Mario del Monaco

On this CD:

1. Otello, opera Esultate
Composed by Giuseppe Verdi
Performed by Mario Del Monaco, Clara Petrella, Giuseppe Taddei

2. Otello, opera Già nella notte densa
Composed by Giuseppe Verdi
Performed by Mario Del Monaco, Clara Petrella, Giuseppe Taddei

3. Otello, opera Non pensateci più...Tu...indietro fuggi
Composed by Giuseppe Verdi
Performed by Mario Del Monaco, Clara Petrella, Giuseppe Taddei

4. Otello, opera Si, pel ciel marmoreo
Composed by Giuseppe Verdi
Performed by Mario Del Monaco, Clara Petrella, Giuseppe Taddei

5. Otello, opera Dio ti giocondi o sposo
Composed by Giuseppe Verdi
Performed by Mario Del Monaco, Clara Petrella, Giuseppe Taddei

6. Otello, opera Dio mi potevi scagliar
Composed by Giuseppe Verdi
Performed by Mario Del Monaco, Clara Petrella, Giuseppe Taddei

7. Otello, opera Nium mi tema
Composed by Giuseppe Verdi
Performed by Mario Del Monaco, Clara Petrella, Giuseppe Taddei

8. Adriana Lecouvreur, opera La dolcissima effigie
Composed by Francesco Cilea
Performed by Mario Del Monaco, Clara Petrella

9. Adriana Lecouvreur, opera L'anima ho stanca
Composed by Francesco Cilea
Performed by Mario Del Monaco, Clara Petrella

10. Un ballo in maschera, opera La rivedrò nell'estasi
Composed by Giuseppe Verdi
Performed by Cloe Elmo, Enzo Mascherini, Mario Del Monaco, Emidio Tieri

11. Un ballo in maschera, opera Di' tu se fedele
Composed by Giuseppe Verdi
Performed by Cloe Elmo, Enzo Mascherini, Mario Del Monaco, Emidio Tieri

12. Un ballo in maschera, opera E' scherzo od è follia
Composed by Giuseppe Verdi
Performed by Cloe Elmo, Enzo Mascherini, Mario Del Monaco, Emidio Tieri

13. Un ballo in maschera, opera Si rivederti Amelia
Composed by Giuseppe Verdi
Performed by Cloe Elmo, Enzo Mascherini, Mario Del Monaco, Emidio Tieri

14. Manon Lescaut, opera Tra voi belle
Composed by Giacomo Puccini
Performed by Mario Del Monaco, Clara Petrella

15. Manon Lescaut, opera Cortese damigella
Composed by Giacomo Puccini
Performed by Mario Del Monaco, Clara Petrella

16. Manon Lescaut, opera Donna non vidi mai
Composed by Giacomo Puccini
Performed by Mario Del Monaco, Clara Petrella

17. Manon Lescaut, opera Vedete...io son fedele alla parola mia
Composed by Giacomo Puccini
Performed by Mario Del Monaco, Clara Petrella

18. Manon Lescaut, opera Ah non v'avvicinate...no, pazzo son
Composed by Giacomo Puccini
Performed by Mario Del Monaco, Clara Petrella

19. Andrea Chénier, opera Un di all'azzurro spazio
Composed by Umberto Giordano
Performed by Mario Del Monaco, Renata Tebaldi

20. Andrea Chénier, opera Ora soave
Composed by Umberto Giordano
Performed by Mario Del Monaco, Renata Tebaldi

Mario del Monaco, Music, Francesco Cilea, Umberto Giordano, Giacomo Puccini, Giuseppe Verdi, Renata Tebaldi, Mario del Monaco, Clara Petrella, Cloe Elmo, Emidio Tieri, Enzo Mascherini, Giuseppe Taddei, Classical, Classical Artists, Classical Music, Classical Vocals, Italian Romantic Opera, Opera

Verdi: Aida (complete opera live 1951) with Maria Callas, Mario del Monaco, Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City
Average customer rating:

Why 5... Find Out!

Callas Aida, Mex. City, 1951

Callas's most famous Aida -- all I can say is wow

All hail to the E Flat Goddess

Nuclear Aida!!!

Verdi: Aida (complete opera live 1951) with Maria Callas, Mario del Monaco, Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan

Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan

Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan

Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan

Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin

ASIN: B0000BWTKC
Release Date: 2003-11-04

Tracks:

Preludio
Si, Corre Voce Che L'Etiope Ardisca
Se Quel Guerriero Io Fossi!
Celeste Aida
Quale Insolita Gioia Nel Tuo Sguardo!
Vieni, O Diletta, Appressati
Alta Cagion V'aduna
Su! Del Nilo Al Sacro Lido
Ritorna Vincitor!
Possente Ftha...Tu Che Dal Nulia Hai Tratto
Immenso Ftha!...Mortal, Diletto Ai Numi
Nume, Custode E Vindice
Chi Mai Fra Gl'inni E I Plausi
Dance Of The Moorish Slaves
Vieni, Sul Crin Ti Piovano
Fu La Sorte Dell'armi A' Tuoi Funesta
Pieta Ti Prenda Del Mio Dolor
Su! Del Nilo Al Sacro Lido...Numi, Pieta
Gloria All'Egitto, Ad Iside
Triumphal March
Ballet
Vieni, O Guerriero Vindice
Salvator Della Patria
Che Veggo! Egli? Mio Padre!...Anch'io Pugnai...Ma Tu, Re, Tu Signore Possente
Il Dolor Che In Quel Volto Favella
O Re, Pei Sacri Numi...Gloria All'Egitto

Tracks:

O Tu Che Sei D'Osiride
Vieni D'Iside Al Tempio
Qui Radames Verra!
O Patria Mia
Ciel! Mio Padre!
Rivedrai Le Foreste Imbalsamate
Pur Ti Riveggo, Mia Dolce Aida
Nel Fiero Anelito Di Nuova Guerra
Fuggiam Gli Ardori Inospiti...La, Tra Foreste Vergini
Ma Dimmi: Per Qual Via
L'aborrita Rivale A Me Sfuggia
Gia I Sacerdoti Adunansi
Ohime! Morir Mi Sento!
Spirto Del Nume
A Lui Vivo, La Tomba!...Sacerdoti: Compiste Un Delitto!
La Fatal Pietra Sovra Me Si Chiuse
Vedi? Di Morte L'angelo...Immenso Ftha
O Terra, Addio

Customer Reviews:

Why 5... Find Out!.......2006-10-12

This Aida is perhaps the best I've ever heard. Even in the libretto it states that it is a full-blooded performance. I whole-heartedly agree. Callas, once again giving her exciting performances in Mexico City, turns her Aida into the stuff of legend. Again. Del Monaco is the best of any Radames. Yes, Domingo had the dramatic capability, but Del Monaco's overpowering voice should well be the trademark of the overpowering Egyptian military leader. Dominguez is the best of any Amneris I've heard, and also is mentioned in the libretto as having "opulent" tones. The word "opulent" doesn't begin to describe the effect she had on me in "L'aborrita rivale a me sfuggia". In the "Rivedrai le foreste imbalsamate" duet with Aida and Amonasro, Giuseppe Taddei tops all expectations, blowing back even Tito Gobbi. Altogether, this recording is a must even for people who hate Callas. 5 stars.

Callas Aida, Mex. City, 1951.......2006-07-21

Everyone is on fire in this performance. Singers today do not have that "fuoco". Thanks to recordings like these, opera fans of the post Callas era, like myself, can get a "glimpse" into her glorious past. Callas and Del Monaco soar over everything else in the second act! And of course, the famous E flat! O. Dominguez as Amneris! I became an instant fan; hard to find other recordings of her. Some of the reviewers refer to Anmeris as Simionato, it is Dominguez! Taddei is perfect as Amonasro - great visceral singing- no baritones like him around anymore. Who cares if the sound is not perfect? I like all the environmental sounds, it makes me feel like I am right there. I only listen to live stuff anyway, because it is the real deal; I find most studio recordings boring. It is the best AIDA I have heard. Get it!

