Follia

On this CD:

1. Sonata for violin & continuo in D minor, Op. 5/7 No 07 in G Minor
Composed by Arcangelo Corelli
Performed by Bruno Re, Giorgio Barbolini, Christian Mendoze

2. Sonata for violin & continuo in E minor, Op5/8 No 08 in G Minor
Composed by Arcangelo Corelli
Performed by Bruno Re, Giorgio Barbolini, Christian Mendoze

3. Sonata for violin & continuo in A major, Op. 5/9 No 09 in C Minor
Composed by Arcangelo Corelli
Performed by Bruno Re, Giorgio Barbolini, Christian Mendoze

4. Sonata for violin & continuo in F major, Op. 5/10 No 10 in G Major
Composed by Arcangelo Corelli
Performed by Bruno Re, Giorgio Barbolini, Christian Mendoze

5. Sonata for violin & continuo in E major, Op. 5/11 No 11 in G Major
Composed by Arcangelo Corelli
Performed by Bruno Re, Giorgio Barbolini, Christian Mendoze

6. Sonata for violin & continuo in D minor ("La Follia"), Op.5/12 No 12 "La Follia" in G Minor
Composed by Arcangelo Corelli
Performed by Bruno Re, Giorgio Barbolini, Christian Mendoze

Tracks:

Gloria In D Major, RV 589: I Gloria in excelsis Deo
Gloria In D Major, RV 589: II Et in terra pax
Gloria In D Major, RV 589: III Gloria in D Major, RV 589 III Laudamus te (2 sopranos)
Gloria In D Major, RV 589: IV Gloria in D Major, RV 589 IV Gratias agnimus tibi
Gloria In D Major, RV 589: V Gloria in D Major, RV 589 V Propter magnam gloriam
Gloria In D Major, RV 589: VI Gloria in D Major, RV 589 VI Domaine Deis (soprano)
Gloria In D Major, RV 589: VII Gloria in D Major, RV 589 VII Domaine Fili unigenite
VIII Gloria In D Major, RV 589 VIII Domaine Deus, Agnus Dei (contralto, chorus)
IX Gloria in D Major, RV 589 IX Qui tollis peccata munid
Gloria In D Major, RV 589: X Gloria in D Major, RV 589 X Qui sedes (contralto)
Gloria In D Major, RV 589: XI Gloria In D Major, RV 589 XI Quoniam tu solus Sanctus
Gloria In D Major, RV 589: XII Gloria in D Major, RV 589 XII Cum Sancto Spiritu
Nisi Dominus, RV 608: Nisi Dominus
Nisi Dominus, RV 608: Nisi Dominus, RV 608 II Vanurm est vobis, III Surgite postquam sederitis
Nisi Dominus, RV 608: Nisi Dominus, RV 608 IV Cum dederit dilectus suis somnum
Nisi Dominus, RV 608: Nisi Dominus, RV 608 V Sicut sagittae in manu potentis
Nisi Dominus, RV 608: Nisi Dominus, RV 608 VI Beatus vir qui implevit
Nisi Dominus, RV 608: Nisi Dominus, RV 608 VII Gloria Patri et Filio, VIII Sicut erat in principio, IX Amen
Nulla in mundo pax sincera, RV 630: I Nulla in mundo pax sincera
Nulla in mundo pax sincera, RV 630: Blando colore ... Spirat anguis
Nulla in mundo pax sincera, RV 630 III: Alleluia

Tracks:

Amor, hai vinto, RV 651: I Amor, hai vinto ... Passo di pena
Amor, hai vinto, RV 651: II In qual strano ... Se a me rivolge
Trio sonata 'La folia', RV 63
All'ombra di sospetto, RV 678: All'ombra di sospetto
All'ombra di sospetto, RV 678: O quanti amanti
Lungi dal bago volto, RV 680: Lungi del vago volto
Lungi dal bago volto, RV 680: Allegrezza mio core
Vengo a voi, luci adorate, RV 682: Vengo a voi, luci adorate
Vengo a voi, luci adorate, RV 682: Portando in sen l'ardor

Customer Reviews:

Good points far outweigh some minor deficiencies.......2005-11-29

This whole set is gorgeous (although the second cd gets a bit tediuos unless you really like early music), and Emma Kirkby has one the most beautiful, distinctive soprano voices I have ever heard, one can't help but like her, but hard-core critics beware, her intonation is not flawless, especially in the "Alleluia" of the "Nulla in Mundo" cycle, one can hear her go off on some of the high notes. Like I said, it's beautiful, but that does bother me personally every time I listen to that track. But buy it anyway.

More of Emma Please.......2004-01-02

I would have given this CD 5 stars if Emma Kirkby had sung all of the cantatas on Disc 2. Unfortunately, most of the cantatas on this disc are sung by Catherine Bott, who in my musically illiterate opinion, sounds more like a mezzo-soprano than a true soprano. Kirkby on the other hand is a legend in early music and brings her trademark "purity of sound" to this recording. The gorgeous duet she sings with Judith Nelson on disc 1 is alone worth the price of this set (that's probably a slight exaggeration, but it's pretty damn good anyway).

