Verdi: Un Ballo in Maschera (Highlights)

On this CD:

1. Un ballo in maschera, opera La rivedrà nell'estasi- Il cenno mio di là con essi attendi
Composed by Giuseppe Verdi
Performed by Beniamino Gigli, Tancredi Pasero, Elda Ribetti, Ugo Novelli
Conducted by Tullio Serafin

2. Un ballo in maschera, opera Alla vita che t'arride
Composed by Giuseppe Verdi
Performed by Gino Bechi
Conducted by Tullio Serafin

3. Un ballo in maschera, opera Il primo Giudice, Volta la terrea fronte, Ogni cura si doni al diletto
Composed by Giuseppe Verdi
Performed by Gino Bechi, Beniamino Gigli, Blando Giusti, Tancredi Pasero, Elda Ribetti, Ugo Novelli
Conducted by Tullio Serafin

4. Un ballo in maschera, opera Re dell'abisso, affrettati
Composed by Giuseppe Verdi
Performed by Fedora Barbieri
Conducted by Tullio Serafin

5. Un ballo in maschera, opera Della cittià all'occaso- Di' tu se fedele- Chi voi saite, l'audace parola- È scherzo od è follia
Composed by Giuseppe Verdi
Performed by Fedora Barbieri, Maria Caniglia, Beniamino Gigli, Tancredi Pasero, Elda Ribetti, Ugo Novelli
Conducted by Tullio Serafin

6. Un ballo in maschera, opera Ecco l'orrido campo- Ma dall'arido stelo divulsa- Tecco io sto- Non sai tu che se l'anima mia - Oh, qual soave brivido
Composed by Giuseppe Verdi
Performed by Maria Caniglia, Beniamino Gigli
Conducted by Tullio Serafin

7. Un ballo in maschera, opera Ve', se di notte qui colla sposa- Ah! Ah! Ah!
Composed by Giuseppe Verdi
Performed by Gino Bechi, Maria Caniglia, Tancredi Pasero, Ugo Novelli
Conducted by Tullio Serafin

8. Un ballo in maschera, opera Morrò, ma prima in grazia
Composed by Giuseppe Verdi
Performed by Maria Caniglia
Conducted by Tullio Serafin

9. Un ballo in maschera, opera Eri tu che macchiavi quell'anima- O dolcezze perdute
Composed by Giuseppe Verdi
Performed by Gino Bechi
Conducted by Tullio Serafin

10. Un ballo in maschera, opera Il messaggio entri- Alle danze- Ah! Di che fulgor, che musiche
Composed by Giuseppe Verdi
Performed by Gino Bechi, Maria Caniglia, Tancredi Pasero, Elda Ribetti, Ugo Novelli
Conducted by Tullio Serafin

11. Un ballo in maschera, opera Forse la soglia attinse- Ma se m'è forza perdute
Composed by Giuseppe Verdi
Performed by Beniamino Gigli
Conducted by Tullio Serafin

12. Un ballo in maschera, opera Saper vorreste
Composed by Giuseppe Verdi
Performed by Elda Ribetti
Conducted by Tullio Serafin

13. Un ballo in maschera, opera Ah! Perché qui fuggite- T'amo, sì t'amo- E to ricevi il mio!
Composed by Giuseppe Verdi
Performed by Fedora Barbieri, Gino Bechi, Maria Caniglia, Beniamino Gigli, Blando Giusti, Tancredi Pasero, Elda Ribetti, N. Niccolini, Ugo Novelli
Conducted by Tullio Serafin

14. Un ballo in maschera, opera Ella è pura
Composed by Giuseppe Verdi
Performed by Gino Bechi, Maria Caniglia, Beniamino Gigli, Elda Ribetti
Conducted by Tullio Serafin

Tracks:

La donna obile
Una furtiva lagrima
"Libiamo ne'lieti calici (Brindisi)
Donna non vidi mai
Che gelida manina
O soave fanciulla
Mi batte il cor...O Paradiso!
M'appari
Quando le sere al placido chiaror d'un ciel stellato
Se quel guerrier io fossi!..Celeste Aida
Forse la soglia attinse
Recitar! - "Vesti la giubba"
Come un bel di maggio
Ah mes amis - Pour mon
Di quella pira
Nessun dorma!

Tracks:

Torna a Surriento
Santa Lucia luntana
La Danza
L'ultima canzone
Non t'amo pi
Mattinata
'O sole mio
'A vucchella
Core 'ngrato
Nel blu, dipinto di blu
Vivere
Il Canto
Caruso
Buongiorno a te
Ti adoro
E lucevan le stelle
Questa o quella (Ballata)
Parmi veder le lagrime

Customer Reviews:

Luciano Pavrotti: The Best (Farewell Tour).......2007-06-27

Wonderful Pavarotti sings the best of the best. His voice never ceases to amaze me. Listening pleasure at it's finest.

Luciano Pavorotti.......2007-02-17

All the songs are wonderful, can never become tired of listening to his songs. Excellent.

Luciano is the best!.......2007-01-20

I can't speak more highly of this collection of Pavrotti's songs. I keep this two CD pack in my car so I can enjoy it on my way to and from work. Even after I have arrived, I find myself sitting in my car waiting for a song to end. Walking out on a song seems sacriligious. While I grew up listening to Caruso and Lanza, there is no question that Pavrotti is the Master! Although, I do have to admit Pavrotti has the greater advantage of modern recording technology to better present his talent than Caruso and Lanza had. However, Lanza definitely didn't have the power that Pavrotti has. With Caruso, we will never know... I highly recommend this collection of Pavrotti's, if you are a Pavrotti fan. If you aren't, buy it anyway and become one:)

Average customer rating:

Sensuality Personified!

The Very Best of Régine Crespin

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Legend: Régine Crespin [CD & DVD]
The Very Best of Lucia Popp
Very Best of
Italian Opera Arias
Berlioz: Les Nuits d'été; et al / Crespin, Ansermet

ASIN: B0006VYEJQ
Release Date: 2005-04-26

Tracks:

Ils S'Eloignent Enfin...Sombre Foret
D'Amour L'Ardente Flamme
Les Grecs Ont Disparu...Malheureux Roi!
Nous Avons Vu Finir...Chers Tyriens
Je Vais Mourir...Adieu, Fiere Cite
Ah! Salome! Dans Ce Palais...Il Est Doux, Il Est Bon
Je Souffre
Mes Cheres Filles, J'Ai Encore A Vous Dire
Soir
Le Secret
Apres Un Reve
Clair De Lune
Lo Fiolaire
Lou Coucut
Coeur En Peril
Berceuse Creole

Tracks:

Einsam In Truben Tagen
Euch Luften, Die Mein Klagen
Eine Waffe Lass Mich Dir Weisen...Der Manner Sippe
Ich Sah Das Kind
I. Der Engel
II. Stehe Still!
III. Im Treibhaus
IV. Schmerzen
V. Traume
I. In Der Fremde
II. Intermezzo
III. Waldesgesprach
Timor Di Me?...D'Amor Sull'Ali Rosee
Ecco L'Orrido Campo...Ma Dall'Arido Stelo Divulsa
Tu Che Le Vanita
D'Art Et D'Amour

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Sensuality Personified!.......2005-04-27

This is one of the best collections of Regine Crespin. Of course, her Berlioz/Ravel set with Ansermet is definitive, but the beauty and soft womanliness of her voice can be heard in all the selections on this disc. The engineers went for her vocal best and they created a fine collection aptly titled "The Best of..." One would be unduly captious to find Crespin "brittle" of tone here.

