| 1. Standing At The Gates |
| 2. Good Intentions |
| 3. A Change Of Heart |
| 4. On The Way |
| 5. Sleepwalking |
| 6. Cat And Mouse |
| 7. The Right Moment |
| 8. As Wise As A Serpent |
Editorial Reviews
Product Description:
French reissue of the 1982 album. Packaged in a standard jewel case housed in a special digibox. 2000 release.
It opens with a swippy hip-hop intro, "Blazing the Crop," an entertaining little number with what sounds like panpipes. What follows is alternately satisfactory and hilarious, with everything from outrageously genteel falsettos to swooning trip-ballads featuring Kate Rogers and Tania Maria, as well as the trippy, smoldering "Trailing in the Wake."
Unfortunately, there are two songs by the Pharcyde that simply don't fit in with the smoother, mellower hip-hop. "Let It Go" and "It Ain't Nothing Like" meander aimlessly through mellow beats, sounding jagged and uncomfortable. Perhaps it would have been better back in the "Bizarre Ride II" era, but here they sound overworn. And the legendary Bobby Womack does a good job, but it feels like Rae and Christian weren't quite sure how to use his talents.
Rae and Christian broke some new ground with "Northern Sulphuric Soul," a delightful acid hip-hop album. There, they made new inroads and breathed some fresh life into the subgenre. But here, they feel like they are on autopilot... or even worse, out of inspiration.
Fortunately they do turn out some very good material, mostly the layered downtempo numbers, and the hilarious number with the Congos: "Like putting one foot right in front of the othah," in an intensely posh voice over some trippy hip-hop beats. And Rae and Christian duet well with the female singers on here, including the soaring finale with Siron.
Unfortunately, they forge no new territory with "Sleepwalking," and the album is burdened with some songs that should have been cut. Fortunately it redeems itself with some beautiful downtempo songs.
This collection does not showcase the more famous roles that were in fact her signature ones - Leonora from Trovatore and Forza, Aida is'nt even in here and that one even she considered her greatest role, we don't find her Madame Butterfly here. Instead we find rare pieces that she sings beautifully and dramatically, making us wish she had sung the entire operas in full on stage. She never sang a full-length Norma and that's a pity- even Grace Bumbry and Shirley Verrett did in their careers. Price seemed to enjoy singing Samuel Barber's vocal works - she opened the 1965-1966 Met season with Barber's Antony and Cleopatra (a bad production by the way but not through any fault of Miss Price but the overblown spectacle of the design of the opera itself) and here she sings his Vanessa. Benjamin Britten's Gloriana sounds lovely in her hands. Her Norma and Dona Anna in Mozart are dramatic and fiery, her Lady Macbeth darkly mysterious, her Suor Angelica peaceful with powerful inner fire and her Dialogue Des Carmelites are also sensational. Yes, many of these arias are beautiful to hear, and thank God she doesn't have any of the flaws critics keep hearing in her later recordings. Without a doubt, this is her finest album. I think you should listen via audio samples here the following to make you get this recording: the Countess aria from Nozze Di Figaro, her Manon (Adieu Petit Table) La Mamma Morta, her version of Sediziose Voce/Casta Diva from Norma, the excerpt from Carmen, "Don Ottavio son Morta...Or Sai Chi L'Onore" from Don Giovanni, Care Salve, the Dido and Aeneas excerpts, the La Traviata excerpts (Addio Del Passato) and the beautifull, mystic, haunting and well-executed Liebestod from Tristan and Isolde, which I even feel surpasses Birgit Nilsson's version. Just listen to how heart-felt that Liebestod is! I have not heard the likes of it anywhere else.
This collection is pretty impressive. I didn't know a soprano could be that versatile. Leontyne Price is remarkable. Her rich, lyric voice, capable of plaintive and melancholy lines as well as powerful high C's and dramatic whoops, was always clean, smooth and intense. Of course, like most sopranos, she had her bad days. Her later Toscas (in the mid or late 70's) became too melodramatic and sloppy, when she used to be more mannered and poised with the role, her Cleopatra in Samuel Barber's opera was a fiaco because the production was too bizarre and messy, etc. But for the most part, mostly in Verdi, Puccini, Mozart and as Norma, she was radiant, glorious and perfect. Her background in Church music made her incredibly suited to singing Requiems, such as Verdi's Requiem. There will never be another Leontyne Price. She was a one woman Golden Age of Opera, and sang with the best of the best- Bjussi Bjorling, Giuseppe Di Stefano, Franco Corelli, Placido Domingo.
It features two seminal works by two important composers of our day: Philip Glass and Steve Reich.
This recording of Reich's Piano Phase is poignant! The performances are flawless and the recording is wonderful.
The transcription of a suite of instrumental music from Glass' LES ENFANTS TERRIBLES is wonderful. Davies and Namekawa, the pianists, have made an effective transcription of the original 3 piano-part Glass opera, to 2 piano/4 hand instrumental suite.
It's really wonderful, especially the Sleepwalking music.
Just FANTASTIC!
This makes the dual piano approach work out in the end, and Reichs piano phase gets the treatment it demands and frankly deserves.
Anyone who has been following Metalcore for at least a few years has had ample time to discover Coalesce, one of the genre's biggest and most reputable names since the start. Quality control in the shape of ex-members from various bands doesn't always pan out, but in the case of this album, "With the Sureness of Sleepwalking," Cory White's influence helped turn this record into a fine gem. I'm not crediting White with all the work, though. The rest of the band has been at it for years, and are what I consider to be subject matter experts.
This record is flawless. It has staying power like so many other classics: Shai Hulud's "That Within Blood Ill Tempered," Himsa's "Courting Tragedy and Disaster," and Coalesce's "0-12: Revolution in Just Listening" to name a few (as a quality comparison, NOT music or sound). You could consider this to be a "minor" classic if it makes you feel better, but regardless, The Esoteric's "With the Sureness of Sleepwalking" deserves your respect.
An American Icon....I will forever be a loyal fan and admirer!!