Getting away from Kirkby a sec, the Gloria on CD 1 is indeed glorious. The choral movements are sharp and lively, having that quality of all good choirs of sounding not quite of this earth. Listening to this CD after a couple of beers, you could be forgiven for thinking that your house has been invaded by cherubim and seraphim.

I'm not a huge fan of counter tenors (probably something to do with feeling threatened about my latent homosexuality or being emasculated) so I can't really provide any worthwhile comments about the Nisi Dominus which is a showcase of James Bowman's skills. Bowman has pretty impressive credentials, so I'm not about to get stuck into him. Suffice to say, I usually skip thru tracks 13-18 on disc 1.

amazingly beautiful.......2003-04-27

This CD is worth buying just for "Nulla in mundo pax sincera." This is one of the most beautiful vivaldi motets and is simply heavenly. I absoluterly love it!

Glorious cantatas on the second CD.......2002-06-14

For once the 5 stars are worth it. The choral works on disc 1 are masterful benchmark interpretations of the pick of Vivaldi's sacred output. What makes it a real bargain however is the second disc of cantatas - one of Emma Kirkby and Catherine Bott's finest achievements on the old L'Oiseau Lyre label. Couple this with full texts and an intelligent booklet. Wonderful!

a "must have".......2002-05-11

This is the ONLY version of "Gloria" you should own! The Choir of Christ Church is amazing and truly does justice to Vivaldi's work.

Average customer rating:

One of the best "La Folias"
Amazing variety and delight
A master's musical magic
a favorite

La Folia, 1490-1701

Manufacturer: Alia Vox Spain
ProductGroup: Music
Binding: Audio CD

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Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Similar Items:

Altre Follie, 1500-1750
Villancicos y Danzas Criollas
Elizabethan Consort Music
Tous Les Matins du Monde/Dix Ans Apres
Vivaldi: La Viola da Gamba in Concerto

ASIN: B000023YPG
Release Date: 1999-02-09

Tracks:

I. Folias Antiguas: Folia: Rodrigo Martinez
I. Folias Antiguas: Recercada Quarta Sobre La Folia
I. Folias Antiguas: Folia: Para Quien Crie Cabellos
I. Folias Antiguas: Recercada Ottava Sobre La Folia
I. Folias Antiguas: Folia: Hoy Comamos Y Bebamos
II. Diferencias Sobre Las Folias
III. Follias
IV. Couplets De Folies

Customer Reviews:

One of the best "La Folias".......2006-09-11

This CD contains a selection of Folia variations from Spain (mostly), Italy and France over a period of about 200 years. Savall and his ensemble are among the best -- their playing has a great richness to it. A very good anthology -- if you love "La Folia", you can't go wrong with this CD.

Amazing variety and delight.......2005-07-02

This collection contains dances and variations written on an old Spanish dance pattern. While the entire disc can be said to include only a handful of different harmonies, the endless sets of variations are anything but boring. Instead, they constitue a musical journey that takes you through three countries and over two hundred years of music-making.

The journey begins in Spain, around the time Columbus made his famous voyages. The first variations are filled with spirit and joy and are both wild in nature and yet refined and exquisite under Savall's fingertips. After a set of five wonderful pieces, there next comes a later Spanish piece for gamba, continuo, and...castanets! This piece concludes with a rousing col legno section that needs to be heard to be believed.

Next is a great rendition of Corelli's Follias, also known as his 12th violin sonata. The volin part is played in a period arrangement for gamba, and Savall uses the treble instead of the bass viol for the part, which sounds great and offers a good opportunity to comapre the treble viol to the violin. Under Savall's touch, the viol gives the violin a run for the money! Great fun.

Lastly, we have Marais' masterful Follias d'Espangne, and after hearing them performed like they are here, what more can be said? This CD would make a wonderful purchase for yourself or a friend, and would be a great way to introduce someone to early music. This disc is yet another reminder of why Jordi Savall, as the previous reviewer so well put it, deserves to be considered among the top musicians of our day. Alia Vox does a great job of presenting these discs in great packages and with wonderful sound quality. The days of second-rate period instrument performances are coming to a close.

A master's musical magic.......2004-12-29

Jordi Savall's special talent for reviving lost or obscure music is no better illustrated than by this album. The "Folia" are country dances, sometimes frenetic in their rendition, other times sedate and even-paced. The full range of those characteristics are presented in this collection of interpreters of the "folia" idiom. From Roderigo Martinez in the last years of the 15th Century to the Versailles Court musician Marin Marais two centuries later, Savall provides a glorious musical tour of time and place. He seems almost to transport himself away from the present as he plays. Time and space are compressed to an environment limited only by the music's expressiveness. With the roots in peasant dances, that's a wide space which Savall fills with delightful playing. The broad spectrum of styles in the pieces grant this CD an equally expansive audience.

Savall's group, whose renditions of these pieces can only be described as exquisite, is the core of later ensembles. Each member brings a strong sense of the professional to the music. Even given such a background team, it is Savall's rich, precise and meaningful use of the da gamba that rightly predominates. He is an undisputed master of evoking the fullest expression the instrument can produce. The music leaves the listener breathless even when but seated as an audience. What must it be like for a professional dance troupe to perform to these sometimes frantic tones? The entire performance is dazzling and inspiring. This CD could be considered the acme of his performances - a judgment tempered only by knowledge of later and even more glorious releases.