It is by now, very difficult to imagine anyone singing "Il est doux" with more apt expression of the line than La Crespin. Wagner's Wesendonk lieder is simply sublime from start to finish and the Faure takes on new meaning. That she is comical, melancholy, fun and happy by turns singles her out. This collection captures all her awesome talent. Underneath it all seems to be a very, if I may, sexual energy.

Crespin must be heard to be believed and the miracle lies in that even her softest tones are really enveloping, never thin. All tones are open and this is why there are enough colors in Regine Crespin's delicious voice to paint the world a thousand times, but it may also be why she infamous for being short and edgy on top but I remind, never here is she such. She is a relaxed singer in superb voice, comfortable in her own olive skin and makes the most out of every word those poets wrote.

The whole collection is unique in pace, style, and voice. It is Regine Crespin...in a nutshell fabulous!

Average customer rating:

Wow! It's like dying and going to Heaven!
How Italian should 'Un Ballo' be? This one isn't very
ARGUABLY THE BEST "BALLO" EVER RECORDED
Grazia Decca! Bravo Bergonzi!

Verdi: Un Ballo in Maschera

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000N4SJHY
Release Date: 2007-04-10

Tracks:

Preludio
Posa In Pace
La Rivedra Nell'Estasi
Alla Vita Che T'aaride
Volta La Terrea
Ogni Cura Si Doni Al Diletto
Zitti... I'incanto Non Dessi Turbare
Re Dell'Abisso, Affrettati
Che V'agita Cosi?
Della Citta All'occaso
Su, Profetessa, Monta il Treppie
Di' Tu Se Fedele
Orsu, Amici
E' Scherzo Od E Follia
Finisci Il Vaticinio
Preludio
Ecco I'Orrido Campo
Ma Dall'arido Stelo Divulsa
Tecco It Sto

Tracks:

Ahime! S'appressa Alcun!
Seguitemi...Mio Dio!
Ve', Se Di Notte Qui Colla Sposa
A Tal Colpa E Nulla Il Pianto
Morro, Ma Prima In Grazia
Alzati; La Tuo Figlio
Eri Tu Che Macchiavi Quell'anima
Siam Soli. Udite
Dunque I'onta Di Tutti Sol Una
D'Una Grazia Vi Supplico
Il Messaggio Entri
Ah! Di Che Fulgor, Che Musiche
Forse La Soglia Attinse
Ma Se M'E Forza Perderti
Saper Vorreste
Fervono Amori E Danze(rip)... So Che Tu Sai
Ah! Perche Qui Fuggite
Ella E Pura

Customer Reviews:

Wow! It's like dying and going to Heaven!.......2007-05-30

What to say....."AT LAST!"
Yes, at last! Finally, after all these years (I guess it took the passing of Ms Nilsson and many inquiries from me to Decca/Philips/Universal Classics, pleading for it), finally it is available for our hot little hands again.

I love this recording. Another of my "growing-up" opera recordings, so it's like seeing an old friend from my childhood again! Is this the best "un Ballo"...probably not, but it certainly ranks up there. I loved these old singers, and generally will always want the "old" recordings I knew to still be in my collection, even though they have been "surpassed" or replaced with newer efforts. In many cases today, I feel that studio recordings have been "juiced-up" technologically or electronically to sound better than they really are. The singers in these older recordings were doing all this on their own, with no "clean-up" or "beefing" as I call it, except for perhaps occasional phrases or notes being re-recorded and spliced in. This recording is one of my favorite recordings from the beginning of my operatic journey to today. It has been bested by Solti's newer effort in digital sound, etc, and by others, but know what...this will always be in place on my shelves, and I will go to it frequently to listen to Ms Nilsson's efforts, along with Bergonzi's, Macneil's, Simionato's, Solti's and the Accadamia de Saint Cecelia Orchestra of Rome. To Universal Classics I say "Brava" on the re-release of this grand old recording. ~operabruin

How Italian should 'Un Ballo' be? This one isn't very.......2007-05-29

In terms of recording and vocal polish, this 1962 Un Ballo from Rome is exemplary. Bergonzi and Nilsson were world-class voices, and the role of Amerlia suited Nilsson almost as well as Aida. For power, accuracy, ad vocal gleam she has no peers. Yet I always hear her in the shadow of Callas and Tebaldi, who gave us tragic, poingnant Amelias in the true Italian style. If that doesn't matter so much to you, then Nilsson is ealy beyond praise. She displays real heart and is never steely.

In fact, I like her better here than Bergonzi, who is always priased for stylishness yet who lacks heft and passion. His Riccardo is too much like a school lesson in how to sing the role, and by comparison Domingo and Pavarotti create more passion and thrills. I must concede, however, that sparks do fly between Bergonzi and Nilsson in their great Act 2 duet. Macneil is strong and stalwart but not Italiante, either. As for Solti, his aggressive, punchy conducting is actually quite effective, but he would go on to do much better in 1985 with Margaret Price and Pavarotti as his two leads. That set is preferable to this one, I think, because it feels emotionaly ture whereas this one feels put together form bits and pieces. Both are powerhouse readings, however.

ARGUABLY THE BEST "BALLO" EVER RECORDED.......2007-05-22

Deccca is to be congratulated and commended for finally reissuing this superb recording long absent from the catalogue. Georg Solti's way with the weightier Verdi operas is dramatic, compelling, and totally absorbing. He infuses the power of Wagner and Strauss into his orchestration, and it gives this opera an orchestral grandeur that is far less evident on other recordings. He's directing a cast who are themselves legendary. Carlo Bergonzi, the epitome of Italian lyricism, is heard here in his early vocal prime, and the dividends he pays are only slightly less than those paid by Bjoerling on the legendary 1940 Met performance. His voice flows like honey, and his phrasing is exemplary. Cornell MacNeil is captured here in his early prime as well - with a free and sonorous baritone that makes "Eri tu" one of the highlights of the performance. His Renato is appropriately menacing and anguished at the same time. Giulietta Simionato, a veteran Italian mezzo, who specialized in Verdi's mezzo roles, makes the most out of this brief but important role. Her top voice rings out dramatically in Ulrica's climaxes, though one would have liked equal power on those exciting "basement" notes that Verdi actually wrote for a true contralto, which Simionato was not (but then again, real contraltos are as scarce as original Mickey Mouse watches). Sylvia Stahlman was an excellent coloratura who should have had a greater career, as her Oscar here demonstrates. Her passage work is accurate, attractive, and limber. Her contribution to the trio in Act III is formidable. That leaves Birgit Nilsson, the mighty Isolde and Brunnhilde of her generation. Yes, she was a Wagnerian and Strauss soprano, but she was also an Aida, a Tosca, a Lady Macbeth, the most famous Turandot in history, and finally, an Amelia in "Ballo". Nilsson does not have the Italianate sound that we have become accustomed to in these roles, but her Nordic virtues are well known. She sang this role often in Sweden, and did very well by it. The role is very difficult, and is loaded with top B flats, B's, and a couple of high C's. These top notes are child's play for her. Her vocal power is something not to be believed, and her ascent to the climatic top C in the Act II aria is something which must be experienced rather than described. She and Bergonzi blend beautifully in the big duet in Act II and they both end it on a sustained high C (though it must be said that Nilsson's is five times the size of Bergonzi's, and she was probably STILL standing further from the microphone!). This recording is a real recorded achievement, and I don't think you've really experienced Verdi"s "Ballo" until you've heard the possibilities explored here. If I had to part with all my other "Ballo" recordings (and I have plenty of them!), this is most definitely the one I'd be clinging to. At the incredibly low price Amazon is charging for it, my advice is to grab it before it again becomes out of print.