Callas's most famous Aida -- all I can say is wow.......2006-02-17

This 1951 Mexico City performance of Aida has become legendary, largely due to Callas's unbelievable performance in the title role. Aida was not a role strongly associated with Callas (the way, say, Norma was). She dropped it from her repertoire in 1953, only making a studio recording in 1955, which I always found to be a disappointment.
But in this 1951 Mexico City performance, Callas was on fire. Her voice of course never had the glowing beauty of a Tebaldi or Price, but Callas makes her Aida a firy princess. Her "Ritorna vincitor" might be the best sung version I've ever heard. Rosa Ponselle and Giannina Arangi-Lombardi and Renata Tebaldi may sound more beauty but Callas inflects the text to great emotional effect. Her "O patria mia" is a rough moment -- high C was always a rough note for Callas, and she can't sing it "dolce" as marked in the score. But her Act 3 duets with del Monaco and Taddei are remarkable, as is her "O terra addio." And of course, she caps off the Triumphal Scene with the famous E-flat that lasts 7 seconds (yes I've counted). Legend has it that in 1950, when she sang Aida at Mex City with Kurt Baum, she was so annoyed with the tenor that she did the E-flat at the Triumphal Scene. It worked so well that the next year she tried the same stunt.
The rest of the cast is strong. I prefer a Radames who is better able to control dynamics like Franco Corelli or Carlo Bergonzi. Mario del Monaco seems to sing in two ways -- loud and louder. But del Monaco is certainly stentorian and heroic and there just aren't voices like him anymore. Giuseppe Taddei is a wonderfully nasty Amonasoro. His voice practically drips hatred and bitterness. And Oralia Dominguez is not as well-known as the rest of the cast but she's terrific nonetheless, with a beautiful, powerful mezzo voice.
The sound is admittedly bad, but the performance more than makes up for it.

All hail to the E Flat Goddess.......2005-08-23

I have always love Aida I have heard 3 versions but nothing can compare to this. Although the recording quality is terrible, this 1951 gala captures The La Divina in the prime of her vocal prowess. The first time I heard the e flat in the Triumphant schene, my jaw dropped.I could not describe the feeling I had that time. I just closed my eyes and thank the Creator above for giving the world "Maria Callas the greatest suprano in living memory".

Nuclear Aida!!!.......2005-03-18

Ever imagine a large voiced Callas singing Aida? Here it is! Ever wanted her paired with an amazing Radames with a large, robust voice? You have it here! What about an explosive Amneris? Oralia Dominguez is also cast in this performance! What about a 12-second, interpolated E-flat? Callas sings it, and with a huge blazing voice too! Very unlike the standard canary E-flats you hear today! What about a great performance and a dramatically convincing Aida with Giuseppe Taddei as Amonasro? Well, this is it! Although her fabulous studio Aida wasn't as accepted as the Price Aida, this live recording from Mexico puts Leontyne's recording to second place. No other Aida will be able to achieve such a miraculous job of singing the role with that kind of forza, and with that kind of passion. The studio recording with Callas is recommended too, if you want to hear the several colors of Aida.

Average customer rating:

A Grand Otello
Brilliant
Almost Incomparable
Great Cast, Great Recording
Blitzkonducting

Verdi: Otello

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041PA
Release Date: 2002-09-10

Tracks:

Otello: Act One: Una vela! Una vela! - Vienna State Opera Chorus
Otello: Act One: Esultate! - Mario Del Monaco
Otello: Act One: Roderigo, ebben che pensi? - Aldo Protti
Otello: Act One: Fuoco di gioia! - Ciprioti
Otello: Act One: Roderigo, beviam! - Aldo Protti
Otello: Act One: Inaffia l'ugola! Trinca, tracanna - Aldo Protti
Otello: Act One: Capitano, v'attende la fazione ai baluardi - Tom Krause
Otello: Act One: Abbasso le spade! - Mario Del Monaco
Otello: Act One: Gia nella notte densa - Mario Del Monaco
Otello: Act Two: Non ti crucciar - Aldo Protti
Otello: Act Two: Vanne! la tua meta gia vedo - Aldo Protti
Otello: Act Two: Credo in un Dio curdel - Aldo Protti
Otello: Act Two: Cio m'accora... - Aldo Protti
Otello: Act Two: Dove guardi splendono - Renata Tebaldi
Otello: Act Two: D'un uom che geme sotto il tuo disdegno - Renata Tebaldi
Otello: Act Two: Se inconscia, contro te, sposo, ho peccato - Renata Tebaldi
Otello: Act Two: Desdemona rea! - Mario Del Monaco
Otello: Act Two: Tu? Indietro! fuggi!! - Mario Del Monaco
Otello: Act Two: Ora e per sempre addio - Mario Del Monaco
Otello: Act Two: Pace, signor - Aldo Protti
Otello: Act Two: Era la notte, Cassio dormia - Aldo Protti
Otello: Act Two: Oh! mostruosa colpa! - Mario Del Monaco
Otello: Act Two: Si, pel ciel marmoreo giuro! - Mario Del Monaco

Tracks:

Otello: Act Three: La vedetta del porto ha segnalato - Monaco/Protti
Otello: Act Three: Continua - Mario Del Monaco
Otello: Act Three: Dio ti giocondi, o sposo - Renata Tebaldi
Otello: Act Three: Esterrefatta fisso - Renata Tebaldi
Otello: Act Three: Dio! mi potevi scagliar - Mario Del Monaco
Otello: Act Three: Cassio e la! - Aldo Protti
Otello: Act Three: Vieni; l'aula e deserta - Aldo Protti
Otello: Act Three: e intanto, giacche non si stanca mai - Aldo Protti
Otello: Act Three: Quest'e il segnale - Aldo Protti
Otello: Act Three: Il Doge e il Senato salutano - Fernando Corena
Otello: Act Three: Messere, son lieto di vedervi - Aldo Protti
Otello: Act Three: A terra!...si...nel livido fango - Renata Tebaldi
Otello: Act Three: Quell'innocente un fremito - Ana Raquel Satre
Otello: Act Three: Fuggite! - Mario Del Monaco
Otello: Act Four: Era piu calmo? - Ana Raquel Satre
Otello: Act Four: Mia madre avera una povera ancella - Renata Tebaldi
Otello: Act Four: Piangea cantando nell'erma landa - Renata Tebaldi
Otello: Act Four: Ave Maria, piena di grazia - Renata Tebaldi
Otello: Act Four: (Otello compare) - Wiener PO/Karajan
Otello: Act Four: Diceste questa sera le vostre preci? - Mario Del Monaco
Otello: Act Four: Aprite! aprite! - Ana Raquel Satre
Otello: Act Four: Niun mi tema - Mario Del Monaco

Customer Reviews:

A Grand Otello.......2005-11-18

This Otello, starring the stentorian tenor Mario Del Monaco, soprano Renata Tebaldi and baritone Aldo Protti is largely considered the greatest of the post World War II LP Era. It is a very old-school Otello, with emphasis on the grand Italian opera technique and the singers are in top shape and the sound quality is supreme on this digitally remastered recording. Mario Del Monaco makes a fearsome Otello, every bit the proud, roaring "lion of Saint Mark" he is said to be. From his opening exclamation: "Exultate!" to his first slip into jealous madness "Ora Per Sempre Addio" and his confrontations with Desdemonas are all incredibly dramatic and vocally magnificent. For a long period of time, Del Monaco was considered the undisputed finest interpretor of Otello. Jon Vickers and Placido Domingo followed in his footsteps. Del Monaco may be quite, well "hammy" in certain scenes, but he was an incredible actor and his voice, which is the biggest to date, soared above the orchestra and awed audiences worldwide. Though he wore "black paint" he was statuesque and grand in his dramatic gestures. As for Renata Tebaldi, she owned the role of Desdemona, for not even Maria Callas sang it on stage during her own career. This role was entirely her own, and she sang the heck out of it. Lyric enough to appear vulnerable and innocent as Desdemona is, she was also able to project enough bite and dramatic ardor. It's a lush Desdemona, a regal Desdemona, and very few sopranos were able to sing it that way. Her teamwork with Del Monaco was virtuosic. They recorded several big operas on LP- Tosca, Aida, La Forza Del Destino, Mefistofele. As for the baritone Aldo Protti (who ?) he's only serviceable as Iago. This is a shame. With George London around, and Tito Gobbi, it's a shame they cast a singer who does not put any real effort into the part of Iago, which is a pivotal part. His villainous scheming, his greed and the complexities of his character should surface in the singing. And Protti does nothing to impress us. But this is only a slight and trivial mistake. Other great Otellos you might want to check out include Placido Domingo's several Otellos on recording, Jon Vickers Otellos and that of James McKraken. All fine Otellos but in size and volume they do not compare to Del Monaco, the master of grand opera.

Brilliant.......2005-06-21

Great recording all round of Verdi's most profound opera.

Chief singers are great -- I find del Monaco and Domingo the best Otellos.

Sound very good for early 60s.

Almost Incomparable.......2005-02-25

I'm going to make this short since there are plenty of other reviews about this recording. Vocally, orchestrally, and sound wise-this is the definitive (Studio) recording of Otello, hands down. The only problem I have with this CD transfer is the absence of the ballet which is on the original LP's and which is why I give this 4 stars instead of 5.