Alia Vox has taken the lead in producing the most superior of recording techniques for Savall's musical skills. Savall is more than just the leading viola da gambist in the world. He could be elevated to the finest musician without overreaching his abilities. The sounds are crisp and elevating. It's easy to see why "La Folia" is considered a "desert island" CD choice by many. Listen to it for yourself, with one you love, and endear yourself to someone by offering it as a gift. In all cases, the rewards are valuable. [stephen a. haines - Ottawa, Canada]

a favorite.......2004-06-13

This compilation of Spanish-insprired dance music is often in the player. It's tuneful and accessible. A similar collection by the Purcell Quartet feels more stilted and less joyful.

Tracks:

Sonata I In D Major
Sonata I In D Major
Sonata I In D Major
Sonata I In D Major
Sonata I In D Major
Sonata II In B-Flat Major
Sonata II In B-Flat Major
Sonata II In B-Flat Major
Sonata II In B-Flat Major
Sonata II In B-Flat Major
Sonata III In C Major
Sonata III In C Major
Sonata III In C Major
Sonata III In C Major
Sonata III In C Major
Sonata IV In F Major
Sonata IV In F Major
Sonata IV In F Major
Sonata IV In F Major
Sonata IV In F Major
Sonata V In G Minor
Sonata V In G Minor
Sonata V In G Minor
Sonata V In G Minor
Sonata V In G Minor
Sonata VI In A Major
Sonata VI In A Major
Sonata VI In A Major
Sonata VI In A Major
Sonata VI In A Major

Tracks:

Sonata VII In D Minor
Sonata VII In D Minor
Sonata VII In D Minor
Sonata VII In D Minor
Sonata VIII In E Minor
Sonata VIII In E Minor
Sonata VIII In E Minor
Sonata VIII In E Minor
Sonata IX In A Major
Sonata IX In A Major
Sonata IX In A Major
Sonata IX In A Major
Sonata X In F Major
Sonata X In F Major
Sonata X In F Major
Sonata X In F Major
Sonata X In F Major
Sonata XI In E Major
Sonata XI In E Major
Sonata XI In E Major
Sonata XI In E Major
Sonata XI In E Major
Sonata XII In D Minor, 'Follia'

Amazon.com

Corelli's Op. 5 Violin Sonatas have always been admired by chamber music fans; there are a couple of good recordings of them already available. But this new one by Baroque specialist and virtuoso Andrew Manze and harpsichordist Richard Egarr presents the sonatas in such a bright, exciting, and improvisatory light that they seem brand new. During the composer's lifetime, these sonatas were widely played and tremendously influential; there's a good chance that it was assumed that virtuosi took what was written on the page as a starting point for embellishing and sheer showing off. Manze is breathtaking--fast, articulate, conscious of the genuinely good tunes some of these sonatas contain--and his variances from the written music are thrilling. Egarr knows how to embellish too, and he matches Manze every step of the way. If you're wondering if 131 minutes of only two instruments can keep your interest, don't worry. This will. --Robert Levine

Customer Reviews:

Outstanding musicality.......2006-07-13

Like a lot of Italian High Baroque music, the scores for these sonatas are rather minimalist, and played strictly as written, these pieces can come across as drab harmony exercises. Manze and Egarr take the score as merely a starting point, in true High Baroque fashion, improvising with an impressive combination of stylistic accuracy, control, and passion that one virtually never hears in classical music.

The fire and immediacy of these performances is exceptional - the sheer joy of the gigue from the A major sonata (no. 9) is something that will stay with you for a while, and the floating, delicate lyricism they give to the slow movements is simply haunting.

I've always thought that Corelli was, with the exceptions of Bach and perhaps Scarlatti, the best composer of the Baroque era, and this set stands comfortably with Trevor Pinnock's magisterial set of the Op. 6 concerti grossi as proof.

What The Baroque Alone Can Do.......2006-01-15

There's something in the greatest of baroque music that it alone can do - a kind of grace in suspended passion, angular sour biting lines that somehow are sweet without being sickly sweet, a mathematical precision that is not arid. It's all here in Arcangelo Corelli's great and generous gift to us all.

I think this music is best listened to on a night when one is physically ill or one is simply too spiritually ill to go much furthur without some sort of stroking of the soul. When played at such times Corelli asks nothing and gives everything - but what a sweet everything he gives!

Full of light and air, a transfiguration that is not heavy, a thoughtfulness that avoids the perils and pains of excessive introspection. There's a reason why people call this music humane and if you'd like to find out why purchase this double CD set and put it on when the burdens of your humanity are a bit too heavy.

What does the Book of Job tell us? That humans are born to trouble as the sparks fly. Here's music that's a true comfort for the likes of Job while he waits for the answers to his rightful questionings.

Music to delight the head--and heart.......2004-09-14

Confession: I have never loved these sonatas. Respected them, yes, of course; but with a polite detachment that their exclusively intellectual and technical achievements seemed to merit.