Grazia Decca! Bravo Bergonzi!.......2007-04-22

Thanks and praise to Decca for finally making this Ballo available on CD. Riccardo was one of Carlo Bergonzi's greatest roles -- right up there with Radames, Alfredo, Alvaro, Edgardo, and Nemorino. In addition to this Decca/Solti offering, which is Bergonzi's first commercial recording of Ballo, there is his second commercial recording a few years later for RCA with L. Price, Grist, Verrett, and Merrill under Leinsdorf. There are also pirate CDs of a live performance with Leyla Gencer, as well as pirate VHSs, now available on DVDs, of a fine live televised performance in Tokyo (with Stella and Zanasi, and Japanese subtitles). When Decca recently issued its Bergonzi "Sublime Voice" collection, most of Riccardo's role was included (but not the final masked ball scene with the Amelia-Riccardo duet and Riccardo's death-bed pardon of Renato). That release was welcome, but not enough for those who admire the whole Decca recording which until now was available only on our old LPs.

Comparing the present Decca issue with the RCA studio recording, Bergonzi's performance on both is outstanding, but the Decca is, to my ears, the more exciting of the two. As to the other participants and the two recordings taken as a whole, each has its merits and demerits, and any lover of this opera will be fortunate to own both. The Decca acoustic, as with other Decca recordings of the period (such as the Karajan Aida with Tebaldi, Bergonzi, and Simionato), favors the orchestra and occasionally comes close to drowning out the soloists at a climactic moment (but it's better than the aforementioned Aida in this respect). But all the words and all the music are there and are easily audible, especially if you know what you are listening for, and the quality of the sound -- both near and distant --is excellent. There is also some use of the patented Decca stage movement, which works well. With the soloists in full cry and not close-miked, the Decca comes much closer to simulating the ambience of a live performance than the RCA studio recording. And Solti's account of the orchestral score is exciting in a way that the Leinsdorf for RCA, though excellent, is not.

Birgit Nilsson may not be anyone's first choice for Amelia, and sometimes her loud high notes are so metallic as to be more suited to her Wagner and Strauss heroines than to Verdi. But I find her performance here taken as a whole to be enjoyable, dramatically expressive, in many places exciting, and sufficiently attuned to the Verdi style to be interesting and worth hearing and rehearing. L. Price on the RCA has her good moments, and she was a great Verdian, but she seems not to be in her best voice in many places on that recording.

As for Oscar, Sylvia Stahlman on Decca holds her own with the much more frequently recorded Grist on RCA. Stahlman is quite pleasant to listen to and acquits herself very well in the role, although her low notes are weak and her diction not quite up to Grist's standard. The Grist performance on the RCA is also excellent.

Ulrica is a somewhat ungrateful part which is not the best role in the great Simionato's repertoire (or that of other great Verdi mezzos), but she acquits herself honorably here, sometimes with better volume in the high parts than in the low parts (a bit surprising, in light of her justified fame as Amneris and Azucena, although I think part of the problem on this recording may be the Decca sonics). If mild criticism is justified, the fact remains that the role is well and idiomatically sung. Verrett on RCA is her usual full-toned force of nature, and she gives the kind of thrilling account of this role that one came to expect from her, whether she was Eboli, Dalilah, or Lady Macbeth.

MacNeil as Renato on Decca is fresh-voiced and deploys a beautiful instrument. But Merrill on RCA gives a more seasoned and, perhaps surprisingly to some, a more dramatically characterful account of the role.

John Culshaw recounts in his autobiography "Putting the Record Straight" the difficulties that arose in making this recording, including a sad account of his dealings with Jussi Bjorling, whom Bergonzi replaced on this project. Although Culshaw was "haunted" by the "ghost" of Bjorling "no matter how superbly Bergonzi sang" and appears to think that this recording is not one of Decca's most successful efforts, it has much to commend itself from my perspective. You can turn the volume up for most of the opera for optimal appreciation of the soloists, and you can turn it down in time to avoid being startled by the one or two orchestral climaxes that may fairly be characterized as blasting (including the final notes of the opera). The faults of this recording notwithstanding, the magnificence of the Bergonzi performance is a treasure, and the rest of the recording matches up pretty evenly with the RCA when the pluses and minuses of each are considered, and there are elements in each that could just as well lead someone to favor the Decca over the RCA as vice versa. But since we now have both, there is no need to prefer one over the other.

If Decca's tardiness in preparing and issuing this CD had to do with a perceived conflict with its Bartoletti/Pavarotti and/or its Solti/Pavarotti recordings of this opera (and I have no idea whether that was the case) -- or if it reflected an assumption that there would not be a sufficient market for this Solti/Bergonzi offering in view of the Pavarotti recordings (also entirely speculative) and the reductions over time in the ranks of Bergonzi fans, including those who, like myself, have heard him perform this and other roles at the MET -- those considerations would only make me more grateful. There is more than one good recording of most great operas. It will be interesting to see how the market responds to the current issue. I would guess that there are many people of all ages who cherish Bergonzi's extensive discography and who will be delighted to have this Ballo for the enjoyment it will hold for years to come. Perhaps this review will help encourage others to take advantage of the opportunity to experience the pleasures of this recording.

Average customer rating:

Perfect Music From an Angelic Voice
TRIBUTE TO A GREAT ARTIST

Marian Anderson

Manufacturer: RCA
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Customer Reviews:

Perfect Music From an Angelic Voice.......2000-05-07

I can't add much to the superb review by lesismore26 (I give it five Stars! ) but I do have one disagreement. I LIKED the Ulrica aria. Yes, the voice is past its prime, but the artistry is very much there. In fact, the piece makes it clear that while her voice sounds perfect for her repertoire, it could have handled opera quite beautifully too. It's true that the pure, ethereal quality of her tone is DEFINITELY well suited to Baroque and Classical oratorio, and true that there simply aren't that many roles for contraltos. But it is also true that these reasons had NOTHING to do with why this particular contralto was not singing in opera houses. Another voice as dazzling as hers would have had composers creating roles tailored for them.