This collection is overwhelming. Leontyne Price proves herself to be a masterful artist of diverse repertoire. Pity she didn't really sing these on stage because she would have put Maria Callas and all the reigning divas before and after her to shame. Listen to her remarkable, unsurpassed Mozart repertoire. This she did sing in opera houses, probably because Mozart does not require a true lyrico-spinto heavyness and smaller opera houses can accomodate Mozartian voices that do not often rise above the staff/orchestra. She sang exquisite Fiordiligis at the Met. The arias from Cosi Fan Tutte here - Soave sia il vento, O Guarda Sorelle and the fiendishly difficult vocal showcase "Come Scoglio" with its vertiginious scales are all fine samples of Miss Price's artistry. She sang Susanna and Donna Anna with beauty and bravura. The Salome excerpt is quite thrilling. She would have made a terrific Salome but the role is quite difficult and it would have surely killed her voice. Leontyne Price was the number one Verdi soprano. Every opera cognoscente will tell you that. When you hear the excerpts from Verdi operas here - Lady Macbeth's Sleepwalking Scene, Aida's arias, Leonora's arias from Trovatore and Leonora's arias from Forza Del Destino, particularly La Virgine Del Angeli and the ravishing Pace Pace Mio Dio- are the best renditions of Verdi soprano singing. Anyone who wants to study how to sing in the letter-to-letter Verdi lyrico spinto style should hear these arias. A voice like Leontyne cannot be easily imitated. Maria Callas's own voice can be imitated as Romanian diva Angela Gheorghiu has proven. Leontyne was in a class of her own, a voice that is both dramatic and beautiful to hear. However, most people find fault in her lack of dramatic interpretation. I say they're not hearing hard enough. Yes, there is excessive beauty in her singing but she understood that the opera heroines should sound beautiful because they are beautiful and though I never saw her on stage, from the recordings I hear she sounds dramatic and character-driven enough for me to be satisfied. For a devoted fan of Leontyne Price, this album is the Holy Grail. She sings the most beautiful Norma, Madame Butterfly, Tosca, Aida, Violetta, Madame Lidoin, Suor Angelica, Susanna, Dona Ana, Gilda, Fiordiligi, Desdemona and countless other heroines. The last cd is a collection of Gospel, spirituals and patriotic songs. These "American", non-opera selections find her in beautiful voice and she is actually paying tribute to her roots. She was not only African-American, but a Southerner from Mississippi. Her voice must have been heavenly to hear in Church! This is the album that made me love Leontyne.
This album contains arias from operas that I didn't even know she performed- La Traviata (yes, Leontyne Price as Violetta is a moving and powerful interpretation, executed with sublime beauty. She finds herself the equal to Callas in the role- for Callas had a big voice for a role that calls for the "dying" effect. Thus, Price, like Callas, could sing roles that call for beauty and not just dramatic vigor. It's unfortunate that unlike the stars that were rising in her time- Joan Sutherland, Beverly Sills and Montserrat Caballe- Price never mastered the bel canto repertoire - Rossini, Donizetti, Bellini (although she sang a sensational Norma, excerpts are found in this recording). But her strongest suit was Verdi. She had the voice Verdi was looking for in a soprano- rich, dramatic, beautiful, able to fill up the lines with smoky and velvety hues and a gleaming high top. Check out her Amelia in Un Ballo In Maschera, her Leonora in Trovatore, her Leonora in La Forza Del Destino. Of course, her greatest role, her signature role, and one which she connected with on a personal/ancestral level was that of Aida. The first selections in this recording are from that masterpiece. As Aida, she was at her best. It was easy for her somehow, when most other sopranos tackle the role with difficulty. She conveys grace, nobility, passion and spirituality in the role of the tragic Ethiopian princess.
Further roles she excelled in that are on this recording is Desdemona in Otello, which she sung opposite Placido Domingo. Their masterful voices blend together harmonically and gloriously in the Act 1 Love Duet. She's quite the ground-breaking artist. Most Violettas in Traviata or Desdemona in Otello are Caucasian lyric soprano (Desdemona was white, Otello was black, that was Shakespeare's intention) but in opera, race does not matter and Leontyne Price's voice made her a star in a time when it was incredibly difficult for a black woman to sing opera. From the start of the century, opera was always associated with white Europeans and later on Americans. But Leontyne Price followed the inspirational example of the gutsy contralto Marian Anderson, who suffered a lot of rejection in opera due to skin color in pre-Civil Rights Movement 30's, 40's and 50's. Finally in the late 50's, Anderson, after a lifetime of singing only in private concerts and recitals, debuted at the Met as Ulrica in Un Ballo. Leontyne Price immediately picked up where she left- singing all the soprano diva roles typically associated with white singers - especially Tosca. Her Tosca is second to her Aida. As Tosca, she encompasses the diva who dies for love in the most thrilling way.
Other than Tosca, Puccini heroines were just as magnificent vehicles for her voice. She sang Madame Butterfly to great acclaim. I dont know how she did it but she suddenly ceased to be herself and became the frail, naive, lovesick Japanese Geisha. Softness and fragility is also mixed with the maturity of a woman in love, with passion and dramatic vocal color. She sang La Rondine with equal success, though this role is more along the lines of Violetta/Traviata. She sang Suor Angelica, she sang in modern works such as Barber's Antony and Cleopatra- in that infamous Zefferelli production- she sang Gershwin's Porgy and Bess, she sang in Dialoge of the Carmelites. All these are on here, along with her Baroque specialties- Dido in Dido and Aeneas. Her Mozart voice is also the best I've heard, really, even with a more dramatic and beautiful charm than other singers I've heard. She sang the acrobatic role of Fiordiligi in Cosi Fan Tutte, both Dona Ana and Donva Elvira in Don Giovanni. I prefer her as Dona Ana, she is all fire, despair, intensity and repressed desire, but she sings a hysterical and lovesick Elvira with a passion as well. She even sang the Countess in Le Nozze Di Figaro. But the sky was the limit to Price. She even sang, in a Jessie Norman way, the Wagner role of Isolde. Her "Liebestod" is the greatest I've heard since Birgit Nilsson, with a passion that stemmed from her religious Gospel heart.