Well, this album changed all that. It's a masterly performance, effortlessly virtuosic, that shows forth the music in all its lapidary clarity. More than that, though: it is also luminously expressive, replete with moments of such unadorned and lyrical tenderness that the heart opens up, amazed.

For those who think they know this music no less than those who know they do not, Manze and Egarr's achievement is an exquisite revelation.

Captivating.......2003-09-02

I usually think of Corelli as nice "background music," pleasant, but without the emotional depth of Vivaldi, Bach or Handel. However, with this disc I find myself stopping and losing myself in the beautiful tones of Manze's baroque violin. The playing is superb and subtle, revealing these pieces as intimate and poetic. Harmonia Mundi's recording quality is excellent as well. Highly recommended. I can't wait to see what the venerable English Concert does under Manze's new leadership.

pure italian baroque.......2003-08-28

this is really fine music. corelli is the paragon of the "italian" style of baroque (at least until vivaldi caught bach's attention), and these sonatas are perhaps finer than the italianate sonatas by handel. there is marvelous poetry and variety in these pieces, brought forward by the spare instrumentation of violin, bass and harpsichord, and everything is wrapped in corelli's creamy, effortless, halcyon musical world.

my reservation is that manze at times takes these pieces with a raspy vigor that is better left for tartini. the "folias" variations in particular, while tremendous fun and inspiringly ornamented, omit that key (and historically correct) baroque attribute known as decorum. the equally virtuosic recordings by elizabeth wallfisch have the edge on that point.

Tracks:

Folias Criollas - Jordi Savall
Folias Antiguas - Jordi Savall
Pavana Con Su Glosa - Philippe Pierlot
Fantasia Que Contrahaze La Harpa De Ludovico - Arianna Savall
La Gamba In Basso, E Soprano - Philippe Pierlot
Partita Sopra La Follia - Rolf Lislevand
Folias Echa Para Mi Senora Dona Tarolilla De Carallenos - Manfredo Kraemer
Follia - Michael Behringer
Faronell's Division - Manfredo Kraemer
Folias - Rolf Lislevand
Follia - Manfredo Kraemer
Diferencias De Folias - Michael Behringer
Sonata 'La Follia' - Michael Behringer
Folias Gallegas - Rolf Lislevand
Sonata - Manfredo Kraemer

Customer Reviews:

...un po' troppo di follie...?.......2007-01-20

Programmatically conceived in the same vain as it's predecessor on Alia Vox ('La Folia' AV9805), 'Altre Follie' traces the development of the renowned "Folia" progression which was to be the source of inspiration for scores of compositions, spanning 5 centuries and culminating in the oeuvres of composers such as Nielson and Rachmaninov. As on the previous disc, the arrangement of the selected material is primarily chronological, although here there is greater emphasis on solo contribution. The outstanding calibre of the individual performers ensures the resounding success of this decision, most obviously in the virtuosic fireworks of Manfredo Kraemer (violin), Rolf Lislevand (guitar/theorbo) and Michael Behringer (harpsichord).

In truth though, this is probably not the kind of CD which is best appreciated from end to end, given the fact that much of the 'variation' is (inevitably) achieved in these works by means of rhythm or surface decoration rather than harmonic elaboration. In this resepct, Santiago de Murcia's 'Gallegas' - significantly bearing a strong resemblance in places to Martin y Coll's 'Diferencias Sobra La Gayta' [i.e. NOT 'La Folia'], c.1700 - provides a welcome relief from the prevalent similarity of keys and motifs, and Savall clearly thought so too given that Murcia's 'Folias Ytalianas' [1732] - a truer representation of the Folia progression - are avoided. Subtle variety could in fact have been achieved in other ways, for example by drawing upon works which exploit changes in either ensemble (eg Ribayaz, 'Folias' ['Luz y Norte...', 1677] for harp and guitars) or style (eg the overtly French setting by Jean Henri d'Anglebert ['Pieces de Clavecin', 1689]).

Musicologically the CD presents few major difficulties, and as an overall result it is a praiseworthy fusion of stylish playing within a historically informed backdrop. Track 1, however, is a notable exception. Admittedly, it is 'an improvisation', but one nonetheless unashamedly based on the 'Cachua Serranita' preserved in the Codex Martinez Companon of c.1783-5 (Tomo II, fol 192). The presence of any viol in such a late work would be problematic, but is surely even more so in one with a specific performance note ("...qe cantaron, y baylaron '8' pallas" - 'pallas' signifying the young women who sang and danced in Commemoration of the feast of the 'Virgen de la Puerta' which the text concerns) in a collection copiously illustrated with images of the musicians/instruments who performed this music.

Still, this CD can be easily recommended - one would expect no less from Savall, of course - even if it is perhaps best enjoyed in small sections.

Altre Follie.......2006-11-02

This great music has survived 500 years of man's madness and destruction for our enjoyment. The quality of interpretation is worth five stars. Classical music at its best, the combination of instruments and perfomers makes it perfect music to listen again and again until you have captured all the sounds and identified each instrument. Great to listen to on an Ipod or a superior sound system.