Great Cast, Great Recording.......2005-01-24

The premiere of OTELLO was one of the greatest moments in operatic history. Verdi was near the end of his career. Only FALSTAFF succeeded OTELLO and in the eyes of many, OTELLO is Verdi's greatest achievement. Music lovers of the day, who were usually late for performances made an exception and arrived early for OTELLO. The public was so excited at the premiere, riots nearly started on the streets of Milan. The crowds were so enthusiastic about the music, the applause and cheering was deafening, at least according to legend. OTELLO still causes excitement. This adaptation of the Shakespeare play, which tells of pure love as well as the tragedy that results when power and jealousy take control of a person is timeless. When the greatest singers are assembled and have the vocal gifts to bring this great work to life, the results are magical. Three great voices who are legendary in this opera include Mario Del Monaco as Otello, Renata Tebaldi as Desdemona, and Aldo Protti as Jago.

Verdi's OTELLO always tops my list of favorite operas, and Mario Del Monaco and Renata Tebaldi are my Otello and Desdemona of choice. I also enjoy Aldo Protti's Jago. Protti is masterful as the evil Jago. Fans of Tebaldi, Del Monaco, and Protti have a choice of two great recordings of this work: one under the baton of Alberto Erede and the other under Herbert Von Karajan's direction. The Karajan recording dates back to 1961 and is one of the standard bearers of this great work.

Many people looking at this review are probably trying to decide between this recording and the Erede version. Both are among the best recordings of this work. While either would make an excellent choice, there are a few differences. The principals, particularly Del Monaco, are not as clean as in the Erede set, but all three are comfortable in their roles which give the recording a dramatic intensity. In the Karajan set, the orchestra is the trademark full blown sound characteristic of most Karajan sets. For those who love Karajan's sound, this will be an asset. I happen to love the Karajan recordings I have in my collection, especially the OTELLO.

This set includes a full libretto as well as some background information about Verdi and the opera. One thing I found disappointing is that the CD version does not include the ballet music inserted into Act III. While this was added after the premiere, and is not an example of Verdi's greatest music, the LP and cassette versions include it. I grew accustomed to hearing the music, and miss it in the CD version. Even without the ballet music, this is still a superior recording.

Blitzkonducting.......2004-09-05

This recording of Otello, although great otherwise, suffers from the heavy hand of Karajan. Karajan (and one either loves this or hates this) conducts his orchestras to make much louder and faster recodings than are usual. If you are looking at a Karajan Otello, I suppose you are one of his proponents.

Karajan's grandiose style does wonders to deepen and enliven timid and lighthearted works. For example he is marvelous with Mozart; I love the Karajan Zauberflote and Requiem. However, Otello is neither a timid nor a lighthearted work. Verdi and Karajan both produce delightful but overstated music. Putting them tgether just makes an unsubtle and overloud recording.

Average customer rating:

Resurrection of an Old LP Compilation
Vintage Renata

The Best of Tebaldi

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002L2XUC
Release Date: 2004-10-12

Customer Reviews:

Resurrection of an Old LP Compilation .......2007-03-09

I bought this compilation on a London LP back in the seventies. I listened to it until I wore it out. They wisely began the disc with probably the best recording she ever made, that of Si, mi chiamano Mimi, from La Boheme. The singing on that cut is so ravishing and inspired. All the other cuts are almost as good, except for the one from La fanciulla del West; there she was past her prime, but it's a great aria. Instead, they should have included her recording of O Patria Mia from AIDA. Tebaldi had something that even the great Caballe has never completely matched, and this CD really does represent her best work.

Vintage Renata.......2005-01-03

This recital, one of the series of "original cover" [in this case the English, not the American cover] albums that DECCA has been re-issuing, is a compilation-recital drawn from Tebaldi's many complete-opera sets.

TRACKLISTING

1 Sì. Mi chiamano Mimì (Mimì)
La Bohème Puccini
2 Donde lieta uscì al tuo grido (Mimì)
La Bohème Puccini
3 Vissi d'arte (Tosca)
Tosca Puccini
4 Laggiù nel Soledad (Minnie)
La fanciulla del West Puccini
5 Un bel dì, vedremo (Cio-cio-san)
Madama Butterfly Puccini
6 "Con onor muore" (Cio-cio-san)
Madama Butterfly Puccini
7 Signore, ascolta! (Liù)
Turandot Puccini
8 Tu che di gel sei cinta (Liù)
Turandot Puccini
9 La mamma morta (Maddalena)
Andrea Chénier Giordano
10 Io son l'umile ancella (Adriana)
Adriana Lecouvreur Cilèa
11 Poveri fiori (Adriana)
Adriana Lecouvreur Cilèa
12 L'altra notte in fondo al mare (Margherita)
Mefistofele Boïto

Carlo Bergonzi tenor (tracks 1 & 6)
Cornell MacNeil baritone (track 4)
Mario del Monaco tenor (track 8)
Orchestra e coro dell'Accademia di Santa Cecilia
Tullio Serafin (tracks 1, 2, 5, 6 & 12)
Francesco Molinari-Pradelli (track 3)
Franco Capuana (tracks 4, 10 & 11)
Alberto Erede (tracks 7 & 8)
Gianandrea Gavazzeni (track 9)

Her luminous, radiant voice was at her best here.

Now DECCA ought to re-issue Tebaldi's classic 1955 recital with Alberto Erede conducting, from which I particularly cherish the two items from Licinio Refice's CECILIA, an azione sacra from the 1930s that Tebaldi sings with a tenderness and glow that is guaranteed to bring tears to your eyes.

To know Renata is to love her, and so will you, if you hear this exquisite disc.

The several non-jet-setting conductors in this dic lead with un-flashy excellence and a gracious, Italianate regard for the needs of the singer: a lesson in STYLE.

Average customer rating:

essential
A major milestone in Tebaldi's distinguished career
The American wins
Too much dust in Minnie's throat
ONE OF DECCAýs GREATEST ACHIEVEMENTS

Puccini: La fanciulla del West

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041UN
Release Date: 2002-09-10

Tracks:

La Fanciulla del West: Act One: Introduction - Accademia di Santa Cecilia, Roma/Capuana
La Fanciulla del West: Act One: Hello...Nick! - Edio Peruzzi
La Fanciulla del West: Act One: Che faranno i vecchi miei - Giorgio Tozzi
La Fanciulla del West: Act One: Jim, perche piangi? - Cazzato/Coro Accademia di Santa Cecilia, Roma
La Fanciulla del West: Act One: Andiam, ragazzi - Cornell MacNeil
La Fanciulla del West: Act One: Un poker? Nick, gettoni! - Cornell MacNeil
La Fanciulla del West: Act One: Mrs Rance, fra poco - Cornell MacNeil
La Fanciulla del West: Act One: Hello, Minnie! - Tebaldi/Monaco/MacNeil/Palma/Giorgetti/Guagni/Carbonari/Peruzzi/Carlin/Mercuriali/Cazzato...
La Fanciulla del West: Act One: Dove eravamo? - Renata Tebaldi
La Fanciulla del West: Act One: La posta! La posta! - Palma/Chor
La Fanciulla del West: Act One: Ti voglio bene, Minnie - Cornell MacNeil
La Fanciulla del West: Act One: Minnie, dalla mia casa son partito - Cornell MacNeil
La Fanciulla del West: Act One: Laggiu nel Soledad - Renata Tebaldi
La Fanciulla del West: Act One: Chi c'e per faumi i ricci? - Mario Del Monaco
La Fanciulla del West: Act One: Vi ricordate di me? - Mario Del Monaco
La Fanciulla del West: Act One: Mister Johnsonm voi m'avete seccato! - Cornell MacNeil
La Fanciulla del West: Act One: Mister Johnson, un valzer? - Mario Carlin
La Fanciulla del West: Act One: Mister Johnson, siete rimasto indietro - Renata Tebaldi
La Fanciulla del West: Act One: Io non son che una povera fanciulla - Renata Tebaldi
La Fanciulla del West: Act One: Quello che tacete - Mario Del Monaco
La Fanciulla del West: Act One: Come voi leggermi in cor non so - Renata Tebaldi
La Fanciulla del West: Act One: Ah, non temete, nessuno ardira! - Mario Del Monaco

Tracks:

La Fanciulla del West: Act Two: Il mio bimbo e grande e piccino - Bianca Maria Casoni
La Fanciulla del West: Act Two: Billy, e fissato? - Renata Tebaldi
La Fanciulla del West: Act Two: Voglio vestirmi tutta - Renata Tebaldi
La Fanciulla del West: Act Two: Oh, se sapeste - Renata Tebaldi
La Fanciulla del West: Act Two: Ugh! Neve! - Bianca Maria Casoni
La Fanciulla del West: Act Two: Hello! - Piero De Palma
La Fanciulla del West: Act Two: Vieni fuori! - Renata Tebaldi
La Fanciulla del West: Act Two: Non mi difendero - Mario Del Monaco
La Fanciulla del West: Act Two: L'han ferito...Che importa? - Renata Tebaldi
La Fanciulla del West: Act Two: Che c'e di nuovo, Jack? - Renata Tebaldi
La Fanciulla del West: Act Two: E la! E la! - Cornell MacNeil
La Fanciulla del West: Act Two: Una partita a poker! - Renata Tebaldi
La Fanciulla del West: Act Three: Ve lo giuro, sceriffo - Piero De Palma
La Fanciulla del West: Act Three: Maledetto cane! - Cornell MacNeil
La Fanciulla del West: Act Three: Ah! Ah! Ah! - Chor
La Fanciulla del West: Act Three: Sceriffio Rance! - Silvio Maionica
La Fanciulla del West: Act Three: E cosi, Mister Johnson, come va? - Cornell MacNeil
La Fanciulla del West: Act Three: Risparmaite lo scherno - Mario Del Monaco
La Fanciulla del West: Act Three: Ch' ella mi ereda libero e lontano - Mario Del Monaco
La Fanciulla del West: Act Three: Ah-ah-ah! - Renata Tebaldi
La Fanciulla del West: Act Three: Non vi fu mai - Renata Tebaldi
La Fanciulla del West: Act Three: E anche tu lo vorrai - Renata Tebaldi
La Fanciulla del West: Act Three: Le tue parole sono di Dio - Giorgio Giorgetti

Customer Reviews:

essential.......2006-12-22

Face it. All the best opera recordings were made between the mid 50s and early 70s. Fortunate for us that the final golden age of opera singing coincided with the onset of high fidelity stereo recording. This Fanciulla is a golden age performance. Sure, Carol Neblett had better high notes but the rest of the Tebaldi performance is a treasure. The role of Dick Johnson seems like it was written precisely for the voice of Del Monaco. His miraculous high notes are among the wonders of recorded opera. Cornell MacNeil's brief vocal prime was captured in this recording. This Fanciulla easily deserves a place alongside the Callas Tosca, the Bjoerling Boheme and the Caballe Manon Lescaut as the best Puccini recordings ever made.

A major milestone in Tebaldi's distinguished career.......2005-02-22

No words can describe the pleasure of listening to Renata Tebaldi in this opera, perhaps Puccini's most original work. It belongs in any Puccini-lover's shelf. This is a wonderful recording, sounding astonishingly vivid and clear for its age. Tebaldi is in excellent form, portraying an idiomatic and believable Fanciulla and a very Italian one at that too, gracing the score with her sumptuous voice, like a torrent of molten gold, to suit the demands of this Wagnerian-like rôle. Her aristocratic phrasing and perfect diction are a lesson for any singer. Tebaldi delivers deep dramatic intensity in a spinto rôle that, in my opinion, fitted her like a glove. This is a recording I keep coming back to very often. We ought to be eternally indebted to Decca for recording Tebaldi in this rôle in her absolute prime. The rest of the cast is first-rate. Mario del Monaco, boasting a clarion-sounding, virile voice and electrifying phrasing, is a delight. Cornell McNeill too is in excellent voice and his singing is idiomatic and coloured. The orchestra at times seems to be a character in the opera in its own right. A wonderful set. I would give it 10 stars if I could.

The American wins.......2004-06-12

The best singer in this recording is the American, Cornell MacNeil. He was at the peak of his brilliance when this recording was made in 1958. His sound has the solidity we expect from the sheriff of a dusty 19th century mining town, and his excellent use of the text perfectly depicts this lonely, wounded character. I expected Renata Tebaldi to be in wonderful voice as Minnie because this was the same year as her fabulous San Carlo 'Forza del Destino' (available on video), but I was completely wrong. I am astounded that she allowed this recording to be released; all climax notes are painful to hear and the voice generally lacks buoyancy. She sounds like The Mature Woman of the Golden West. Hearing Mario Del Monaco live in a theater was probably much more pleasant than hearing him in studio recordings because the brashness of his voice would have mellowed slightly before striking your ears. His studio recordings often make one cringe, as is the case here. Instead of this studio recording, perhaps you can find the live 1964 Philadelphia performance with Dorothy Kirsten, Franco Corelli and Anselmo Colzani (another terrific sheriff!). It is available on Melodram CDM 27081.

Too much dust in Minnie's throat.......2004-01-30

The drawback to this CD/recording is Tebaldi. Her voice
sounds dry, one-dimensional, wobbly, out of tune and forced.
Though I liked the orchestra's performance I had to put this
CD in the "give-away" bin simply because listening to Tebaldi was so uncomfortable.

ONE OF DECCAýs GREATEST ACHIEVEMENTS.......2002-09-22

This is the landmark recording of Puccini's less popular La Fanciulla del West. It is quite different (more theatrical) from the other Puccini operas and it is in my opinion, experienced better live, in an opera house.

The role of Minnie is arguably one of the most difficult roles to cast and especially to perform. It requires a powerful, firm voice but since it's a Puccini role, the voice must be beautiful as well. Renata Tebaldi's success in this role is legendary and she repeated the role on stage many times in the `60s. Here in 1958, she is caught in her absolute prime! The voice is glorious, hitting the high notes with amazing precision but always remaining warm and enchanting. As for acting skills, just purchase this set and listen to her... at any moment (the poker game for example!). In fact, most Tebaldi fans regard this as her best studio performance.

But is it just Tebaldi that makes this set a miracle? Mario del Monaco here proves once again that he is one of the greatest tenors ever! His stentorian voice might not be suitable for other Puccini roles (Pinkerton or Rodolfo for example) but as Johnson he is superb. His handsome low and electrifying high notes shine in this recording. Cornell MacNeil's beautiful baritone voice is another asset of this set. In fact, EVERYONE in the cast is great but what truly amazes, is the chemistry between the performers! It is among the most "live" studio recordings I have ever listened to! The opera's closing scene (last two tracks) is one of Puccini's grandest achievements and these legendary singers make the best out of it. Maestro Capuana conducting is in the same league as his sublime soloists, which definitely helps us enjoy Puccini's magic! The sound quality, by the way, is excellent.

A lot of people in the US were looking for this recording and Amazon finally releases it. Enjoy it!!

Bellini: Norma
Average customer rating:

Legendary Norma ?

One of the most amazing recordings I've ever heard in my life

Bellini: Norma

Manufacturer: Idi [Ital Disc Inst]
ProductGroup: Music
Binding: Audio CD

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Maria Callas ~ Cherbini - Medea [selection]

Verdi: Aida (complete opera live 1951) with Maria Callas, Mario del Monaco, Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City

Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato

Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan

Verdi: La Traviata

ASIN: B0009J2RSU
Release Date: 2005-05-31

Customer Reviews:

Legendary Norma ?.......2007-06-21

This is the mythical night at la Scala so praised not only by the public but also by critics and opera singers.
Callas' voice has still the amazing strength and flexibility of the early fifties and at the same time it has become more subtle and elegant. The emission is unusually even and smooth, the timber is both warm and powerful.

The great pluses: the gorgeous, virile voice of Del Monaco, the remarkable Simionato and a surprisingly innovating lecture of the partition by maestro Votto.

Is it really the best Norma ever? Well, personally I have some reserves.

This record features, without any doubt, the BEST cast ever reunited. However, even if Del Monaco and Simionato had huge voices, in this record they sound cold, mechanical and uninvolved. I mean they are both in INCREDIBLE form but they sound like they are singing apart, not with each other.

The 1961 studio recording is, in my opinion, the most thrilling. The electricity between Callas, Corelli and Ludwig is indescribable. Is just a shame that at that time Callas' voice was so damaged.

I still consider that the best Norma EVER, despite the controversies about the cast and the conducting, is the 1954 studio recording: a rock solid voice with the most breathtaking flexibility and vertiginous coloratura.

Even if I personally find this 1955 version technically peerless but cold, experts say it is a legendary record so I could be wrong.

One of the most amazing recordings I've ever heard in my life.......2007-05-02

I'm not going to go into a lot of detail here...let me just say that this recording is UNBELIEVABLE. What happened to singers like that? I believe this is probably Callas' best recording of Norma, although I do like the studio recording with Ludwig and Corelli. She doesn't take the high notes though like she does in this live performance. FOR EXAMPLE, listen to the cabaletta at the end of the first act...Callas sustains a high D for what seems like forever until the audience bursts into applause. Other highlights include the Adalgisa/Pollione duet (there's a strange audio flaw for a second), the Adalgisa/Norma duet (Mira, o Norma...Si, fino all'ore) and the final ensemble in Act II...WOW! I should say that the tracks have been edited to cut out some of the lengthy applause which causes some abrupt segues in the next number. There's also a crackling noise during the first Adalgisa/Norma duet that lasts for several minutes. Despite these flaws, this is an in incredible piece of history and a must-hear for opera lovers.

