Comprare? - Ernesto Gavazzi/Chor Del Teatro Alla Scala, Milano/Giulio Bertola
Act Three. Chor: Pane, Pan, Per Carita! - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Three. Chor - Tarantella: Nella Guerra E La Follia... - Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Three. Predica: Toh! Toh! Poffare Il Mondo! Che Tempone! - Sesto Bruscantini/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Three. Rataplan: Rataplan, Rataplan, Della Gloria... - Dolora Zajic/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic

Tracks:

Act Four. Chor Ed Aria Buffa: Fate La Carita, E Un' Ora Che Aspettiamo! - Sesto Bruscantini/Chor Del Teatro Alla Scala, Milano/Giulio Bertola/Dolora Zajic
Act Four. Scena E Duetto: Auf! Pazienza Non V'ha Che Basti! - Sesto Bruscantini/Paul Plishka
Act Four. Scena E Duetto: Del Mondo I Disinganni... - Paul Plishka/Sesto Bruscantini
Act Four. Scena: Giunge Qualcuno, Aprite... - Paul Plishka/Sesto Bruscantini
Act Four. Scena E Duetto: Invano Alvaro Ti Celasti Al Mondo... - Giorgio Zancanaro/Placido Domingo
Act Four. Scena E Duetto: Le Minaccie, I Fieri Accenti... - Placido Domingo/Giogio Zancanaro
Act Four. Melodia: Pace, Pace Mio Dio! - Mirella Freni
Act Four. Scena E Terzetto Finale: Lo Muoio! Confessione! - Giorgio Zancanaro/Placido Domingo/Mirella Freni
Act Four. Scena E Terzetto Finale: Non Imprecare, Umiliati A Lui Ch'e Giusto E Santo... - Paul Plishka/Mirella Freni/Placido Domingo

Customer Reviews:

Great performance spoiled by the sound engineers.......2006-12-13

This recording features a terrific cast of singers, all in very good voice. And Riccardo Muti conducts the forces of La Scala in a great outpouring of passion. So why only three stars? Quite simply, the recording is irreparably marred by poor sound quality. There are two problems. First, the microphones are placed way too far from the performers--and second, the recording studio is painfully deficient in natural reverberation. Increase your playback volume, and the resultant sound becomes strident, even harsh. I assure you that no amount of fiddling with your stereo's settings will substantially ameliorate this situation. The performance lacks all sense of presence. My ear simply could not adjust--and I therefore cannot recommend this otherwise fine performance.

Your best bet for "La Forza del Destino" will undoubtedly be the Levine recording, which features great sound, the only drawback being Leontyne Price in a voice that is just slightly past its prime.

All in all, a terrible shame--because Freni and Domingo are both just terrific here in this recording . . . singing somewhere out there in the distance.

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Apologies to the Queen Mary