This is a great album and I recommend it to any fan of Price and any fan of opera in general. If you have never heard Price and want to start somewhere, start with this one. This one or the Prima Donna Collection.
I would also recommend their other albums 'Eat Yourself Whole' and 'In The Best Possible Taste.'
With the mix of excellent musicianship, catchy tunes and Loz Hardy's 'bitter world view' lyrics made Kingmaker stand out from their peers during the early nineties. It's a shame Kingmaker never got anymore popular.
If any of the guys from Kingmaker are reading this; please reform, brick back some decent music into the charts.
French reissue of the 1982 album. Packaged in a standard jewel case housed in a special digibox. 2000 release.
Sleepwalking,Gerry Rafferty,Phantom Sound & Visi,Popular Music
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Sleepwalking
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ASIN: B000056N6L Release Date: 2001-03-06 |
Tracks:
- Blazing The Crop
- Hold Us Down
- It Ain't Nothing Like
- Get A Life
- Not Just Anybody
- Trailing In The Wake
- Vai Viver A Vida
- Let It Go
- Ready To Roll
- Wake Up Everybody
- Salvation
Album Details
Hip Hop: 'Sleepwalking' is the follow up to 1998's massively acclaimed 'Northern Sulphuric Soul'. Two tracks feature vocals by Bobby Womack.Customer Reviews:
Blazing the crop.......2005-06-03
It opens with a swippy hip-hop intro, "Blazing the Crop," an entertaining little number with what sounds like panpipes. What follows is alternately satisfactory and hilarious, with everything from outrageously genteel falsettos to swooning trip-ballads featuring Kate Rogers and Tania Maria, as well as the trippy, smoldering "Trailing in the Wake."
Unfortunately, there are two songs by the Pharcyde that simply don't fit in with the smoother, mellower hip-hop. "Let It Go" and "It Ain't Nothing Like" meander aimlessly through mellow beats, sounding jagged and uncomfortable. Perhaps it would have been better back in the "Bizarre Ride II" era, but here they sound overworn. And the legendary Bobby Womack does a good job, but it feels like Rae and Christian weren't quite sure how to use his talents.
Rae and Christian broke some new ground with "Northern Sulphuric Soul," a delightful acid hip-hop album. There, they made new inroads and breathed some fresh life into the subgenre. But here, they feel like they are on autopilot... or even worse, out of inspiration.
Fortunately they do turn out some very good material, mostly the layered downtempo numbers, and the hilarious number with the Congos: "Like putting one foot right in front of the othah," in an intensely posh voice over some trippy hip-hop beats. And Rae and Christian duet well with the female singers on here, including the soaring finale with Siron.
Unfortunately, they forge no new territory with "Sleepwalking," and the album is burdened with some songs that should have been cut. Fortunately it redeems itself with some beautiful downtempo songs.
Go Back to Sleep!.......2003-10-26
A Breath of Fresh Air........2001-04-08
"Sleepwalking" has Rae & Christian showcasing a truly eclectic group of vocalists: The Congos, Tania Maria, Bobby Womack, The Pharcyde, and Kate Rodgers (check out Aim's "Cold Water Music" if you like her). However, the true beauty of this album lies in the music. "Sleepwalking" is flawlessly produced, and finds the Mancunian duo relying more on their own musicality than samples (only three are used).
"Blazing The Crop" is one for the backyard barbecue, a refreshing summer instrumental. The Congos' vocals are a bit 'castrotti' for me, but I still enjoyed "Hold Us Down." Bobby Womack astounds in "Get A Life" and "Wake Up, Everybody" respectively. The blissful sax-infused trip-hop of "Not Just Anybody" caresses your ears, while Kate Rodgers soothes and seduces -- like a Singapore Sling on a hot day. "Ready To Roll" and "Trailing In The Wake" are two fine instrumentals in their own right, no less interesting than any of the vocalised songs.
So why, you may be thinking, does this get three-and-a-half stars? Both tracks that feature the Pharcyde stand out like sore thumbs. I'm sorry, but this group (after changes in lineup -- no more FatLip!) can never live up to the standard set on classics like "Bizarre Ride II" and "Lacabincalifornia." They come off sounding old and tired. Rae & Christian do their best to rectify....but the end result is not so satisfactory.
Tired of hip-hop? Pick up "Sleepwalking."
3.5 stars
Soporific.......2001-03-08
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Sleepwalking
Gerry Rafferty Manufacturer: Originals ProductGroup: Music Binding: Audio CD General
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ASIN: B00005BJLO Release Date: 2001-04-17 |
Tracks:
- Standing at the Gates
- Good Intentions
- Change of Heart
- On the Way
- Sleepwalking
- Cat and Mouse
- Right Moment
- As Wise as a Serpent
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Leontyne Price (The Prima Donna Collection)
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ASIN: B000003FAF Release Date: 1992-08-11 |
Tracks:
- Dido and Aeneas: Act 3: Thy Hand, Belinda!
- Dido and Aeneas: Act 3: When I Am Laid In Earth
- Le nozze di Figaro: Act 3: E Susanna non vien!
- Le nozze di Figaro: Act 3: Dove sono
- La traviata: Act 3: Teneste la promessa
- La traviata: Act 3: Addio del passato
- L'africaine: Act 2: Sur mes genoux, fils du soleil
- Manon: Act 2: Allons! il le faut!
- Manon: Act 2: Adieu, notre petite table
- Otello: Act 4: Era piu calma?
- Otello: Act 4: Mia madre aveva una povera ancella (Willow Song)
- Otello: Act 4: Ave Maria
- Adriana Lecouvreur: Act 1: Ecco: respiro appena
- Adriana Lecouvreur: Act 1: Io son l'umile ancella
- Louise: Act 3: Depuis le jour
- Turandot: Act 2: In questa reggia
- Die tote Stadt: Act 1: Marietta's Lied
- Vanessa: Act 1: He Has Come, He Has Come!
- Vanessa: Act 1: Do Not Utter A Word
Tracks:
- Atalanta: Act 1: Care Selve
- Don Giovanni: Act 1: Don, Ottavio, son morta!