Mario del Monaco: Historical Recordings 1950 - 60

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One of the biggest voices of the past 50 years
The Biggest Tenor Voice of the 20th century

Mario del Monaco: Historical Recordings 1950 - 60

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Mario del Monaco: Opera Arias
Beniamino Gigli: Historical Recordings 1927 - 1951
The Very Best of Franco Corelli
Grandi Voci: Mario del Monaco
The Very Best of Beniamino Gigli

ASIN: B000001XLU
Release Date: 2000-06-06

Tracks:

'I pagliacci': Prologo
'I pagliacci': Vesti la giubba
'I pagliacci': No, pagliaccio non son!
'Il trovarore': Di quella pira
'Il trovarore': Mal reggendo
'Il trovarore': Ah, si ben mio
'Macbeth': Ah, la peterna mano
'Otello': Esultate
'Otello': Niun mi tema
'Otello': Morte di Otello
'Madama Butterfly': Addio fiorito asil
'Tosca': Recondita armonia
'Tosca': E lucevan le stelle
'Il tabarro': Hai ben raggione
'Il tabarro': Folle di gelosia
'Andrea Chenier': Un di all'azzuro spazio
'Andrea Chenier': Si fui soldato
'Andrea Chenier': Come un bel di maggio
'Les troyens': Aria di Enea
'Il Barbiere Di Siviglia': Largo al factotum
'Die Walkure': Monologue of Siegmund

Customer Reviews:

One of the biggest voices of the past 50 years.......2007-02-19

Mario del Monaco was not the most elegant tenor; he was not a great actor. But, man, did he have a big voice! He had one of the most powerful tenor voices of the past 50 years. We're talking Richard Tucker and Franco Corelli power here (and maybe even more at that).

Some examples. He sings "Largo al factotum" from Rossini's "Il Barbiere de Siviglia." He takes it at a fast pace. This work is normally sung by a baritone, but del Monaco makes it his own anyhow. He has fun with this aria and it shows.

For tenors, "Di quella pira" is a show off aria (from Verdi's "Il Trovatore"). The high C here is a splendid place to demonstrate one's voice. Del Monaco has the big voice for this; the high notes ring out. On the other hand, with the "shake" in this work, he is pretty rough and inelegant. But elegance was not del Monaco's forte; power was. His voice on the final notes sails above the orchestra and chorus.

Verdi's "Tosca" has two showstoppers for tenors: "E lucevan le stella" and "Recondita armonia." His version of the former is powerfully sung. Again, not elegant, no great characterization--but powerfully sung. A stentorian voice deployed to good effect. His singing of the words "la vita" catches one's attention. As for the latter, more of the same. If elegance you want, do not attend to Mario del Monaco. If you are intrigued with power, then he is someone you might wish to listen to.

"Vesti la giubba" was one of Caruso's most famous pieces. This aria, from Leoncavallo's "I Pagliacci," is one of the most well known works in the repertoire. Again, del Monaco's version is not graceful. His laughter works nicely; his voice is almost too much for this aria. Nonetheless, again, for those interested in the work of del Monaco, this is interesting to listen to.

All in all, a nice introduction to the work of Mario del Monaco. Personally, I find his power wondrous to listen to; on the other hand, I wish that there were a bit more elegance and subtlety. But the power of his voice is a natural wonder!

The Biggest Tenor Voice of the 20th century.......2005-08-01

Most music scholars and opera cognescentes credit the Italian from Florence Mario Del Monaco to have been blessed with the most powerful and biggest tenor voice in the 20th century. I wouldn't know about in all history, but for all I know, he could have indeed have the biggest tenor voice in history, since in the old days of opera -Baroque Era to the 19th century, purely lyric tenors with only some weight and power- like Caruso, were in vogue. When Monaco came along, he changed the course of tenor performances. He was singing in electrifying performances during the 50's- his career spanned the same time of Maria Callas' legendary performances. He even worked with Callas and Tebaldi in such operas as Norma and Andrea Chenier. Mario Del Monaco's most famous role was Verdi's Otello, still considered the greatest interpretation by any tenor of that role. This album finds him at his peak and he sings aria after aria in powerful, masculine, dynamic and beautiful voice, exemplifying the best way to sing in the Italian manner. Find out for yourself and put on this recording while listening to other tenors singing the same arias at the same time. I have tried it. Monaco's voice is far bigger and meatier than such celebrated tenors as Giuseppe Di Stefano, Franco Corelli, Jon Vickers, Placido Domingo and Luciano Pavoratti. Vickers had a big voice as well but even his voice is thinner next to the hefty voice of Del Monaco. Not only that but Del Monaco was the first real "star" tenor at a time when soprano divas were always the stars. He immersed himself in the roles he sang and brought to life for post-World War II audiences.

This well-documented album showcases Mario's versatility in various Italian operas. The only non-Italian aria here is the last one, Siegfried's Aria and Monologue from Wagner's Die Walkure. But mostly, he sang in Italian as only singers from Germany itself sung in the operas of Strauss and Wagner. Americans or Italian singers sticked to the much beloved Italian repertoire. Monaco shows off his muscular vocal chords in the classic tenor signature aria - Vesti La Giubba from I Pagliacci, made famous by Enrico Caruso. In this aria, Pagliacci, just learning that his lady love Nedda has been unfaithful, is naturally crushed but has to perform that night and adopts a "show must go on" attitude. "Laugh, clown, laugh" is his motto in that aria. Monaco makes that aria more intense than any other tenor that followed him. His Manrico is the perfect vehicle for his heroic bravado technique and his Di Quella Pira is hands down the finest interpretation. Included here are arias from Otello, including the passionate "Esultate!" which soars above a powerful orchestra. Also here are stirring arias from Andrea Chenier and even a delightful rendition of "Largo Al Factotum" from the comic Rossini masterpiece The Barber of Seville. Surprisingly, Monaco does not seem perfect for such a role, since it seems to be vocally beneath him. Del Monaco was too serious and heroic sounding that such comic roles as a barber appeared like an odd stray from the norm. But it also proves his versatility I guess. For me, Mario Del Monaco was at his best in such roles as Manrico from Trovatore, Radames from Aida, Cavaradossi from Tosca (included here) Don Jose in Carmen, which he sung opposite Regina Resnik, Calaf in Turandot and Siegfried as well as Otello. Get this album and hear for yourself the voice that dazzled audiences and the man who is still beloved and talked about by opera lovers to this day.

Average customer rating:

Top notch, Golden-Age cast in ideal Verdi performance; one of the best
This may not be the legendary one, but it's legendary enough
IT'S GOOD, BUT NOT THE ULTIMATE "FORZA DEL DESTINO"
A Recording I'm Sure Verdi Would Love
Magnificent and authentic Forza

Verdi: La Forza del Destino

Manufacturer: Decca
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Binding: Audio CD

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Verdi: Otello
Verdi: Il Trovatore
Catalani: La Wally / Tebaldi, del Monaco, Cappuccilli; Cleva
Cilea: Adriana Lecouvreur
Andrea Chenier

ASIN: B00000E3R2
Release Date: 2002-09-10

Customer Reviews:

Top notch, Golden-Age cast in ideal Verdi performance; one of the best.......2007-03-11

If I had to name a favorite Verdi opera, it would have to
be his La forza del destino. This opera moves me like no
other among his works. I realize that some others -
Falstaff, Don Carlo, Otello - are considered to have a
greater unity between text and music. But Forza has the
strongest emotional pull. The story may be pure
opera-illogico of the soap variety, but the emotions
expressed within the dilemmas of the characters are
powerful, moving. It is among the gloomiest of Verdi's
operas, tense, brooding, morbid. Classic themes of thwarted
love and revenge. But there's also spirit, quirkiness
(Preziosilla, Melitone), and perhaps most significantly for
me, profound spirituality. The second scene in the second
act is one of the most inspired from Verdi, one I go back
to with eager familiarity. The "Madre, Madre pietosa
Vergine" is a peerless expression of pleading for mercy and
devotional fervor, with the monks' backing chorus creating
a truly haunting effect. Nothing is more beautiful than
that section beginning "Ah! que'sublimi cantici..." (and we
are treated again later to the equally ravishing "La
Vergine degli angeli"). The long duet with Guardiano and
Leonora is an amazing piece of writing, one of the best
musical "dialogues" for soprano and bass; usually these
"father/child" duets are boring, but this scene,
imaginative, urgent and detailed, is powerful drama. One
passage I love in this is the prelude to "Il santo nome di
Dio signore," where there is a long solo for organ; it
achieves pure magic with a lone violin, on high, intoning
the "Deh, non m'abbandonar" melody. The contrast between
the organ and violin produces an ethereal, eerie effect.
This is by far some of the most raptly spiritual music
Verdi ever wrote. And, of course, there's "Pace, pace mio
Dio."

Abetting my enjoyment of the opera is the mid-fifties
recording of it put out by Decca/London, conducted by
Francesco Molinari-Pradelli. It may not be the most "of
the theater" performance of the opera, but it is one of the
greatest overall casts ever assembled on a Verdi recording.
At any time. At least I think so. Here's who we get:
Renata Tebaldi, Giulietta Simoonato, Mario del Monaco,
Ettore Bastianini, Cesare Siepi and Fernando Corena. All
huge voices, all healthy, robust; true Verdi voices,
stylists. All in their resplendent prime. All ITALIAN.
Nothing else like that for ages. And ages.