I wouldn't trade her spirituals and lieder, but I would have liked to hear her sing Erda, or Clytemnestra, maybe even Dalila (if you can imagine this Angelic persona in THAT role!)

TRIBUTE TO A GREAT ARTIST.......1999-12-22

Marian Anderson is remembered in too many instances for the wrong reasons: the first Afro-American artist to be engaged by the Metropolitan Opera in a leading role; the artist who sang the monumental concert at the Lincoln Memorial in 1939 after being denied the use of Constitution Hall by the Daughters of the American Revolution --- an action that sparked mass indignation and worldwide attention to the fact that the racial prejudice was alive and well in the United States; the artist who became a symbol of grace and dignity during the civil rights movement. While all of these things are true, they eclipse the simple fact that Marian Anderson's singularly individual and distinctive, and true contralto voice was one of the jewels of the musical century, and that her pursuasive powers as an interpreter of the lieder of Schubert, Schumann, Brahms, and Sibelius were the stuff of which legends are made. What is also overlooked is that the fabled voice was a long way past its prime at the time of that Metropolitan Opera debut in early 1955. The role was that of the witch Ulrica in Verdi's "Un Ballo in Maschera"--- not a leading role, but a very important and pivotal one nonetheless ---- but by that time the voice had become dry, unsteady, frequently out-of-tune, and very "old" sounding. Anderson was already around 58 years old, and while her "debut" was historic from a social standpoint ----- it opened the doors for such future legends a Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry ------ it was certainly not a great vocal milestone. It was simply too late for any sort of a career at the Metropolitan Opera, and though it was the blatant racial prejudices of the times that prevented Marian Anderson from singing on the opera stage during the years of her vocal prime, it would appear, as evidenced by her work on records (even by those made in her greatest years -- the 1930's and 1940's), that her temperment and vocal demeanor was far more suited to the concert and recital platforms, and it was in this milieu that Marian Anderson lavishly demonstrated her true genius. To begin with, the excerpts on this recording from Verdi's "Un Ballo in Maschera" didn't need to be included for the reasons cited above: they were recorded immediately after the Met debut in 1955 and the voice is in the condition one would have expected. The rest of the contents were recorded during the artist's vocal prime much earlier. Virtually all of the Schubert selectionsare beautifully done, especially the "Ave Maria", which became Anderson's trademark. The "Liebesbotshaft" (from "Schwanengesang) and "Wohin" (from "Die Schone Mullerin") show the voice at its most fluid, as do all of the items by Schumann. The Brahms "Alto Rhapsody", another Anderson speciality, haunting in its desolation and feelings of isolation, helped in no small part by Anderson's deep purple contralto tones. Selections by Richard Strauss (a beautifully realized rendition of "Morgen") and Rachmaninoff round off the lieder portion of the recording. Bach's "Erbarme dich" (with orchestral accompanyment) is one of the most beautiful ever recorded, and Handel's "He Shall Feed His Flock" illustrates vividly just how how much this music needs a true contralto voice. In this age of pushed-up and pulled-down mezzo-sopranos, it is a revelation to hear what this type of voice accomplish in all of this music. If you want to become acquainted with one of the greatest vocal phenomenons of this century, this superb RCA Victor mid-priced recording is an excellent place to start.

Average customer rating:

OKAY, TAKE ME AWAY.
Great music...stunning recording quality
Incredible
Just Stunning!

Essential Verdi

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Ultimate Puccini Collection
Essential Puccini
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The Most Famous Opera Duets
The #1 Opera Album

ASIN: B000056JSW
Release Date: 2001-02-13

Tracks:

Rigoletto: La donna e mobile - Luciano Pavarotti
Nabucco: Va pesiero - Chicago Symphony Orchestra
La forza del destino: Overture - Kirov Orchestra
La Traviata: Un di felice - Joan Sutherland
I Vespri Siciliani: Merce dilette amiche - Maria Chiara
La Traviata: Libiamo ne' lieti calici - Joan Sutherland
Il Trovatore: Di quella pira - Jose Carreras
Il Trovatore: Vedi! le fosche notturne spoglie - Chicago Symphony Orchestra And Chorus
Il Trovatore: Stride la vampa! - Stefania Toczyska
Aida: Ritorna vincitor! - Leontyne Price
Don Carlo: Dio che nell'alma infondere - Carlo Bergonzi
La Traviata: Prelude - Orchestra E Coro Del Maggio Musicale Fiorentino
Rigoletto: Caro nome - Joan Sutherland
Don Carlo: O don fatale - Olga Borodina
Aida: Se quel guerrier io fossi! Celeste Aida - Carlo Bergonzi
Emani: Ernani! Ernani involami - Joan Sutherland
Un Ballo in Maschera: Di tu se fedele - Jussi Bjorling
Un Ballo in Maschera: Morro ma prima in grazia - Margaret Price
Luisa Miller: Quando le sere al placido - Luciano Pavarotti
Aida: Gloria all'Egitto - Chicago Symphony Orchestra

Tracks:

Requiem: Dies irae - Wiener Philharmoniker
La forza del destino: Pace pace mio Dio - Angela Gheorghiu
Rigoletto: Questa o quella - Carlo Bergonzi
Rigoletto: Bella figlia dell'amore - Luciano Pavarotti
Otello: Ave Maria - Renee Fleming
La Traviata: Parigi o cara - Frank Lopardo
Macbeth: Ah la paterna mano - Luciano Pavarotti
Il Trovatore: Squilli echeggi la tromba guerriera - Chicago Symphony Orchestra And Chorus
Don Carlo: O Carlo ascolta - Dmitri Hvorostovsky
Requiem: Ingemisco - Luciano Pavarotti
Simon Baccanegra: Come in quest'ora bruna - Kiri Te Kanawa
Macbeth: Salve o Re! Si colmi il calice - Lucia Aliberti
Aida: O patria mia - Leontyne Price
I lombardi: La mia letizia infondere - Placido Domingo
Aida: Lo sguardo avea degli angeli - Montserrat Caballe
La forza del destino: Solenne in quest'ora - Nikolai Putilin
Macbeth: Patria opressa - Chicago Symphony Orchestra And Chorus
Il Trovatore: Tacea la notte - Katia Ricciarelli
I due Foscari: Dal piu remoto esilio - Odio solo ed odio atroce - Jose Carreras
Don Carlo: Spuntato ecco il di esultanza - Orchestra E Coro Del Teatro Alla Scala Di Milano

Customer Reviews:

OKAY, TAKE ME AWAY........2006-01-20

I don't know opera.

Last summer we had an incredible 20th anniversary trip to Italy. As a side trip from Venice, we planned a night in Verona. Neither my wife or I had been to an opera.

Is this how its supposed to be...