- Don Giovanni: Act 1: Or sai chi l'onore
- Der Freischuetz: Act 2: Wie nahte mir der Schlummer
- Der Freischuetz: Act 2: Liese, leise
- Tannhaeuser: Act 2: Dich, teure Halle
- Macbeth: Act 2: La luce langue
- Macbeth: Act 4: Vegliammo invan due notti (Sleepwalking Scene)
- Macbeth: Act 4: Una macchia e qui tuttora
- Mefistofele: Act 3: L'altra notte in fondo al mare
- Rusalka: Act 1: Song To The Moon
- L'Enfant Prodigue: Air de Lia: L'annee en vain
- Andrea Chenier: Act 3: La mamma morta
- Francesca da Ramini: Act 3: Paolo, datemi pace
- Suor Angelica: Senza mammo, o bimbo, tu sei morto!
- Amelia Goes To The Ball: While I Waste These Precious Hours
Tracks:
- Alceste: Act 1: Divinites du Styx
- Don Giovanni: Act 2: Crudele? Ah, no, mio bene
- Don Giovanni: Act 2: Non mi dir
- I lombardi: Act 2: O madre, dal cielo
- I lombardi: Act 2: Se vano e il pregare
- Martha: Act 2: The Last Rose Of Summer
- Simon Boccanegra: Act 1: Come in quest'ora bruna
- La Perichole: Act 3: Tu n'es pas beau
- Die Walkuere: Act 1: Du bist der Lenz
- Die Fledermaus: Act 2: Czardas: Klange der Heimat
- Carmen: Act 3: Ces des contrebandiers
- Carmen: Act 3: Je dis que rien ne m'epouvante
- Cavalleria Rusticana: Voi lo sapete
- Thais: Act 2: Ah! je suis seule
- Thais: Act 2: Dis-moi que je suis belle
- Gianni Schicchi: O mio babbino caro
- Les dialogues des Carmelites: Act 3: Mes filles, voila s'acheve
Tracks:
- Semele: Act 2: Where 'er You Walk
- Idomeneo: Act 3: O smania! O Furie!
- Idomeneo: Act 3: D 'Oreste, d' Ajace!
- La damnation de Faust: Part 4: D'amour l'ardente flamme
- Oberon: Act 2: Ozean, du Ungeheuer!
- Norma: Act 1: Sediziose voci, voci di guerra
- Norma: Act 1: Casta diva
- Norma: Act 1: Ah! bello a me ritorna
- Rigoletto: Act 1: Gualtier Malde
- Rigoletto: Act 1: Caro Nome
- Tristan und Isolde: Act 3: Liebestod: Mild und leise
- Pagliacci: Act 1: Ballatella: Qual fiamma avea nel guardo
- Adriana Lecouvreur: Act 4: Poveri fiori
- Gloriana: Act 1, Scene 2: Soliloquy & Prayer: On Rivalries 'tis Safe For Kings
- Gloriana: Act 1, Scene 2: Soliloquy & Prayer: O God, My King, Sole Ruler Of The World
Customer Reviews:
A brilliant collection from a great soprano.......2007-04-30
If I could have only one collection.............2006-11-12
Yes this is great!.......2006-10-14
The Grandest Collection of Leontyne Price Arias.......2005-08-08
This collection does not showcase the more famous roles that were in fact her signature ones - Leonora from Trovatore and Forza, Aida is'nt even in here and that one even she considered her greatest role, we don't find her Madame Butterfly here. Instead we find rare pieces that she sings beautifully and dramatically, making us wish she had sung the entire operas in full on stage. She never sang a full-length Norma and that's a pity- even Grace Bumbry and Shirley Verrett did in their careers. Price seemed to enjoy singing Samuel Barber's vocal works - she opened the 1965-1966 Met season with Barber's Antony and Cleopatra (a bad production by the way but not through any fault of Miss Price but the overblown spectacle of the design of the opera itself) and here she sings his Vanessa. Benjamin Britten's Gloriana sounds lovely in her hands. Her Norma and Dona Anna in Mozart are dramatic and fiery, her Lady Macbeth darkly mysterious, her Suor Angelica peaceful with powerful inner fire and her Dialogue Des Carmelites are also sensational. Yes, many of these arias are beautiful to hear, and thank God she doesn't have any of the flaws critics keep hearing in her later recordings. Without a doubt, this is her finest album. I think you should listen via audio samples here the following to make you get this recording: the Countess aria from Nozze Di Figaro, her Manon (Adieu Petit Table) La Mamma Morta, her version of Sediziose Voce/Casta Diva from Norma, the excerpt from Carmen, "Don Ottavio son Morta...Or Sai Chi L'Onore" from Don Giovanni, Care Salve, the Dido and Aeneas excerpts, the La Traviata excerpts (Addio Del Passato) and the beautifull, mystic, haunting and well-executed Liebestod from Tristan and Isolde, which I even feel surpasses Birgit Nilsson's version. Just listen to how heart-felt that Liebestod is! I have not heard the likes of it anywhere else.
The Greatest Soprano Ever Recorded.......2005-03-20
This collection is pretty impressive. I didn't know a soprano could be that versatile. Leontyne Price is remarkable. Her rich, lyric voice, capable of plaintive and melancholy lines as well as powerful high C's and dramatic whoops, was always clean, smooth and intense. Of course, like most sopranos, she had her bad days. Her later Toscas (in the mid or late 70's) became too melodramatic and sloppy, when she used to be more mannered and poised with the role, her Cleopatra in Samuel Barber's opera was a fiaco because the production was too bizarre and messy, etc. But for the most part, mostly in Verdi, Puccini, Mozart and as Norma, she was radiant, glorious and perfect. Her background in Church music made her incredibly suited to singing Requiems, such as Verdi's Requiem. There will never be another Leontyne Price. She was a one woman Golden Age of Opera, and sang with the best of the best- Bjussi Bjorling, Giuseppe Di Stefano, Franco Corelli, Placido Domingo.