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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Similar Items:

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:

Les Horaces - Overture
Piano Concerto In C: First Movement: Allegro maestoso
Piano Concerto In C: Second Movement: Larghetto
Piano Concerto In C: Third Movement: Andantino
Semiramide - Overture
Piano Concerto In B Flat: First Movement: Allegro moderato
Piano Concerto In B Flat: Second Movement: Adagio
Piano Concerto In B Flat: Third Movement: Tempo di Minuetto. Piu mosso
XXVI Variations On 'La Follia Di Spangna' (1815): Theme (Andante)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 1
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 2
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 3
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 4
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 5 (Allegro)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 6 (Andante)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 7 (Allegretto)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 8 (Poco adagio)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 9 (Lo stesso tempo)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 10
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 11 (Allegretto)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 12 (Un poco piu allegro)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 13 (Allegro moderato)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 14
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 15
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 16
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 17
Variation 18 (Larghetto)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 19 (Allegretto)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 20
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 21(Allegretto)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 22 (Andante - pastorale)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 23 (Allegro - canone)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 24 (Presto)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 25 (Adagio)
XXVI Variations On 'La Follia Di Spangna' (1815): Variation 26 (Allegro moderato)
XXVI Variations On 'La Follia Di Spangna' (1815): Coda (Adagio - Allegro)

Customer Reviews:

Frod!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!.......2006-03-25

in the C.D mozart it said that the receirim was made by mozart was supposed to be stolen and used by a masked man. well the masked man was Salieri!!!!!!!!!!!!

Forgotten melodies.......2005-08-12

Salieri's works have been forgotten to a large extent. Still, I like some of them, with my favorite being his piano concerto in C.

Of course, some listeners may want to wonder about the influence of Salieri on many other composers, including Mozart, Beethoven, Schubert, and Lizst. Salieri wasn't as good as any of these four. His works were simpler in many respects, especially when it came to harmonizing. But Salieri's style was different as well, and it included some surprising, tricky, and beautiful variations on his themes. He's not just an inferior version of the other composers of his time.

This might be a good time to forget what we saw of Salieri in the movie Amadeus. And maybe to forget that Beethoven liked Salieri. And to just listen to the music.

Spada is a very good performer and these are good performances, but I have the feeling that a little more could be made of these concertos and their cadenzas.

One of the Greats.......2004-10-07

Antonio Salieri is one of the Greatest Artists and Composers that ever lived.Dont listen to any of his detractors,or the rubbish of him imitating Mozart.Mozart was the imitator of Salieri and a very jealous one at that.

This is one of Salieri's masterpieces.Great for anybody with a fine taste of the Classics to enjoy for a lifetime,maybe more...

A Master often Over looked.......2000-10-11

Wow. The two piano Concertos are wonderful. Sometimes Salieri has been played as being envious of Mozart. But this recording show a master at his very best. I really like the final movement of both Concertos. It puts one at peace with everything. I would reconmend this CD to anyone who want to get to know the music of Salieri. Every note was just where it needed to be. It is a shame that most of his works did not last up to our day. However the only two Concertos that we have today are worth listening to.

A good sample of Salieri's instrumental music plus a rarity.......1999-11-04

The two concertos are worth lisenting although not masterpices. The second in the disk is better. Spada's playing is delicate and precise although the tempi in both finales is rather slow. Not to be compared with those concertos by Mozart but good. The overture to "Les Horaces" is beautifully composed in a Gluckian style. Its final subject heard by the end is very inspired and heroic. The overture to "Semiramide" (presented as to either "La Secchia Rapita" or "Il Ricco di un Giorno" -I can not remember exactly- in other Salieri's CD) is less interesting and Spada's slow tempo reinforces the mediocrity of the piece.

The main course of this recording (the rarity) is the orchestral "Variazioni sulla la Folia d'Spagna" based on a famous Spanish tune previously used by Corelli inter alia. The variations scarcely depart from the original subject but the employment of the symphonic orchestra is remarkable. Good parts for solo violin, harp(s) and woodwinds. One variation is "funeral" in tone, using trombones, but has a comic flute quotation on top. Other is a beautiful "pastoral" or "siciliana" with good parts for oboe and clarinet. This is the last work composed by Salieri (1815).

Tracks:

Imperial Fanfare
Royal Entry
Ceremonial Procession
Heroic Procession
Festive Procession
Elector's Procession
Elector's Procession
Majestic Procession
Priere Du Matin
Intrada
Largo - Allegretto
Intrada
Festive Overture
Toccata (Prelude To Orfeo)
Courante For The Entry Of His Imperial Majesty And All The Cavalry
Follia For New Entry Of The Sprinter And Other Equestrian Manoeuvres
Sarabande For The End Of The Ballet
Trumpet Duet
Intrada For The Trombet Und Musicalischen Tafeldienst
Menuet (Trumpet Duet No. 82)
Trumpet Duet No. 8
1812 Overture, Op. 49
Festive Table Music No. 1
Festive Table Music No. 2
Procession At The Imperial Court
Procession No. 3
Festive Procession: The Entry Of The Emperor, 1631
Intrada From Bruck An Der Mur
Procession No. 4
Procession No. 1
Procession (Brilliant, Bright)
Marche Des Nations De Flore
2e Air Du Combat De Lance D?Amadis
La Descente De Mars
La Marche Italienne
Prelude Des Divertissements
Chaconne Du Palais Royal
Menuet Royal
Marche Pour Les Trompettes Seules
Bruit De Trompettes
L?Etendard
Fanfare A Deux Trompettes
Bruit De Guerre
Allemande
Molto Moderato
Signature Tune Of The Old Town Of Bratislava
Fanfara 1
Fanfara 2
Marcia Per La Cavalleria, No. 1
Entree Fanfare
Modern Fanfare
Signature Fanfare
Convention
Fanfare Solo I
Fanfare Solo II
Fanfare Solo III
Fanfare Solo IV
Fanfare Solo V
Fanfare Solo VI
Opening Fanfare
New Palace Fanfare
Welcome Fanfare
Excitement
Short and Concise
Short Fanfare No. 1
Short Fanfare No. 2
Short Fanfare No. 3
Short Fanfare No. 4
Flourish
Il Giorno Del Silenzio
Fanfare For Solo Trumpet And Drum - V
Fanfare For Solo Trumpet And Drum - II
Wrapped In Mystery
Marcia Maestoso
Imperial Procession In Vienna
Procession No. 8: Allegretto

Customer Reviews:

A little too much and poor sound quality.......2006-11-10

Even though this was recorded just a couple of years ago the sound quality is not that good. It sounds like it was recorded in the 70s and outside with the microphones far away. There is nothing too deep here and all the fanfares are fairly short, just lasting a few seconds it seems. I got tired of this pretty quickly and it doesn't stand up to repeated listenings and to be honest a lot of the stuff on here sounds the same. The performances are ok, but nothing special, they sound kind of flat, and they don't really do anything to make this sound exciting like it should. Maybe if the performance and sound was better I would of enjoyed this more.

And now, honored ladies and gentlemen, may we present...!.......2003-07-17

This is what you'd have to call a specialty CD. It consists entirely of fanfares--nothing but fanfares--some of them as short as 10 seconds long. An interesting idea for a CD, perhaps, but I would guess it is primarily for directors of costume dramas, period pieces, and ceremonies of various sorts.

There are 76 fanfares on the disc covering composers ranging from Monteverdi to a trio of modern composers, all of the latter associated with the CD itself. They are played by an outfit called 'The Art of the Trumpet,' a coalescence of 24 Austrian trumpeters and a couple of timpanists (and on occasion a single trombone). Some of the fanfares use the whole group, there are others for solo trumpet, and for all combinations in between. They are led by a trumpeter from Vienna named Leonhard Leeb who is not only one of the trumpeters but also one of the composers--the other two modern composers are Leon Bolten and Joel Modart (I almost typed 'Mozart' but no!...).

Other composers include Salieri, Lully, Biber, J.H. Schmelzer, Pezel (often spelled Petzel here in America), Philidor (yes, the chess master of that name), Marc-Antoine Charpentier, and the multi-talented A. Nony Mous.

The performances are appropriately stirring, ceremonial, attention-grabbing, even mournful (one, Bolten's 'Wrapped in Mystery,' was dedicated to the victims of the World Trade Center tragedy of September 11, 2001). I would strongly suggest you not listen to the whole CD at one sitting--actually, it's hard to imagine anyone would--because too much B flat can fry your brain unless you yourself are a brass player or bagpiper.

For what it is, though, this CD is excellent.

Tracks:

I Grave/Allegro/Adagio
II Allegro
III Largo
IV Allegro
I Grave
II Allegro
III Vivace
IV Adagio
V Vivace
I Adagio
II Allegro
III Adagio
IV Allegro
I Adagio
II Allegro
III Vivace
IV Adagio
V Allegro
I Adagio
II Vivace
III Adagio
IV Allegro
I Adagio
II Allegro
III Adagio
IV Allegro
I Preludio - David Watkin
II Giga - David Watkin
III Adagio - David Watkin
IV Tempo Di Gavotta - David Watkin

Tracks:

I Preludio
II Corrente
III Sarabanda
IV Giga
I Preludio
II Allemanda
III Sarabanda
IV Giga
I Preludio
II Giga
III Adagio
IV Tempo Di Gavotta
I Preludio
II Allemanda
III Sarabanda
IV Gavotta
V Giga
I Preludio
II Allegro
II Adagio
IV Vivace
V Gavotta
Theme & Variations 1-8
Variations 9-14
Variations 15-25
I Andante
II Presto
III Adagio
IV Allegro