...an incredible star filled night with a three quarter moon, the largest stage and outdoor theatrical production on the planet, all taking place in a roman colleseum (arena) built in 180 a.d., an incredible colorful set and production with a full symphony orchestra and voices that don't come easy. Aida.

Now I know what all the hpye is as you opera fans sure are lucky to have such a beautiful setting for all your productions.

Okay, we got spoiled. But I also found myself getting spoiled on the Italian composer Verdi.

For me, this set is not only a "take me back to Verona" trip, but a great introduction to Verdi's other works. With some of the biggest names in the opera world in starring roles, I listened to both discs twice the first night they arrived.

And, of course, we are planning a return trip to Verona in the very near future to see some more Verdi...perhaps Nabucco or Otello or Macbeth...I'll even settle for Aida again. It was such a magical experience and a superb introduction to opera and Verdi.

This set continues that magical moment for us and provides a great introduction to a master of the opera...Verdi.

Great music...stunning recording quality.......2002-11-01

This is a marvelous compendium of Verdi's opera works that even the serious opera fan wouldn't turn his nose up at. These are the top contemporary soloists singing with first tier orchestras. When I saw the Decca label, I expected reasonable quality, but this disk is stunningly well engineered. Most of the vocals match the best jazz cds for immediacy and intimacy, and the orchestras are equally well done.

Incredible.......2002-06-05

I don't say incredible about too many things, but Verdi was the zenith of Italian Opera and Solti and the Chicago Symphony and the Vienna Philharmonic are the quintessential ensembles for modern classical performance. Not to mention that most of the voices showcased have their own lines of CDs (Pavarotti, etc.) This CD is the best Verdi album available, and it has EVERYTHING. BUY THIS CD!

Just Stunning!.......2002-01-26

In my opinion this recording is stunning. I am not usually a fan of compilations in classical music, as they're usually watered down representations made under the presumption that the listener would find the full-blown version intimidating or boring. This one, however, is not only an exception in my view, but a recording that deserves a high place of honor in every serious listener's collection. The representation of artists, both vocal and orchestral, is breathtaking and impressive for the span of years. A great big thank you to the people at Decca responsible for putting this collection together, as it is obvious to this listener that a great deal of thought and care went into looking for the most beautiful version of every piece on here. I have purchased two copies, one for home and one for the office, and have gotten two friends similarly hooked. I am also feverishly searching for more pairings of Joan Sutherland and Carlo Bergonzi. In the meantime, I'm on to Essential Puccini!!

Average customer rating:

Not as good as Amore
a voice teacher and early music fan
Verdi
The triumph of mediocrity
no expert

Andrea Bocelli: Verdi
Zubin Mehta , Israel Philharmonic Orchestra , and Zubin Mehta
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Andrea Bocelli - The Opera Album ~ Aria
Cieli di Toscana
Andrea
Sentimento: Andrea Bocelli with Lorin Maazel and the London Symphony Orchestra [Limited Edition w/ Bonus Track]
Romanza

ASIN: B00004X16D
Release Date: 2000-09-12

Tracks:

Il Trovatore: Di quella pira (Il Trovatore)
Il Trovatore: Ah si, ben mio (Il trovatore)
Rigoletto: La donna e mobile (Rigoletto)
Un Ballo in Maschera: Di'tu se fedele (Un ballo in maschera)
Un Ballo in Maschera: Ma se m'e forza perditi (Un ballo in maschera)
Rigoletto: Ella mi fu rapita (Rigoletto)
Rigoletto: Possente amor mi chiama (Rigoletto)
Aida: Celeste Aida (Aida)
La Traviata: De' miei bollenti spiriti (La traviata)
La Traviata: oh mio rimorso (La traviata)
I lombardi: La mia letizia infondere vorrei (I lombardi)
Ernani: Merce, diletti amici (Ernani)
Don Carlo: Io la vidi e il suo sorriso (Don Carlo)
Luisa Miller: Quando le sere al placido (Luisa Miller)
La forza del destino: La vita e inferno all'infelice (La forza del destino)

Amazon.com Classical Music Reviews

With this CD devoted solely to operatic arias--by none less than Giuseppe Verdi, the greatest Italian opera composer of all time--pop crossover phenomenon Andrea Bocelli throws his hat into the operatic ring with the big boys. The hat occasionally fits, and occasionally it doesn't. The beauty of the voice is undeniable, as is the relative ease in all registers. But, regardless of what the engineers do, it is clearly a small voice. For "Celeste Aïda"--Radames's great aria from Aïda--Bocelli opens with fine, as-big-as-possible exclamation and sounds confident; the long diminuendo on the aria's final high B-flat is stunning (whether or not the engineers were twiddling with the knobs, we'll never know). The tenor is more at home with Alfredo's Act Two music from La Traviata; he sings with grace and charm, ending the rarely performed cabaletta (a brief and showy piece that usually follows an aria) with one of the longest, most solid high Cs ever recorded. Elsewhere, there are mixed results: "Di' tu se fedele" from Un ballo in maschera is so free of feeling that it seems digitally produced. A big, unnecessary high D at the close of the Duke's cabaletta "Possente amor" from Rigoletto is screamed, and Bocelli sounds at times as if he's about to collapse from exhaustion during a heavy aria from Ernani. But "Ah si, ben mio" from Il Trovatore is beautiful, as is the Luisa Miller aria; Don Carlo also seems to fit Bocelli well. Needless to say, the singer's fans will certainly want to have this--and it might encourage them to try other recordings of music by Verdi. Newcomers and the curious will find plenty to admire, too. The sound itself remains alluring, and Bocelli has taken steps also towards improving his technique. In short, some nice surprises for the opera lover, and many for the Bocelli fan. --Robert Levine

Customer Reviews:

Not as good as Amore.......2007-03-24

This CD came perfectly, I just prefer the Amore CD better.

a voice teacher and early music fan.......2007-02-14

It is said that from the age of eleven years, Guiseppe Verdi (1813-1901) wanted to write operas. He left his post as organist to study music in Milan, a move made possbile by his patron,Barezzi, whose daughter he eventually married in 1836. Shortly thereafter he composed his first opera 'Oberto" which was so successful that his future seemed secure. However, the death of his wife and two babies some time later forced him into a state of depression. The impressario Mirelli gave him the book 'Nabucco' (Nebuchadnezzar) to read, and he immediately began to write music for it. Therewith he embarked on the career which eventually made him the "Grand Old Man" of Italian opera. In modern slang, he was a "natural".From "Oberto", written in his twenties, to "Falstaff", completed when he was eighty, his characteristic integrity and intensity persisted; as he wrote his 30 operas, his powers of expression broadened and deepened. By the time he wrote 'Aida', commissioned by the Khedive of Egypt, Verdi was 56. 'Aida' is often named as his greatest opera. The live elephants used in the production, the authentic costumes and musical instruments copied from ancient Egyptian tombs made an attractive picture, and his music made a "Celeste Aida" of the whole.
Lets face it; Bocelli is no Pavoratti, and perhaps it was not wise to choose some of the arias associated with tenors of his ilk, but Bocelli makes the best of his talents, which are considerable. And he has done a lot to create interest among young voice students,(male) and as a voice teacher I make use of his appearance and his youthfulness to engage their interest, and he does that!!!!I think his record sales tell the tale.