Average customer rating: 
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Philip Glass; Seteve Reich Music 4 Hands
Manufacturer: Orange Mountain Music ProductGroup: Music Binding: Audio CD Ballets
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ASIN: B000BIT9XK Release Date: 2005-10-11 |
Tracks:
- Piano Phase
- Overture
- The bedroom
- Paul Sleepwalking
- Snow Falling in the Playground
- Elizabeth Choose a Career
- Death of the Twins/Finale
Album Description
The Orange Mountain Music release "Music 4 Hands" is a collection of new recordings on dual pianos performed by Dennis Russell Davies and Maki Namekawa. The compositions are "Six Scenes from Les Enfants Terribles" for two pianos based on the original opera by Philip Glass as well as a Steve Reich's "Piano Phase". "Music 4 Hands" debuts these new arrangements by Dennis Russell Davies and Maki Namekawa.Philip and Steve Reich were leaders of a new music revolution in New York City in the 1960´s and 70´s that included Terry Riley, Lamonte Young, and Meredith Monk. In the years since then their careers and music have greatly diverged, and it is rewarding to find a new record that celebrates them both.
Maki Namekawa is one of the young musicians who is introducing new works into the mainstream of German concert activity. As a soloist and a chamber musician equally at home in classical music and contemporary repertoire, Ms. Namekawa appears regularly at major concert venues in Japan and Europe.
Dennis Russell Davies is the chief conductor of the Bruckner Orchestra Linz and the Landestheater Linz, as well as chief conductor of the Stuttgart Chamber Orchestra. His range of activities include conductor, pianist, and chamber musician. All Davies' talents are characterized by a very broad repertoire ranging from Baroque to very modern, all with an intense commitment to the composers of our time.
Customer Reviews:
ADORE IT!.......2006-04-23
Another Great CD.......2006-02-02
It features two seminal works by two important composers of our day: Philip Glass and Steve Reich.
This recording of Reich's Piano Phase is poignant! The performances are flawless and the recording is wonderful.
The transcription of a suite of instrumental music from Glass' LES ENFANTS TERRIBLES is wonderful. Davies and Namekawa, the pianists, have made an effective transcription of the original 3 piano-part Glass opera, to 2 piano/4 hand instrumental suite.
It's really wonderful, especially the Sleepwalking music.
Just FANTASTIC!
Glass on piano is always good.......2005-11-28
This makes the dual piano approach work out in the end, and Reichs piano phase gets the treatment it demands and frankly deserves.
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Average customer rating:
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Sleepwalking
Sleepy Malo Manufacturer: Sl Entertainment ProductGroup: Music Binding: Audio CD Latin Rap
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ASIN: B000MTOKXC Release Date: 2007-02-27 |
Tracks:
- Intro
- I'm Back
- Steel Talking - Clumsy Boy, Sleepy Malo
- Back in Cali
- Gangsters Don't Live Long - Ese Bobby, , Sleepy Malo
- All I Want - DTTX, Sleepy Malo
- Let You Go
- Crook, The Bad & The Clumsy - Clumsy Boy, Lil Crook, Sleepy Malo
- Show Me
- Rest in Dreams
- Gangster - Sleepy Malo,
- On One
- Let's Pretend
- That's How - Lil' Sicko, Sleepy Malo
- Superman [Remix]
- Crowded Era - Sleepy Malo,
- Sleepwalking
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With the Sureness of Sleepwalking
The Esoteric Manufacturer: Prosthetic ProductGroup: Music Binding: Audio CD Britain
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ASIN: B00082ZSBG Release Date: 2005-04-19 |
Tracks:
- Disappearing...
- Ram-Faced Boy
- His Eternal Enemy
- Your New Burden
- Unavoidable Conclusion
- This Is Dedicated To The Prettiest One
- Somnambulist
- Make Fine Dreams
- To Keep Truth To Oneself
- The Curse Of Greyface
- A Fool's Errand
- Until The Grave Gives Up The Ghost
- Mapping The Fall
Customer Reviews:
UglyMunchkinReview.......2007-04-06
Anyone who has been following Metalcore for at least a few years has had ample time to discover Coalesce, one of the genre's biggest and most reputable names since the start. Quality control in the shape of ex-members from various bands doesn't always pan out, but in the case of this album, "With the Sureness of Sleepwalking," Cory White's influence helped turn this record into a fine gem. I'm not crediting White with all the work, though. The rest of the band has been at it for years, and are what I consider to be subject matter experts.
This record is flawless. It has staying power like so many other classics: Shai Hulud's "That Within Blood Ill Tempered," Himsa's "Courting Tragedy and Disaster," and Coalesce's "0-12: Revolution in Just Listening" to name a few (as a quality comparison, NOT music or sound). You could consider this to be a "minor" classic if it makes you feel better, but regardless, The Esoteric's "With the Sureness of Sleepwalking" deserves your respect.
This is not the TRUE Esoteric.......2007-01-17
Surprised.......2006-06-22
Please enter a title for your review.......2006-04-01
Very very well performed.......2006-01-30
Average customer rating:
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The Essential Leontyne Price
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ASIN: B000003FWD Release Date: 1996-08-13 |
Tracks:
- Aida: Act I: Ritorna vincitor!
- Aida: Act I: E l'amor mio?
- Aida: Act I: I sacri nomi di padre, d'amante
- Aida: Act III: Qui Radames verra!
- Aida: Act III: O patria mia
- Un Ballo in Maschera: Act II: (Prelude)
- Un Ballo in Maschera: Act II: Ecco l'orrido campo
- Un Ballo in Maschera: Act II: Ma dall'arido stelo divulsa
- Un Ballo in Maschera: Act III: A tal colpa e nulla il pianto
- Un Ballo in Maschera: Act III: Morro, ma prima in grazia
- Il Trovatore: Act I: Che piu t'arresti?
- Il Trovatore: Act I: Tacea la notte placida
- Il Trovatore: Act I: Di tale amor che dirsi
- Il Trovatore: Act IV: Siam giunti
- Il Trovatore: Act IV: D'amor sull'ali rosee
- Ernani: Act I: Surta e la notte
- Ernani: Act I: Ernani! Ernani, involami
- Ernani: Act I: Tutto sprezzo che d'Ernani
- La forza del destino: Act II: Son giunta! Grazie, o Dio!