In my estimation, Leonora was Tebaldi's best Verdi role,
and perhaps the best Leonora of the last several decades.
The voice and manner sound so ineffably, authentically
"right." Don't tell me she's under the pitch in some of
the highest notes: IT DOESN'T MATTER. Pedigreed Verdi
singing of this nature is extinct. The full-bodied
softness, the exquisite diction, the comet-like soaring -
it doesn't get better than this. Her "Madre, madre
pietosa Vergine" is one I listen to the most. The rhythmic
urgency, the fullness of tone - and she sounds as if she's
really talking to God. And I feel; only a devout Roman
Catholic could possibly understand the religious piety of
Leonora, and it's especially important here. With Verdi
and Tebaldi, you Believe. You better believe it.

Hearing del Monaco and Bastianini just effortlessly plunge
their hearts and voices in their music and duets is the
sweetest sound to my ears: they fence as only Italian
uomini can do, and moreover, exhibit not a whiff of stress
doing so. Immense, powerful sounds. Bastianini's "Urna
fatale" is close to being my favorite rendition of the
aria; there is a beautifully imparted bittersweetness to
the voice, a smarting irony that goes right to the heart.
Del Monaco is not all just his usual glorious fire and
brass; "O, tu che in seno agli angeli" has as much
sensitivity as you could want - and are going to get - from
a "confident" Italian tenor.

Simionato rips through an ungrateful killer of a role with
utter nonchalance and great spirit; "Al suon del tamburo"
and "Rataplan"are both a bitch of pieces to sing,
requiring the mezzo to skip up and down nimbly, but
Simionato just laughs merrily through it all. She makes it
sound like a piece of cake.

Siepi delivers the best sung Guardiano of any on record
that I know of. So many magical sections come to mind
immediately: "Venite fidente alla croce...", "Sull'alba il
piede all'eremo", "Il santo nome di Dio signore", "Non
imprecare umiliati" ~~ no other Guardiano has a voice so
beautifully resonant, so well placed, and such consummate
ease with this complex music. So many basses rumble
portentously through this music so that they sound like
gassy, juddering old farts, but Siepi just caresses the ear
constantly, and not just with the sound. He traverses
easily through the difficult writing; listen to how he
manages in the final trio the line `d'ira e furor
sacrilego, non proferir parola; vedi, vedi quest'angiol
vola al trono del Signor.' This section zips up and down
the voice's range, and requires supreme breath control, and
security at either ends of the range. Most basses are
gasping for leverage here, but not Siepi. In fact, he sings
this role with such ease, he's often accused of sounding
uninvolved. Ha. Listen to the way he and Corena, in their
long and legendary partnership, spark each other in the
duet with Melitone and Guardiano.

Others versions I like: the rediscovered 1958 Napoli
performance on video (but Christoff is an unidiomatic major
blot for me). Tebaldi even greater. The young Corelli.
Bastianini. Oralia Dominguez. A priceless document.
(Leontyne is in the 1984 MET performance).

The 1953 Mitropoulos from Firenze. Tebaldi ferociously
intense. Siepi again great. Protti so-so. Barbieri,
Barbieri. Del monaco more sensitive than on Decca.
Mitropoulos - slow tempi, but dramatic.

This may not be the legendary one, but it's legendary enough.......2007-02-08

It rarely gets more golden than this. Despite the legendary status of a 1953 La Forza from Florence conducted by the great Dmitri Mitropoulos, when Decca assembled the same cast in Rome in 1955, they produced a treasure. This is clearly one of a kind, almost on the order of Callas's Tosca from about the same time, but unlike EMI, which was late to record in stereo, by 1955 Decca had ahcieved vivid, clear sonics without any distortion and only the slightest metallic edge to Tebaldi's soprano when she sang at her loudest and highest.

Leonora was one of her best roles, and Del Monaco her greatest partner. His voice is huge, steely, and unsubtle, but he's thrilling and more the artist than Corelli, another blaster. Siminato, Bastianini, Siepi, and Corena fill out the cast splendidly, excelling as an ensemble any rival cast on CD. As others point out, it's a shame that the conductor here was the uninspired Mollinari-Pradelli, but he's no hack, and the score proceeds proficiently, sometimes better than that. (I prefer him to Muti or Schippers in this opera.)

Overall, we get the earthy smell and taste of Italian opera in the great tradition, a pre-war production that happened to be caught ten years after the war ended. Until I came across this La Forza, rather late in the game, I thought this opera was cursed on CD. Every other rival is marred by at least one truly bad singer (except for the often recommended set on RCA under James Levine, where the big problem is Leontyne Price's aging voice and Levine's brisk, superficial conducting). In any event, this set is a joy, and if it has its blemishes (e.g., Del Moncao, after being shot on the battlefield, still sounds as robust as a lion in heat) we'd all pass out in our seats if a cast half this good appeared at the Met today.

IT'S GOOD, BUT NOT THE ULTIMATE "FORZA DEL DESTINO".......2006-03-15

This recording of "La Forza del Destino" is good as far as it goes. The 1955 stereo sound is clear and vivid (London/Decca championed the use of stereo very early in the game), and the cast of singers is legendary. For many years, this was the "Forza del Destino" recording of choice prior to the subsequent versions on RCA Victor starring Leontyne Price. Even today, there are many who continue to cling to this extremely well prepared recording of Verdi's long and involved opera. The problem, for me anyway, regarding this recording is that the conductor, Molinari-Pradelli, completely fails to generate the real excitement (as Tullio Serafin does on the 1954 EMI recording with Maria Callas, whose contribution is also legendary) which should ignite this particular opera. Thus the real satisfaction comes from the singers. Tebaldi, a few blasting top B's apart, sings reasonably well (easily surpassing anyone who would try to attempt this role today) ---- but she is a pale imitation of herself when compared to her work two years earlier on the live Dimitri Mitropolous version (which explodes with passion) from the 1953 Florence May Festival (available right here at Amazon), where her singing is possibly the greatest she ever preserved on any recorded document. Mario del Monaco, also in the Mitropolous cast, can be heard to better advantage there than here, where he sounds loud, unsubtle, and occasionally unpleasant. Plainly, their singing on the Mitropoulos set spoils one with respect to their work here. The other singers here are all excellent - Ettore Bastianini on this recording is probably better than Aldo Protti is on the Mitropoulos set, and Simionato and Siepi are also excellent. Yes, this is a good representation of this opera, but it's not the ultimate. For that you need to acquire the Mitropoulos live performance. And for anyone who REALLY enjoys hunting, there's a live 1952 Metropolitan Opera broadcast with the legendary prime Zinka Milanov (to my ears the only equal of Tebaldi on the Mitropoulos set) partnered by Richard Tucker and Leonard Warren.

A Recording I'm Sure Verdi Would Love.......2005-08-29

If you assembled Renata Tebaldi, Mario Del Monaco, Ettore Bastianini, Giulietta Simionato, and Cesare Siepi, gave them a telephone book and asked them to sing, it would sound great. Put these five performers together and give them the score of LA FORZA DEL DESTINO, and you have a masterpiece and a set that will have a treasured place in any recording library. Each of the principals is in top voice, with each soloist working together and creating a cast that is a true ensemble. The many choral sections of the opera (the crowds, friars, soldiers, etc.) are mesmerizing and the direction of conductor Francesco Molinari-Pradelli pulls the recording together.

I purchased this recording without hearing it, knowing that the pairing of Del Monaco and Tebaldi nearly guaranteed a performance I would enjoy. I also knew that this recording was made when Decca's quality recordings in opera was just about a guarantee. I was correct on both counts, yet I also found a few surprises when I listened to it, especially in Ettore Bastianini's Don Carlo and Giulietta Simionato (my favorite Verdi mezzo) as Preziosilla.

Other reviewers have said they believe this is the greatest FORZA. One even claims it is the greatest opera recording of all time. While I will not so far as to claim that it is the greatest all time recording, it is a great set. In comparison with other sets available, I would select this set. I only own one other copy of FORZA with Leontyne Price under the direction of Thomas Schippers (another great set), and I have heard the other RCA set with a good performance by Price (which is still great) and a youthful and strong Placido Domingo(who is not so youthful but still quite strong). Fortunately there are many good choices available, but for me, the Decca set is the recording of choice. I will also say it is the most "Italian" of the recordings, recorded at a time when being an Italian in opera meant quality performances of Italian works.

Enjoy!!!

Magnificent and authentic Forza.......2005-01-31

This magnificent set which comprises of four Italian principles is the best recorded FORZA available. Although the competition is pretty stiff when this opera was not difficult to cast, I always come back to this recording. And if you love Tebaldi, this recording is a must have.