Verdi.......2007-01-03

Excellent Verdi selections. As usual, top tonal quality with excellent breath control. The best tenor to come along with such diversification as to sing just about anything presented to him. A superb choice for the connoisseur of italian operas.

The triumph of mediocrity.......2006-02-04

No, Bocelli is not an awful singer, he is an awful OPERA singer, and it shows here. His colorless, uneducated and bland voice make me wonder why people like him so much. As a baritone in training I'm able to say that my voice teacher's STUDENTS sing much better than this guy.
His tessitura is nowere near adequate for singing any of the arias from Rigoletto, "La donna è mobile" sounds much like a kid would sing it. "Celeste Aida" is one of the worst selections, and one of the most electronically enhanced, as it requires a precise voice placement (which Bocelli doesn't posses) since much of it lies very high in the register, and a heavier, rounder voice; if the role is not adequate for many REAL tenors, it is much less adequate for a pop singer. The "feeling" raving reviewers talk about is nothing more than a voice coming (incorrectly) from the throat, and the "beautiful" high D in "Possente amor" is a beautifully screamed falsetto, the same could be said about "Di quella pira"'s C; what's amazing about all this is the fact that electronic enhancement doesn't make his voice sound better. Some have ludicrously compared him to the likes of Vargas, Domingo, and Corelli, even saying he's better; this is nothing more than ignorance and bad taste.
Maybe his fans are tired of detractors bringing out the big names in their defense, so let's be honest: he's one of the WORST opera interpreters out there, I wish great singers like Mariusz Kwiecen, Matthew Polenzani, and René Pape received the publicity he gets, though it won't happen; at least some consolation lies in the fact that these people are true artists willingly and GLADLY offering their art to the people in order to make a living; I'm sure if Andrea didn't make so much $$$$ with his opera experiment, he would've dropped this travesty long ago.

no expert.......2005-12-17

I'm not a genuine, dyed-in -the-wool opera fan. The sound of the soprano voice makes me grit my teeth. Some of the great tenors are very pleasing, but mostly I'm just not especially enthusiastic or impressed. Actually, I think it's rather stupid for good singers to abuse their voices by bellowing. This was necessary before the invention of amplification, but not any more.
So, obviously, I'm not in the position to compare Bocelli's arias to those of the tenors considered the greats. I can hear that his voice lacks the robustness of the Pavarottis of this world. BUT - I like many of the famous arias, and to my ear, Bocelli's performances, electronically enhanced or not, are melodic and pleasant to the ear. As a result of listening to Bocelli, I've become familiar with some great music that I would otherwise be likely to ignore.
So I listen and enjoy and really don't care about all the criticism.

Average customer rating:

Very Pleased
audio bad worse than the old LP's
My wife talking to me from the grave.

Bluebird Of Happiness

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

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Three Tenors of the Golden Age
The Art of the Cantor
Jan Peerce Sings Yiddish Folk Songs
Jan Peerce Sings Songs From "Fiddler On The Roof" And Ten Classics Of Jewish Folk Song
Ah, Sweet Mystery of Life: The Songs of Victor Herbert

ASIN: B000000WSQ
Release Date: 1997-11-18

Tracks:

Something in the Night
Bluebird of Happiness
L'Elisir d'Amore: Una Furtiva Lagrima
Macushla
Robin Hood: Oh Promise Me
Pagliacci: Vesti la Gubba
Ay-Ay-Ay
Morning
Naughty Marietta: I'm Falling in Love With Someone
La Donna E Mobile from Rigoletto Ver(di)
Agnus Dei (Bizet)
O Sole Mio (di Capua)
Mattinata (Leonacavallo)
Torna A Surriento (de Curtis)
La Danza (Rossine, arr. L. Artok)
Parmi Veder Le Lagrime from Rigoletto (Verdi)
De' Miei Bollenti Spiriti from La Traviata (Verdi)
Aria Ma Se m'e Forza Perderti (Verdi)
O Paradiso from L'Africanna (Meyerbeer)
Because (Teschemacher-d'Hardelot)
Bluebird of Happiness (Harmanti-Heyman-Davies)

Customer Reviews:

Very Pleased.......2007-01-12

My Aunt cried whren she heard the music she learned to love in the depression Especially Blue bird of Happiness.

audio bad worse than the old LP's.......2000-11-23

A marvelous singer that I have loved since I was a child, singing the songs of his that I have enjoyed all these many years. The sad part of the recording is that the sound hasn't been reworked and it sounds worse that the old LP. It's really sad that they would issue this great recording in such a sad state. If you don't mind the bad fidelity, you will enjoy this.

My wife talking to me from the grave........1999-03-08

My wife passed awau in Jan.1999. This month (March) Ifound a letter from she had mailed in 1948 to me in which she said in part "It just go'es to show what being truly in love means. Just now they played (radio) BLUE BIRD OF HAPPYNESS. I wanted to tell everone that it's right here." We were married 57 years and deeply in love that will never end. Thank you.

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor

Average customer rating:

Complete Solti/Bergonzi Ballo Released
Another dazzled listener
Sublime indeed
The sublime vocal artist
Blown away!

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
Giuseppe Verdi , Giacomo Puccini , Ruggiero Leoncavallo , Pietro Mascagni , Amilcare Ponchielli , Tullio Serafin , Herbert von Karajan , Georg Solti , Rafael Kubelik , Nello Santi , Gianandrea Gavazzeni , Lamberto Gardelli , Sir John Pritchard , Carlo Bergonzi , Renata Tebaldi , Ettore Bastianini , Fiorenza Cossotto , Enzo Sordello , Dietrich Fischer-Dieskau , Tugomir Franc , Renata Scotto , Libero Arbace , Fernando Corena , Birgit Nilsson , Giulietta Simionato , Sylvia Stahlman , Joan Sutherland , Dora Carral , and Piero de Palma
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini
The Very Best of Franco Corelli
The Very Best of Beniamino Gigli
The Very Best of Giuseppe di Stefano
The Very Best of Nicolai Gedda

ASIN: B00004C8TH
Release Date: 2001-06-12

Tracks:

La Boheme: Che Gelida Manina - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
La Boheme: O Soave Fanciulla - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
La Boheme: Mimi E Tanto Malata - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
La Boheme: Dunque E Proprio Finita! - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
La Boheme: In Un Coupe?... O Mimi, Tu Piu Non Torni - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
Madama Butterfly: Dovunque Al Mondo - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
Madama Butterfly: Vogliatemi Bene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
Madama Butterfly: Io So Che Alle Sue Pene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
Madama Butterfly: Addio, Fiorito Asil - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
Cavalleria Rusticana: Ah! Io Vedi, Che Hai Tu Detto? - Carlo Bergonzi/Fiorenza Cossotto
Pagliacci: Recitar!... Vesti La Giubba - Carlo Bergonzi
Don Carlo: Dio, Che Nell'alma Infondere - Carlo Bergonzi/Dietrich Fischer-Dieskau/Tugomir Franc/Chor Of The ROHCG
Rigoletto: Questa O Quella - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: Ella Mi Fu Rapita! - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: Parmi Veder Le Lagrime - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: Possente Amor Mi Chiama - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: La Donna E Mobile - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: Bella Figlia Dell'amore - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Otello: Dio! Mi Potevi Scagliar - Carlo Bergonzi