- La forza del destino: Act II: Madre, madre, pietosa Vergine
- La forza del destino: Act II: La Vergine degli angeli
- La forza del destino: Act IV: Pace, pace, mio Dio
Tracks:
- Cosi fan tutte: Act I: Come scoglio immoto resta
- Madama Butterfly: Act II: Piangi? Perche?; Un bel di vedremo
- Madama Butterfly: Act III: Tu? tu? piccolo Iddio!
- TOSCA: Act II: Vissi d'arte
- Manon Lescaut: Act II: In quelle trine morbide
- Manon Lescaut: Act IV: Sola, perduta, abbandonata
- Dialogues des Carmelites: Act III: Mes filles, voila que s'acheve
- Don Giovanni: Act I: Don Ottavio, son morta!
- Don Giovanni: Act I: Or sai chi l'onore
- Don Giovanni: Act II: Crudele? Ah, no, mio bene!
- Don Giovanni: Act II: Non mi dir
- Turandot: Act I: Signore, ascolta!
- Turandot: Act III: Tu che di gel sei cinta
- Ariadne auf Naxos: Es gibt ein Reich
- Antony And Cleopatra: Act III: Give me my robe
Tracks:
- Otello: Era piu calmo?
- Otello: Mia madre aveva una povera ancella (Willow Song)
- Otello: Ave Maria
- Fidelio: Act I: Abscheulicher! Wo eilst du hin?
- Suor Angelica: Senza mamma, o bimbo, tu sei morto!
- Carmen: L'amour est un oiseau rebelle (Habanera)
- La Traviata: Act I: E strano, e strano !
- La Traviata: Act I: Ah, fors' e lui
- La Traviata: Act I: Sempre libera
- Le nozze di Figaro: Act III: E Susanna non vien!
- Le nozze di Figaro: Act III: Dove sono
- Die Agyptische Helena: Act II: Awakening Scene
- La rondine: Ore dolci e divine
- Salome: Finale
Tracks:
- Eugene Onegin: Act II: Puskai pogibnu ya
- Eugene Onegin: Act II: Ya k vam pishu
- Eugene Onegin: Act II: Net, nikomu na svete
- Eugene Onegin: Act II: No tak i byt'!
- La rondine: Act I: Chi il bel sogno di Doretta
- VANESSA: Act I: He Has Come, He Has Come!
- VANESSA: Act I: Do Not Utter A Word
- Carmen: Act I: Pres des remparts de Seville (Seguidilla)
- Manon: Act II: Allons! il le faut!
- Manon: Act II: Adieu, notre petite table
- Macbeth: Act IV: Sleepwalking Scene: Vegliammo invan due notti
- Macbeth: Act IV: Sleepwalking Scene: Una macchia e qui tuttora
- La Boheme: Act IIII: Addio. Donde lieta usci (Mimi's Addio)
- Die Frau ohne Schatten: Act II: Empress's Awakening Scene
- Dido and Aeneas: Act III: Thy Hand, Belinda!
- Dido and Aeneas: Act III: When I Am Laid In Earth
- Don Carlo: Act V: Tu che le vanita conoscesti del mondo
Tracks:
- Otello: Act I: Gia nella notte
- Otello: Act I: Quando narravi
- Otello: Act I: Venga la morte!
- Cosi fan tutte: Act I: Ah, guarda, sorella
- Madama Butterfly: Act I: Bimba, bimba, non piangere
- Madama Butterfly: Act I: Bimba dagli occhi
- Madama Butterfly: Act I: Vogliatemi bene
- Requiem: Recordare
- Porgy And Bess: Act II: Bess, You Is My Woman
- Norma: Act III: Me chiami, o Norma
- Norma: Act III: Mira, o Norma
- Ernani: Act II: Tu, perfida!
- Ernani: Act II: Ah, morir, potessi adesso
- Cosi fan tutte: Act II: Sorella, cosa dici?
- Cosi fan tutte: Act II: Prendero quel brunettino
- Aida: Act IV: La fatal pietra sovra me si chiuse
- Aida: Act IV: Presago il core della tua condanna
- Aida: Act IV: Vedi? Di morte l'angelo
- Aida: Act IV: O terra, addio
Tracks:
- Un Ballo in Maschera: Act II: Teco io sto!
- Aida: Act III: Ciel! mio padre!
- Aida: Act III: Rivedrai le forest imbalsamate
- Aida: Act III: In armi ora si desta il popol nostro
- Aida: Act III: Padre! a costoro schiava non sono
- Requiem: Angus Dei
- Manon Lescaut: Act I: Oh, saro la piu bella!; Tu, tu, amore?
- Cosi fan tutte: Act I: Soave sia il vento
- Porgy And Bess: Act II: I Loves You, Porgy
- Aida: Act II: Silenzio! Aida verso noi s'avanza
- Aida: Act II: Fu la sorte dell'armi
- Aida: Act II: Pieta ti prenda del mio dolor
- Aida: Act II: Alla prompa che s'appresta
- Il Trovatore: Act IV: Udiste?
- Il Trovatore: Act IV: Mira, di acerbe lagrime
- Il Trovatore: Act IV: Vivra! Contende il giubilo
- Madama Butterfly: Act II: Scuoti quella fronda di ciliegio (Flower Duet)
- Carmen: Act IV: C'est toi! - C'est moi!
- Carmen: Act IV: Ou vas-tu? - Laisse-moi!