Average customer rating:

Showcase for a powerful voice
Bravo Mario!!!
A force of Nature!

Mario del Monaco: Opera Arias

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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

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Mario del Monaco: Historical Recordings 1950 - 60
Grandi Voci: Mario del Monaco
The Very Best of Franco Corelli

ASIN: B000003XIL
Release Date: 1994-09-13

Tracks:

Aida: Celeste Aida
Otello: Esultate!
Otello: Ora E per Sempre Addio
Otello: Dio Mi Potevi Scagliar
Otello: Niun Mi Tema
La Boheme: Testa Adorata, Piu Non Tornerai
I Pagliacci: Vesti La Giubba
I Pagliacci: No, Pagliacci Non Son
Manon Lescaut: Donna Non Vidi Mai
Turandot: Nessun Dorma
L'amico Fritz: O Amore, O Bella Luce Del Cor
Cavalleria Rusticana: O Lola Ch'hai Di Latti La Cammisa
Cavalleria Rusticana: Mamma, Quel Vino E Generoso
Andrea Chenier: Un Di All'azzurro Spazio
Andrea Chenier: Si, Fui Soldato
Andrea Chenier: Come Un Bel Di Di Maggio
Adriana Lecouvreur: La Dolcissima Effigie
Adriana Lecouvreur: L'anima Ho Stanca
L'africana: O Paradiso
Marta: M'appari Tutt'amor
Carmen: Il Fior Che Avevi A Me To Dato
Werther: Ah! Non Mi Ridestar
Lohengrin: Da Voi Lontan

Customer Reviews:

Showcase for a powerful voice.......2007-02-26

Mario del Monaco reached his professional peak in the 1950s, as analog recording technologies approached their golden age. This cd remasters excellent recordings of del Monaco's truly magnificent voice.

Bravo Mario!!!.......2002-06-18

The Greatest Tenor of Them All. Del Monaco is in wonderful voice here, a voice filled with both Power and Beauty. Just listen and you will hear why Del Monaco is the Tenors Tenor.
Bravo Mario!!!!!!

A force of Nature!.......2001-01-31

This is the most commonly used sentence when someone wants to describe the voice of Mario Del Monaco.Not many tenors can sing those high notes which del Monaco reaches, with such ease!

Loathed by many for this high sound and accused for not being able to sing below forte, especially in the late stages of his carreer, no one can deny the fact that he has performed and recorded operas with some of the greatest singers of all times:Renata Tebaldi, M.Callas, J.Sutherland, M.Olivero, A.Cerquetti, G.Simionato, E.Bastianini, C.Siepi and many others. The list is long. Perhaps not the best tenor choice for all the roles he performed, Mario del Monaco was sublime when the role suited his voice. Such examples are Ottelo, Andrea Chenier, Canio (Pagliacci), Des Grieux (Manon Lescaut), Johnson (Fanciulla del West) and many of these performances are heard on this collection. He had a certain sound that made his voice very dramatic thus so good for these roles.

Concluding, those who like him will find this collection of exceptional value. Those who don't, just stay away since this Cd is full of Mario del Monaco.

Ponchielli: La Gioconda
Average customer rating:

Great recording of a neglected opera

Grand italian singing!

A Gioconda to cherish!

Ponchielli: La Gioconda
Gianandrea Gavazzeni , Anita Cerquetti , Giulietta Simionato , Mario Del Monaco , Cesare Siepi , Ettore Bastianini , Franca Sacchi , Anthos Cesarini , Giorgio Giorgetti , and Orchestre e coro del Maggio Musicale Fiorentino
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
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Puccini: La fanciulla del West

ASIN: B00000E4YL
Release Date: 1993-10-12

Customer Reviews:

Great recording of a neglected opera.......2003-12-19

This recording is great! Ponchielli's opera has been unfairly maligned over the years. It contains great, effectively-orchestrated music and six wonderful roles for the leading singers. Sure, the plot is very melodramatic and the ending (Barnaba running away through an alley) is ridiculous, but it's the music that counts. The title role, Gioconda, is a difficult one to sing. It demands many low notes and a fair share of high notes. Anita Cerquetti has a huge, dark voice that is just right for Gioconda. The only problem I have with her voice is that her vibrato sometimes becomes excessive, especially in high-lying passages. She is very convincing as the street singer. Her concern for her blind mother, La Cieca, is believable and the way she conveys Gioconda's different emotions is great. Her low notes are strong and most of her high notes are very good. In the Act Four Gioconda/Enzo/Laura trio, her last high note becomes a screech. Her Italian diction is very fine and her phrasing is exemplary. The power and fury she unleashes in her confrontation with Enzo in Act Four is exhilarating. This confrontation is a highlight of the recording. Enzo is sung by Mario del Monaco. When he makes his entrance trumpeting out "Assassini", your ears are pinned back. He is a great Enzo. He not only sings loudly, but also softly. His golden tenor is thrilling in its power and he gives a glorious account of "Cielo e mar". When he and Cerquetti confront each other in Act Four, the sparks really fly. Laura is sung by Giulietta Simionato. This mezzo-soprano is known for her great acting, both physical and vocal, and here, she does not disappoint. Her voice is a bit heavy for Laura, but she sings her music very well. Her duet with Cerquetti is thrilling in its intensity. Cerquetti's voice blazes with unbridled fury. Simionato holds her own, asserting her love for Enzo. The first note she sings in the phrase "L'amo come il fulgor" is both thrilling and beautiful. Her "Stella del marinar" is fine, but the last high note could have been better captured by the recording engineers. Ettore Bastianini sings Barnaba with evil, insinuating tones. He is truly scary as Alvise's spy. His voice is positively huge on this recording and he is by far the most consistently loud of the six leading singers. His aria "O monumento" is filled with hate and evil. It is gloriously sung and ends on a huge high note. His fisherman's song in Act Two is sung wonderfully. Cesare Siepi is an effective Alvise. He doesn't have much to sing, but what he does sing is great. Franca Sacchi is a good La Cieca. She has strong high notes and effectively portrays her character's piety.

Ponchielli wrote some wonderful music for this opera. He packed this work with numerous ensembles, some of which are very loud. His writing for the orchestra is great. He wrote a wonderful ballet, "The Dance of the Seven Hours", and his writing for the party scene in Scene Two of Act Three is scintillating. The boys' chorus at the beginning of Act Two is charming. The music depicting Laura's escape from Barnaba, played by the orchestra's string section and lasting several seconds, is very effective in evoking the flight of vessels through Venice's canals. The Gioconda/Enzo/Laura trio in Act Four is both moving and melodious.

This recording is well conducted by Gianandrea Gavazzeni. He paces the music just right. The playing of the orchestra is wonderful. Decca supplies multi-lingual synopses and an Italian libretto with English translation. The sound is very good.

Highly recommended.

Grand italian singing!.......2003-03-26

The main reason I bought this set was its leading soprano, Anita Cerquetti. A less famous singer of the 50s-60s with a very short career. I thought: "someone else for a change".

Cequetti shows a good understanding of the vocally dangerous role of Gioconda and sings with grand Italian manner. My problem is her voice. She has a dark voice that makes her sound like a mezzo. She would have been great if I wanted a mezzo Gioconda. (If you want to hear the best of Cerquetti, buy the live Ernani recording...she is superb as Elvira!-that recording made me appreciate her so much)

On the other hand Simionato has a much lighter voice, reaches top notes with amazing ease even if she hasn't got the beauty of Fiorenza Cossotto or Agni Baltsa(Lauras on the Callas and Caballe sets).

In any case, the men on this version will certainly NOT disappoint you! Mario Del Monaco gives one of his best performances in studio. I especially admire him in the Enzo/Laura duet and the famous aria. For a more lyrical approach you may want to try Bergonzi or Pavarotti. The central cast is completed with two legends: Bastianini and Siepi; perhaps the best Barnaba and Alviso on disc. Maestro Gavazzeni is excellent and the stereo sound wonderful.

Concluding, I wouldn't recommend this recording above the Tebaldi or Callas sets simply because I prefer these two ladies. Caballe also has her moments. For Cerquetti fans, on the other hand, this set is a must because it is her only complete studio recording of any role.