Amazon.com

Francesco Geminiani (born 1687 in Lucca, Italy; died 1762 in Dublin), a pupil of Corelli and one of the greatest violinists of his day, wrote a lot of music for his instrument, as well as a treatise on playing it. He made the orchestration of these 12 sonatas in tribute to his teacher, who would certainly have been proud if he had lived to hear them. Going far beyond mere arrangements, they seem to explore and reveal latent or unrealized intentions, adding sonorities and contrapuntal voices, enhancing character and expression. The most striking example is the famous "La Follia," where the usually hidden drama is suddenly released with a tumultuous virtuosity that foreshadows Liszt's orchestral version of Schubert's Wanderer Fantasy. The playing is stunning. Tuned a half-tone down, the strings have a lovely, pure, transparent sound that supports and surrounds the soloist with a warm shimmer; the long notes float, the fast movements are crisp and light, the rhythm and counterpoint are clear. Andrew Manze, who also writes informative, entertaining program notes, plays with spectacular virtuosity, a beautiful tone, and all-out expressive abandon and imagination, letting loose cascades of infinitely varied, inventive ornamentation. The second disc features the easier, more familiar sonatas, loved by all violin students, but transformed here into brilliant concertos. One of them is added to the first disc in Geminiani's ornamented version for violin and cello, while a cello sonata by Geminiani himself closes the program, perhaps a miscalculation, since the music is distinctly inferior to Corelli's. --Edith Eisler

Customer Reviews:

relaxing classical music NOT.......2007-02-23

in london on that cold rainey tuesday night i saw andrew play some of these selections
he brought the house down or i should say the wren church
like a rock star in a way
he was covered in sweat
i love music
all music played with passion
i have fantasies
a young music group
outside the local classical music station
all relaxing all the time
they call the press those young musicians
we are so very passionate declares the young violinist
themes and variations 25
from geminiani's remiz of corelli
and they play their heart out
and maybe the tv station has a music lover
he loves jimmi at woodstock playing the national anthem
the smiths how soon is now
U2 playing sunday bloody sunday sunday live in dublin
its the last story the only in san francisco story
and its played to its fullest
and the young players really show it off
that young vioinest really plays
and that sweat and passion
he even makes a woop
during the most passionate part
impresses the station manager who loves jimmi at woodstock
and morrisey
and U2 in dublin
wow

Wonderfull Baroque.......2007-02-01

As I heartily agree with Dan Grunfeld's review I can be brief. Corelli's opus 5, 12 sonatas for violin, with harpsichord or cello, set the standard for violin composition and playing for 100 years; his pupil and loving disciple, Geminiani, has carefully orchestrated and developed them into 12 concerti grossi, which doubles our pleasure, in no way does it make the original sonatas obsolete. Although I have sone reservations with some of Andrew Manze's recordings of Vivaldi and Bach violin concertos,he does a superb job in this recording. His recording of Handel's Opus 6, Mr Handels's Twelve Grand Concertos, more concerti grossi, is also excellent.

Corelli and his interpreters.......2006-05-10

As the reader may already know, the opus 5 violin sonatas of Corelli were the inspiration for this orchestral interpretation of them by Geminiani. As related by Manze in his album notes, Corelli chose the significant year 1700 to publish opus 5, and according to Manze, this represents a landmark in Italian baroque, for every composer who came after has had to reckon with these sonatas, and somehow find a way to equal (but not surpass) them in invention and creativity. Vivaldi composed his own version of "La Follia" (Sonata XII), arguably better than Corelli's; but many another of Vivaldi's sonatas, magnificent though they are, simply do not have the clarity, spirituality, grace, and lyricism of the Corelli opus 5. Geminiani, a student of Corelli, and arguably one of the greatest baroque violinists of his day, crafted these orchestral versions of the opus 5 as a tribute to his master. Manze rightly observes that these concertos are not simply orchestrations of opus 5, but actually extensions of it; they are variations to some extent, creative expansions and magnificent glosses on the originals. New points of emphasis are added, some phrasings are given a different turn, new counterpoint is introduced at various places in the score to enhance the subtle beauty of the originals. If you love the Italian baroque, you will not want to be without this gem. But as others have observed, don't neglect the original sonatas themselves. Manze has recorded his own inimitable version on Harmonia Mundi, and I strongly recommend it. But there are others as well. Elizabeth Wallfisch on the Hyperion Label has her own recording, slightly more subdued yet also smoother than Manze's. I strongly recommend that you buy as many versions of the opus 5 as you have the budget for (well, at least three!), starting with these orchestrations by Geminiani. They will teach you to love the originals. Look at them as perhaps a point of entrance into what many consider the greatest violin sonatas ever written.

go for the real thing.......2003-01-13

geminiani wrote some fine concerti in his career, but buyers should be aware that these 12 concerti grossi are actually geminiani's transcriptions for chamber orchestra of the 12 sonatas for violin and continuo, op.5, by his teacher, the roman composer archangelo corelli. (this explains the inclusion of two of the original corelli sonatas on the disc.) i am a great fan of both corelli and geminiani, and their mellifluous, elegant and sophisticated style of baroque music sounds great in any format ... but you may enjoy these sonatas more performed in their original versions.

Manze stretches period performance - but not enough.......2002-08-24

I am a dissident about "authentic instrument performance". I respect the commitment and skills of many of the practioners of this style of play. But I suggest that playing to audiences that have been dead for 250 years is an intellectual, not a musical idea.

Why turn our back on the glorious string tone evolved since 1700? Refitting instruments and using gut strings reduces a fine violin's projection capacity to that of a $500 student violin. This is progress? throughout history composers sought to maximize the impact of their music on audiences. They quickly adapted instrumental improvements as they became available. Did Beethoven frequently break hammers of his "Hammerklavier" because he was satisfied with the volume he was producing? Then why on earth abandon a resonant, responsive Steinway grand and play Beethoven sonatas on a pitiful fortepiano? It makes no esthetic sense. It is an insult to relegate a Vivaldi who electrified his audiences with bold new effects and dramatic flights of inspiration to the "ancient music" ghetto.