Tracks:
- Les nuits d'ete, Op.7: Villanelle
- Les nuits d'ete, Op.7: Le spectre de la rose
- Les nuits d'ete, Op.7: Sur les lagunes
- Les nuits d'ete, Op.7: Absence
- Les nuits d'ete, Op.7: Au cimetiere (Clair de lune)
- Les nuits d'ete, Op.7: L'ile inconnue
- Four Last Songs: Fruhling
- Four Last Songs: September
- Four Last Songs: Beim Schlafengehen
- Four Last Songs: Im Abendrot
- Clair de lune, Op.46, No.2: Clair de lune
- Notre amour, Op.23, No.2: Notre amour
- Au cimetiere, Op.51, No.2: Au cimetiere
- Au bord de l'eau, Op.8, No.1: Au bord de l'eau
- No.1, Cinq melodies de Venise, Op.58: Mandoline
- Main dominee par le coeur
- Miroirs brulants No.2: Je nommerai ton front
- Miroirs brulants No.1: Tu vois le feu du soir
- Ce doux petit visage
Tracks:
- Knoxville: Summer Of 1915, Op.24: Knoxville: Summer Of 1915
- Frauenliebe und -leben, op.42: Seit ich ihn gesehen
- Frauenliebe und -leben, op.42: Er, der Herrlichste von allen
- Frauenliebe und -leben, op.42: Ich kann's nicht fassen
- Frauenliebe und -leben, op.42: Du Ring an meinem Finger
- Frauenliebe und -leben, op.42: Helft mir, ihr Schwestern
- Frauenliebe und -leben, op.42: Susser Freund, du blickest
- Frauenliebe und -leben, op.42: An meinem Herzen, an meiner Brust
- Frauenliebe und -leben, op.42: Nun hast du mir den ersten Schmerz getan
- Widmung (No.1, Myrthen, Op.25): Widmung
- Mignon (No.28, Liederalbum fur die Jugend, Op.79): Mignon
- Volksliedchen, Op.51, No.2: Volksliedchen
- Schone Wiege meiner Leiden (No.5, Liederkreis, Op.24): Schone Wiege meiner Leiden
- Er ist's (No.23, Liederalbum fur die Jugend, Op.79): Er ist's
- Heiss mich nicht reden (No.5, Lieder und Gesand aus Wilhelm Meister)
- Lust der Sturmnacht, Op.35, No.1: Lust der Sturmnacht
- Allerseelen, Op.10, No.8: Allerseelen
- Schlagende Herzen
- Freundliche Vision, Op.48, No.1: Freundliche Vision
- Wie sollten wir geheim, Op.19, No.4: Wie sollten wir geheim
- Der Gartner (Morike-Lieder No.17)
- Lebe wohl (Morike-Lieder No.36)
- Morgentau (From An Old Songbook)
- Geh, Geliebter, geh jetzt (Spanisches Liederbuch No.34)
Tracks:
- Ev'ry Time I Feel The Spirit - Various Artists
- Let Us Break Bread Together On Our Knees - Various Artists
- His Name So Sweet - Various Artists
- 'Roun' About De Mountain - Various Artists
- Swing Low, Sweet Chariot - Various Artists
- Sit Down, Servant - Various Artists
- Were You There - Various Artists
- He's Got The Whole World In His Hands - Various Artists
- Deep River - Various Artists
- Honor! Honor! - Various Artists
- My Soul's Been Anchored In De Lord - Various Artists
- On Ma Journey - Various Artists
- A City Called Heaven - Various Artists
- Ride On, King Jesus - Various Artists
- I Wish I Knew How It Would Feel To Be Free - Various Artists
- Sinner, Please Don't Let This Harvest Pass - Various Artists
- Sweet Little Jesus Boy - Various Artists
- There Is A Balm In Gilead - Various Artists
- Let Us Cheer The Weary Traveler - Various Artists
- Ev'ry Time I Feel The Spirit - Various Artists
- My Way Is Cloudy - Various Artists
- Nobody Knows The Touble I've Seen - Various Artists
- I Couldn't Hear Nobody Pray - Various Artists
Tracks:
- Holy, Holy, Holy
- Lead, Kindly Light
- Blessed Assurance
- Ave Maria
- What A Friend We Have In Jesus
- Amazing Grace
- The Lord's Prayer
- Pass Me Not, O Gentle Saviour
- The Church's One Foundation
- Bless This House
- I Need Thee Every Hour
- Fairest Lord Jesus
- I Wonder As I Wander
- Ave Maria
- Porgy And Bess: Summertime
- America The Beautiful
- Lift Ev'ry Voice And Sing
- A Mighty Fortress Is Our God
- Battle Hymn Of The Republic
Tracks:
- Chants tziganes, Op. 103: He Zigeuner
- Chants tziganes, Op. 103: Hochgeturmte Rimaflut
- Chants tziganes, Op. 103: Wisst ihr, wann mein Kindchen
- Chants tziganes, Op. 103: Lieber Gott, du weisst
- Chants tziganes, Op. 103: Brauner Bursche
- Chants tziganes, Op. 103: Roselein dreie in der Reihe
- Chants tziganes, Op. 103: Kommt dir manchmal in den Sinn
- Chants tziganes, Op. 103: Rote Abendwolken
- Adriana Lecouvreur: Act I: Io son l'umile ancella
- This Little Light O'Mine
- Interview With Leontyne Price By John Pfeiffer
Amazon.com
This 11-CD set, one might say jokingly, contains all the music ever written for the soprano voice and a bit for mezzo as well. And indeed, it's a staggering collection: In addition to her great Verdi heroines (the two Leonoras, Aida, Amelia, and Elvira in Ernani), Price is heard in her Puccini roles--Manon Lescaut, Butterfly, Tosca--and at least two dozen other roles, most of which she never sang on stage. Here are her heroic, secure Leonore in Fidelio, Strauss's high-flying Egyptian Helen, Purcell's Dido, Barber's Cleopatra, Bellini's Norma, Ariadne, Verdi's Violetta and Desdemona, Bizet's Carmen, Mozart's Countess, and Fiordiligi. Some are, naturally, more successful than others; almost none are embarrassing (Carmen comes close). In addition, she sings songs by Schubert, Schumann, and Strauss--none of them as well as say, Janet Baker or Elisabeth Schwarzkopf, and Barber's Knoxville, etc.--quite beautifully. Berlioz's Les Nuits d'été is not very good, but a group of spirituals is. In all, however, this is an amazing display by one of the century's greatest sopranos. There may be no new depths plumbed here, but the singing is a knockout. --Robert LevineCustomer Reviews:
A Long Time Coming..........2006-03-30
An American Icon....I will forever be a loyal fan and admirer!!