Tracks:

Un Ballo In Maschera: La Rivedra Nell'estasi - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: Di' Tu Se Fedele - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: E' Scherzo Od E Follia - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: Teco Io Sto - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: Forse La Soglia Attinse - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: Ma Se M'e Forza Perderti - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Tosca: E Lucevan Le Stelle - Carlo Bergonzi
Manon Lescaut: Donna Non Vidi Mai - Carlo Bergonzi
Aida: Se Quel Guerrier Io Fossie!... Celeste Aida - Carlo Bergonzi/Renata Tebaldi
Aida: Pur Ti Riveggo, Mia Dolce Aida - Carlo Bergonzi/Renata Tebaldi
La Gioconda: Cielo E Mar! - Carlo Bergonzi
La Traviata: Un Di Felice, Eterea - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
La Traviata: Lunge Da Lei - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
La Traviata: De' Miei Bollenti Spiriti - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
La Traviata: O Mio Rimorso! - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
La Traviata: Parigi, O Cara - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
Il Trovatore: Deserto Sulla Terra - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
Il Trovatore: Ah! Si, Ben Mio - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
Il Trovatore: Di Quella Pira - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
Adriana Lecouvreur: La Dolcissima Effigie - Carlo Bergonzi
Adriana Lecouvreur: L'anima Ho Stanca - Carlo Bergonzi

Customer Reviews:

Complete Solti/Bergonzi Ballo Released.......2007-04-24

No need to add to what the other reviewers say about this five-star collection. I am writing to alert readers that on April 10, 2007 Decca released the complete recording of Un Ballo in Maschera with Bergonzi, Nilsson, Stahlman, Simionato, and MacNeil, conducted by Solti. To read my detailed review of that release, bring the product up on Amazon.

Another dazzled listener.......2006-12-12

I had to write the same thing for the Sony Classical recording of a Bergonzi recital of Italian songs--this is simply one of the most passionate and intelligent singers I have ever heard, and he sounds as good or better now than when I first played one of his records 25 years ago. Anyone who has the slightest shred of interest in the operatic voice should own this collection from one of the truest and most passionate tenors in recorded history.

Sublime indeed.......2006-05-31

I first came to appreciate the artistry that is Carlo Bergonzi on his magnificnt recording of Butterly with Renata Scotto. Later I got the privelege of hearing him several times in person. He was among the most intelligent of tenors. He knew his voice well and how to use that voice to convey the drama and music in a wonderful combination.

If you appreciate Bergozni, this recording will remind you why. If you are not familiar with "The Tenor's Tenor", you will find out why he has that title. However, in addition to the magnificent Bergonzi, you also get wonderful performances from partners such as Tebaldi, Birgit Nilsson, Sutherland, Scotto, Fischer-Dieskau and Cossotto.

I can only find fault with a couple of the selections. First and foremost is that Bergonzi should never have even attempted the Dio Mi Potevi from Otello. That is the only performance that is in anyway subpar. It is unlike any other performance on this recording (or any other time I heard Bergonzi) -- forced. I would have far preferred a version of Una Furtiva Lagrima, which Bergonzi could sing the sock off of. Or given the presence of E Lucevan Stelle, couldn't they have included Recondita Armonia instead? The only other very minor complaint is the pairing with Nilsson . The duet is fine until the very end. On the final high C you can't even hear Bergonzi due to the sheer size of Nilsson's voice. The music and performance of both are wonderful, but a perfect Alfredo and perfect Brunnhilde do not necessarily mesh. But that is a minor quibble. Aside from a disappearing Carlo, it is quite a wonderful performance.

On the plus side a few things particularly stand out. To me, this is simply the best recording ever of Cielo e Mar. The sections with Tebaldi (Boheme and Butterfly and Aida in particuar) are fabulous. Other standouts include the quartet from Rigoletto with Scotto, Cossotto and Fischer-Dieskau and the Cavelleria duet with Cossotto.

All in all, this is, with a few minor exceptions, a magnificent collection of the best of Carlo Bergonzi.

The sublime vocal artist.......2003-08-15

I have seen most of the great tenors of the past 50 years at the Met: Corelli, Tucker, Vickers, Gedda, Pavarotti, Domingo, etc.. For me, Bergonzi over all, was the superior Italian Opera tenor. His legato, agility, breath control, tasteful musicianship, diction, was superior to most of the great tenors. He was outstanding as Nemorino and Rhadames; Edgardo and Alvaro etc.. This CD shows him at his very best, which is a joy to hear. This CD is a must vocal lesson for any aspiring young tenor, as Carlo Bergonzi is a master singer.

Blown away!.......2003-01-20

This album brings Carlo Bregonzi to life. This is a view from all angels. He commands such an array of singing styles.
No one brings the great composers to life the way Carlo Bergonzi does.

Tracks:

Tracea La Notte Placida
Morro, Ma Prima In Grazia
Mia Madre Aveva Una Povera Ancella...Ave Maria
Suicidio!
Voi Lo Sapete
Un Bel Di (Cio-cio-san)
L'altra Notte In Fondo Al Mare

Customer Reviews:

Gorgeous singing by a great singer.......2004-05-15

This recital is full of very good vocalism. Régine Crespin was the greatest opera singer France produced after World War 2. She had a huge, beautiful dramatic soprano voice. She sings all the arias here really well, though her agility is not the best and she cannot muster a real trill for "L'altra notte in fondo al mare". It must be noted that she has a short and rather shrill top register, but her middle register is very beautiful, with a slightly metallic sound, and her lower register is very strong and imposing. Her "Suicidio!" is sung with firm, strong low notes. She sings the Willow Song from Verdi's "Otello" beautifully, and her "Ave Maria" is gorgeous, with a ravishing piano high A-flat at the end. Everywhere on this CD, she displays her trademark crystal-clear diction. The sound on this CD barely hints at the huge size of her voice, though it is very good. Decca should have released this recording with better notes. We get some biographical and career information on Crespin, and the dramatic context of each of the arias included on the recording. All of this is printed on a cardboard case in very small text, with the CD facing the information. There is no booklet, and therefore, no texts and translations.

If you want to hear Crespin at her best, try to acquire her live recordings. They are very hard to find, but are well worth the effort. The live recordings really show how big her voice was, and give you some idea of the enormous lower register she had at her disposal. Unlike many soprano lower registers, hers was feminine sounding and quite beautiful.

Eileen Farrell Sings Verdi
Average customer rating:

Supreme Verdi singing

TRUE BEAUTY

Verdi singing doesn't get better than this!