Tracks:

Cublai, Gran Kan De' Tartari: Ov in D
Twenty-Six Vars On 'La Folia Di Spagna'
Angiolina, Ossia Il Matrimonio Per Sussuro: Ov in D
Sinf Veneziana in D: I. Allegro Assai
Sinf Veneziana in D: II. Andantino Grazioso -
Sinf Veneziana in D: III. Presto
La Locandiera: Ov in D: I. Allegro Assai -
La Locandiera: Ov in D: II. Andantino -
La Locandiera: Ov in D: III. Presto
Sinf 'Il Giorno Onomastico' in D: I. Allegro, Quasi Presto
Sinf 'Il Giorno Onomastico' in D: II. Larghetto
Sinf 'Il Giorno Onomastico' in D: III. Minuetto: Non Tanto Allegro - Trio
Sinf 'Il Giorno Onomastico' in D: IV. Allegretto E Sempre L'istesso Tempo
Falstaff, Ossia Le Tre Burle: Ov in D

Customer Reviews:

Worthy music.......2005-10-20

It is unfortunate that Antonio Salieri (1750 - 1825) is known now almost exclusively for being the nemesis of Mozart in the Peter Schaffer play and subsequent film 'Amadeus'. Salieri was certainly much more than the thwarted, second-rate composer. Perhaps he was not in Mozart's league so far as composition power goes (although the best of Salieri certainly stands up as worthy in comparison with many of the major composers of his time), but he was a respected composer in his own time, and perhaps more than for his composition, he was respected as a teacher and court musician. Salieri counts among his pupils Beethoven, Schubert, Liszt and even Mozart's second son.

His operas tended to follow a particularly popular formula, with dramatic flairs and stories easily accessible to the people. He drew inspiration from historical works, from mythological and fictional works, as well as works of popular circulation. Salieri even used some libretti from Lorenzo de Ponte, perhaps better known now as a librettist for Mozart.

This disc includes overtures of twelve operas (Salieri wrote nearly 50 operas, several of which were not premiered until the 1990s). They include pieces from his dramatic operas as well as his comic operas. The power in these is certainly evident. Perhaps the best of the lot is 'Cesare in Farmacusa (Tempesta di Mare)' and 'Axur, Re d'Ormus', an opera also involving de Ponte, and reworked from an earlier attempt to do a French opera into an Italian one.

It is a mistake (reinforced by 'Amadeus') to classify Salieri as an Italian composer - he lived most of his life in Vienna, and was criticised by the Empress at one point for being too much of a German composer. Salieri's works such as 'Don Chisciotte alle nozze di Gamace', the overture of which is included here, certainly shows his strength in writing toward the German.

This disc is a fun disc to listen to. There is nothing earth-shattering or new here, but these pieces are good compositions, and the performances by the Czecho-Slovak Radio Symphony Orchestra (Bratislava), under the direction of Michael Dittrich, is exemplary. This is one of those often-overlooked Eastern European orchestras that has incredible performance ability; they have had international touring experience as well as a number of recordings for Naxos, who is to be praised for bringing less popular music to the general public in an affordable way.

My God... You moviegoers ruin everything..........2005-01-13

It's nice to know that you need a movie to awaken you to classical music. If you had been introduced to Salieri in any way other than the Milos Forman film, you would realize the truth. Amadeus is a MOVIE... just like TITANIC is a movie. FICTIONALIZED ACCOUNT OF HISTORICAL FACTS...While adding in elements of fiction to enhance the DRAMA.. Salieri is a good composer. I suggest that you do your research, pal. Do you know that he and Mozart once shared a bill? Now, ANYONE can safely say that had they been enemies, they would not have dreamed of having their operas performed together.. Music is a personal thing for those who create it. But anyway, Salieri deserves to be noticed.

NOT A MURDERER!!!!.......2004-12-07

Salieri was in fact a pioneer of music. It was never proven that he murdered Mozart. Salieri's pupils included Beethoven, Schubert and Liszt. He helped found the Academy of Music in Vienna. The movie Amadeus is probably loosely based on an opera called Mozart i Salieri which dramatized their competition and jealousy. Salieri does not get the credit he deserves for his contribution to classical music as a composer. Salieri is a wonderful addition to anyone's classical music collection.

One of the most underrated composers in History!.......2004-11-17

This CD digs into the ignored music of Antonio Salieri. I am fed up of reviews comparing this composer to Mozart. Calling Salieri a murderer of Mozart is utterly incorrect. Probably, the reviewer who made this statement does not know that 'Amadeus' is a movie based on a myth.

Murderer.......2004-01-11

I don't see how anyone can try to immortalize his works after seeing the movie Amadeus. He was a conniving, evil, egotistal man. I will never buy anything with his name on it. He is the murderer of a musical genius. I love Mozart and any of his true fans will never purchase anything with the salieri stamp on it.

Music Track:

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