A Gioconda to cherish!.......2003-01-17

Gioconda is an underestimated opera. Many consider it not quite beautiful, without beautiful melodies. It may be true but when you have finished listening to it, you will not be sorry at all. Some other operas may have a more firm place in your heart and mind, but this one will not disappoint you.
This recording is considered one of the best.
In the title-role we have Anita Cerquetti, a soprano who was chosen by Decca to become their new star (after the truly great Renata Tebaldi) but didn't quite come off,she retired very early and she didn't record much (I think this is her only complete opera studio recording). She is magnificent. Her voice may sound a little peculiar to the ear but she gives thrilling top notes, her technique is faultless and she presents us a very credible Gioconda. A great bravo!
Then we have Mario del Monaco in one of his best recordings. He portrays the heroic Enzo and his voice is perfect for the role. He also sings quietly (something he didn't do often) and follows the voice markings of the score.Very good indeed.
As the sinister Barnaba we have one of the best baritones ever, Ettore Bastianini. He gets inside the role and gives us the best portrayal on record of this "villain", both vocally and dramatically.
Giullietta Simionato sings the role of Laura, Enzo's beloved. Her voice is in perfect form, her technique also and gives us one of the best "Stella del marinar".
Finally, we have Cesare Siepi as Alvise. His strong bass voice is the perfect instrument for the role and his portrayal is appropriately dark and sinister.
The minor roles are quite adequately cast and Gavazzeni conducts with warmth and tenderness and lets his singers sing and act with ease.
All in all, an excellent recording of this underrecorded work! If you like Ponchielli, don't miss it!

Average customer rating:

Strauss Forever
Strauss: Die Fledermaus
Opera Singers Enjoy A Masquerade
Superlative recording with lost gala tradition intact
vintage fledermaus, gala sequence disappointing

Strauss: Die Fledermaus

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Operettas | Opera & Vocal | Styles | Music

Nilsson, Birgit | Divas | Opera & Vocal | Styles | Music

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Die Fledermaus Vocal Score (Dover Vocal Scores)
Donizetti - Lucia di Lammermoor / Sutherland · Pavarotti · Milnes · Ghiaurov · ROH Covent Garden · Bonynge
The Great Moments from Die Fledermaus
J. Strauss: Die Fledermaus / Schwarzkopf, Gedda, Streich, Krebs, Kunz, Christ; Karajan
Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)

ASIN: B0000041TC
Release Date: 2005-09-13

Tracks:

Act One: Overture
Act One: Taubchen, Das Entflattert Ist (Alfred)
Act One: Da Schreibt Meine Schwester Ida (Adele)
Act One: Nein, Mit Solchen Advokaten (Eisenstein)
Act One: Komm Mit Mir Zum Souper (Falke)
Act One: So MuB Allein Ich Bleiben (Rosalinde)
Act One: Trinke, Liebchen, Trinke Schnell (Alfred)
Act One: Ich Hore Stimmen; Man Spricht Unten! (Rosalinde)
Act One: Mein Herr, Was Dachten Sie Von Mir (Rosalinde)
Act One: Nien, Nein, Ich Zweifle Gar Nicht Mehr (Frank)
Act Two: Ein Souper Heut' Uns Winkt (Gaste)
Act Two: Ich Lade Gern Mir Gaste Ein (Orlofsky)
Act Two: Ach, Meine Herr'n Und Damen (Orlofsky)
Act Two: Mein Herr Marquis (Adele)
Act Two: Dieser Anstand So Manierlich (Eisenstein)
Act Two: Klange Der Heimat (Rosalinde)
Act Two: Im Feuerstrom Der Reben (Orlofsky)

Tracks:

Act Two Continued: Herr Chevalier, Ich GruBe Sie! (Eisenstein)
Act Two-Gala: Vilja-Lied
Act Two-Gala: Domino
Act Two-Gala: I Could Have Danced All Night
Act Two-Gala: Passione
Act Two-Gala: Lullaby
Act Two-Gala: Il Bacio
Act Two-Gala: Dein Ist Mein Ganzes Herz
Act Two-Gala: Summertime
Act Two-Gala: Anything You Can Do
Act Two-Gala: Wien, Wien, Nur Du Allein
Act Two: Genug Damit, Genug! (Orlofsky)
Act Three: Entr' Acte
Act Three: Herr Direktor! Wo Is Er Denn? (Frosch)
Act Three: Spiel' Ich Die Unschuld Von Lande (Adele)
Act Three: Ich Stehe Voll Zagen (Rosalinde)
Act Three: O Fledermaus, O Fledermaus (Alle)

Customer Reviews:

Strauss Forever.......2007-03-29

De nuevo una gran version de los clasicos de Straus un gran album y grandes interpretes

Strauss: Die Fledermaus.......2007-01-10

It''s a special edition, with great operastars as guests at von Eisensteins big party.

Opera Singers Enjoy A Masquerade.......2005-10-10

Any serious hardcore fan of classic opera singers will want to own this studio recording from the 60's. Johann Strauss' charming and sempiternally popular "grand" operetta Die Fledermaus as conducted by none other than Herbert Von Karajan and the Vienna Symphony and starring opera singers that reigned supreme during their day-Birgit Nilsson, Leontyne Price, Renata Tebaldi, Mario Del Monaco, Regina Resnik, Bjussi Bjorling, Ettore Bastianini, Eberhard Wächter, Giuletta Simionato, Ljuba Welitsch, Walter Berry, Teresa Berganza and Fernando Corena. I'm disappointed Beverly Sills wasn't invited or for that matter Maria Callas. These singers are of course part of the long-winded entertainment during the MasqueradeSequence/Orlofsky's Ball. This is what draws operaphiles to this particular studio recording. Karajan is having fun witht the score, and it is a piece of cake for him since it is not the normally demanding music he conducted - Puccini, Strauss, Verdi, Wagner, Mahler, Bruckner, etc. It is lilting waltzes with operatic words to them. The Masquerade strays from the Strauss score and we are treated to unusual "American" music. Wagnerian goddess Birgit Nilsson surprises everyone by taking off her Valkyrie helmet and singing "I Could Have Danced All Night" from My Fair Lady! It must be heard to believe! Of course, it's awful but it makes this recording a cult classic in its campy and cheesy effects. Furthermore to Nilsson singing Broadway, we get to hear Giuletta Simionato and Ettore Bastianini, with their low husky voice singing "Everything You Can Do I Can Do Better". Operatic arias are included, in tidbits as sung by Leontyne Price, Renata Tebaldi, Bjussi Bjorling and the forementioned others. This is a real treat if your'e a fan. At an affordable price on the Used section it should be a real value for you. Don't hesitate to buy this recording now! It is endless pleasure!

Superlative recording with lost gala tradition intact.......2004-11-25

This is one of the grand old recordings from the glory days of the mid-sixties. It has opulent casting and even more opulent sound values. I doubt that anyone will quibble about the overall quality of this venture. Therefore I just wanted to address a couple of complaints that appeared in another review of this recording. First of all, the role of Orlofsky was written for a mezzo and NOT for a tenor. Strauss was very deliberately following the long tradition of having women sing "trouser" roles. Just think of Gluck's Orphee or Mozart's Cherubino in his Marriage of Figaro. To have a man sing the role of the dissolute Fledermaus prince destroys the original vision. Second, the gala that appears is a quaint, and lost, tradition that flourished throughout the early history of this operetta. The second act party scene was a place where opera companies would trot out their roster of stars, or guest artists, to show off their singing in areas of music not usually associated with them. That's why you have Birgit Nilson singing a Broadway show tune. Call it camp if you will, but it was a very deliberate decision for her to have some fun with unusual repertoire. Looked at from this angle, the gala becomes a unique feature of this recording, making it all the more valuable for the collector. Don't hesitate to buy this one!

vintage fledermaus, gala sequence disappointing.......2003-05-12

This performance does effectively evoke visions of a viennese extravaganza at its most bougeouis, with Karajan moulding the lush luxuriant strings of the VPO, giving magnificent support to a fairly strong cast. Comparing this with Karajan's earlier Philaharmonia recording on EMI, however, there is little question to my mind that Schwarzkopf outclasses Hilde Gueden as Rosalinde, one only has to listen to her rendition of the Klange der Heimat in Act 2. The same applies to the peerless Rita Streich on EMI who as Adele tackles the coloratura passages with formidable ease. The men in the VPO recording do better than their counterparts on EMI, and thie later recording is in resplendent vintage Decca stereo sound whereas the EMI is in mono, although one has to say that it was very expertly engineered by Walter Legge. Another important observation is that the Orlorfsky role is played by a man in the EMI recording, while Regina Resnik plays the role here,and I find the result effete and unnatural. The biggest blot on this recording has to be the gala sequence.
While the lineup of big operatic names promised much, I found my expectations deflated quite quickly. Of all the wonderful arias that the great Birgit Nilsson could have sung, why she chose to sing "I could have danced all night" from Loewe's My Fair Lady is quite beyond me. Her majestic wagnerian voice was completely unsuited to Broadway, and suffice to say it was truly truly awful. Think Brunhilde imitating Julie Andrews. Ditto for Giuletta Simionato's and Ettore Bastianini's "Anything you can do" from Berlin's Annie get your gun! Whenever I play this recording I programme the CD player to skip the entire gala sequence. In summary, this is a vintage Fledermaus marred by a gimicky gala sequence.

Music Track:

Music Track

music track

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