Eileen Farrell should be heard by every Verdi fan!!!

One of the greatest voices EVER

Eileen Farrell Sings Verdi
Giuseppe Verdi , Fausto Cleva , Eileen Farrell , Columbia Symphony Orchestra , and Sedgwick Clark
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000029PJ
Release Date: 1997-01-14

Tracks:

Come in quest' ora bruna - From Simon Boccanegra (Act I)
Ritorna vincitor! - From Aida (Act I)
Pur ti reveggo - From Aida (Act III)
Tacea la notte placida - From Il trovatore (Act I)
D'amor sull' ali rosee - From Il trovatore (Act IV)
lo vengo a domandar - From Don Carlo (Act I)
Ave Maria - From Otello (Act IV)
Pace, pace, mio Dio - From La forza del destino (Act IV)
Ma dall' arido stelo divulsa - From Un ballo in maschera (Act II)
Teco io sto - From Un ballo in maschera (Act II)

Customer Reviews:

Supreme Verdi singing.......2005-01-10

Eileen Farrell's voice is a magnificent instrument. With a rounded tone, beautiful overtones, sumptuous middle notes, secure low notes, and serviceable (re: adequate) high notes, enormous volume, and an unmistakable timbre, the voice is awe inspiring. To hear this soprano singing softly is a great experience. To hear her unleash the massive power of which her voice is capable is an even greater experience. The recording has superb stereo sound, but Farrell's voice is definitely not as loud here as it was live in a concert hall or in the opera house. Her three duets with Richard Tucker are supremely sung. Tucker is miked closer than Farrell so that she doesn't blow him away with her voice. Still, the Tucker voice is a very big instrument, with a wonderful tenor sound and ringing high notes. His pitch is well nigh perfect. On top of this, he emotes wonderfully. The duet from "Don Carlo", "Io vengo a domandar", is spine-chilling in its brilliance and artistry. The lyric singing displayed in the soft sections is heavenly, and the more impassioned parts are brought vividly to life by Tucker and Farrell. Verdi's orchestration in this duet is greatness itself. I wish Columbia had recorded Farrell in "Tu che le vanità" instead of the Willow Song. Still, the Willow Song allows Farrell to show off her magnificent pianissimo, so beautiful and well controlled for a voice of such great size. In "Pace, pace, mio Dio", Farrell sings wonderfully and with alert attention to both text and drama. Her final cries of "Maledizione!" must have been deafening in the recording studio. She displays impressive agility for a voice of such size in the cabaletta to "Tacea la notte in placida" and her piano singing in "D'amor sull'ali rosee" is a delight to hear. Her duet with Tucker from "Aïda" is great to hear. Her "Come in quest'ora bruna" is lightly sung, with wondeful delicacy and a superb, beautifully floated mezzo forte high note on the word "fior" near the aria's end.

This CD contains Verdi singing the likes of which have totally disappeared from today's opera stages. Get it while you can!

TRUE BEAUTY.......2004-12-20

EILEEN FARRELL IS SO UNDERRATED!! HER VOICE IS SO FULL AND ROUND. EVER SONG SHE DOES ON THIS CD WAS PERFECTION AND I DON'T USE THAT WORD LIGHTLY. IT'S TOO BAD SHE DIDN'T RECORD MORE BECAUSE HER VOICE IS SO STUNNING...BUT UNLIKE OTHER MAJOR OPERA STARS SHE SEEMED VERY LOW KEY, NOT DETERMINED TO BE KNOWN EVERY WHERE TO EVERYONE. SHE HAD THIS VOICE AND SHE SANG AND THAT WAS IT. I HOPE SOMEDAY THAT SHE IS SEEN FOR WHO SHE REALLY IS, ONE OF THE BEST LYRIC-DRAMATIC SINGERS! BRAVA!

Verdi singing doesn't get better than this!.......2003-04-10

Eileen Farrell. What can one say? Well, for starters, she is probably the best female Verdian that America has ever produced. I am sorry Price fans, but Farrell is better than Price. Yes, Price is more famous and deserves her fame very much, but that doesn't mean she was the greatest American spinto there ever was. Farrell beats Price in the areas of pianissimo, diction, and identifying with the characters she sings instead of prima donna showoff singing. And no, I am not a racist. Farrell's voice soars in Verdi's music. Her magnificent instrument is capable of anything Verdi throws at her. She has an excellent trill. Her pianissimos and diminuendos are world-class. She really digs deep for characterization. Her "Pace, pace, mio Dio" ranks with Tebaldi's version. Farrell's version of the Willow Song from "Otello" would definitely make Tebaldi jealous. Her "Ave Maria" definitely rivals Caballé's stunning 1964 version. Farrell almost sounds like Tebaldi when she sings in her upper register. Her "Ritorna vincitor!" is awesome in its scope. Angry and self-loathing in the first half, then gently innocent in the second. Amazing. Her "Come in quest'ora bruna" demonstrates her wonderful agility. She beats every soprano who has recorded "Tacea la notte placida" and "D'amor sull'ali rosee" with her own masterful renditions. Her pianissimos, trills, and stunning agility are showcased in these two arias. Among the three duets with Richard Tucker (an excellent tenor and partner for Farrell), the only one worthy of the two's talents is "Pur ti riveggo" from "Aïda". The two other arias, one from "Don Carlo" and the other from "Un Ballo in Maschera", are two of Verdi's most overrated. If you want to listen to justly praised and magnificent love duets, listen to the master of all Italian love duets, Giacomo Puccini. Verdi, as great as he is, cannot come close to Puccini in expressing love through operatic music.

This disc is very highly recommended. I pray that every up and coming spinto, American or otherwise, listens to Farrell's singing closely and learns from her. It is truly a disgrace to Verdi's name that Angela Gheorghiu's Verdi recital has been praised to the heavens by the blind music critics. No light lyric soprano should even consider recording an entire album of Verdi soprano arias, no matter how talented they are. When you hear this recital, you will be mad at Gheorghiu for even attempting to sing this music. This just may be the best Verdi recital ever recorded.

Eileen Farrell should be heard by every Verdi fan!!!.......2003-04-10

Just buy it! You'll be glad you did.

In her prime, Eileen Farrell had an enormous voice capable of thrilling, wall-shaking power. Her voice's tone is one of the most rounded of all recorded sopranos', even matching the rounded tone of Joan Sutherland's voice. The voice itself has an unmistakable timbre. Besides the magnificent voice, this lady can really sing!

One of the greatest voices EVER.......2002-07-09

Eileen Farrell was a fabulous singer and had one of the greatest voices ever. She was also one of those rare opera singers who was also comfortable and skillful with popular music. She was also an even rarer talent in that she valued her family life more than her career. Even so, she is one of the all time great sopranos.

This recording contains ten glorious arias and duets from Verdi operas such as Aida, Il trovatore, Don Carlo, and Otello (and others). I don't know how you can not want this in your collection. Just glorious music making and a voice to die for.

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