Her Best Album.......2006-01-01
This collection is overwhelming. Leontyne Price proves herself to be a masterful artist of diverse repertoire. Pity she didn't really sing these on stage because she would have put Maria Callas and all the reigning divas before and after her to shame. Listen to her remarkable, unsurpassed Mozart repertoire. This she did sing in opera houses, probably because Mozart does not require a true lyrico-spinto heavyness and smaller opera houses can accomodate Mozartian voices that do not often rise above the staff/orchestra. She sang exquisite Fiordiligis at the Met. The arias from Cosi Fan Tutte here - Soave sia il vento, O Guarda Sorelle and the fiendishly difficult vocal showcase "Come Scoglio" with its vertiginious scales are all fine samples of Miss Price's artistry. She sang Susanna and Donna Anna with beauty and bravura. The Salome excerpt is quite thrilling. She would have made a terrific Salome but the role is quite difficult and it would have surely killed her voice. Leontyne Price was the number one Verdi soprano. Every opera cognoscente will tell you that. When you hear the excerpts from Verdi operas here - Lady Macbeth's Sleepwalking Scene, Aida's arias, Leonora's arias from Trovatore and Leonora's arias from Forza Del Destino, particularly La Virgine Del Angeli and the ravishing Pace Pace Mio Dio- are the best renditions of Verdi soprano singing. Anyone who wants to study how to sing in the letter-to-letter Verdi lyrico spinto style should hear these arias. A voice like Leontyne cannot be easily imitated. Maria Callas's own voice can be imitated as Romanian diva Angela Gheorghiu has proven. Leontyne was in a class of her own, a voice that is both dramatic and beautiful to hear. However, most people find fault in her lack of dramatic interpretation. I say they're not hearing hard enough. Yes, there is excessive beauty in her singing but she understood that the opera heroines should sound beautiful because they are beautiful and though I never saw her on stage, from the recordings I hear she sounds dramatic and character-driven enough for me to be satisfied. For a devoted fan of Leontyne Price, this album is the Holy Grail. She sings the most beautiful Norma, Madame Butterfly, Tosca, Aida, Violetta, Madame Lidoin, Suor Angelica, Susanna, Dona Ana, Gilda, Fiordiligi, Desdemona and countless other heroines. The last cd is a collection of Gospel, spirituals and patriotic songs. These "American", non-opera selections find her in beautiful voice and she is actually paying tribute to her roots. She was not only African-American, but a Southerner from Mississippi. Her voice must have been heavenly to hear in Church! This is the album that made me love Leontyne.
Price At Her Peak.......2005-05-02
This album contains arias from operas that I didn't even know she performed- La Traviata (yes, Leontyne Price as Violetta is a moving and powerful interpretation, executed with sublime beauty. She finds herself the equal to Callas in the role- for Callas had a big voice for a role that calls for the "dying" effect. Thus, Price, like Callas, could sing roles that call for beauty and not just dramatic vigor. It's unfortunate that unlike the stars that were rising in her time- Joan Sutherland, Beverly Sills and Montserrat Caballe- Price never mastered the bel canto repertoire - Rossini, Donizetti, Bellini (although she sang a sensational Norma, excerpts are found in this recording). But her strongest suit was Verdi. She had the voice Verdi was looking for in a soprano- rich, dramatic, beautiful, able to fill up the lines with smoky and velvety hues and a gleaming high top. Check out her Amelia in Un Ballo In Maschera, her Leonora in Trovatore, her Leonora in La Forza Del Destino. Of course, her greatest role, her signature role, and one which she connected with on a personal/ancestral level was that of Aida. The first selections in this recording are from that masterpiece. As Aida, she was at her best. It was easy for her somehow, when most other sopranos tackle the role with difficulty. She conveys grace, nobility, passion and spirituality in the role of the tragic Ethiopian princess.
Further roles she excelled in that are on this recording is Desdemona in Otello, which she sung opposite Placido Domingo. Their masterful voices blend together harmonically and gloriously in the Act 1 Love Duet. She's quite the ground-breaking artist. Most Violettas in Traviata or Desdemona in Otello are Caucasian lyric soprano (Desdemona was white, Otello was black, that was Shakespeare's intention) but in opera, race does not matter and Leontyne Price's voice made her a star in a time when it was incredibly difficult for a black woman to sing opera. From the start of the century, opera was always associated with white Europeans and later on Americans. But Leontyne Price followed the inspirational example of the gutsy contralto Marian Anderson, who suffered a lot of rejection in opera due to skin color in pre-Civil Rights Movement 30's, 40's and 50's. Finally in the late 50's, Anderson, after a lifetime of singing only in private concerts and recitals, debuted at the Met as Ulrica in Un Ballo. Leontyne Price immediately picked up where she left- singing all the soprano diva roles typically associated with white singers - especially Tosca. Her Tosca is second to her Aida. As Tosca, she encompasses the diva who dies for love in the most thrilling way.
Other than Tosca, Puccini heroines were just as magnificent vehicles for her voice. She sang Madame Butterfly to great acclaim. I dont know how she did it but she suddenly ceased to be herself and became the frail, naive, lovesick Japanese Geisha. Softness and fragility is also mixed with the maturity of a woman in love, with passion and dramatic vocal color. She sang La Rondine with equal success, though this role is more along the lines of Violetta/Traviata. She sang Suor Angelica, she sang in modern works such as Barber's Antony and Cleopatra- in that infamous Zefferelli production- she sang Gershwin's Porgy and Bess, she sang in Dialoge of the Carmelites. All these are on here, along with her Baroque specialties- Dido in Dido and Aeneas. Her Mozart voice is also the best I've heard, really, even with a more dramatic and beautiful charm than other singers I've heard. She sang the acrobatic role of Fiordiligi in Cosi Fan Tutte, both Dona Ana and Donva Elvira in Don Giovanni. I prefer her as Dona Ana, she is all fire, despair, intensity and repressed desire, but she sings a hysterical and lovesick Elvira with a passion as well. She even sang the Countess in Le Nozze Di Figaro. But the sky was the limit to Price. She even sang, in a Jessie Norman way, the Wagner role of Isolde. Her "Liebestod" is the greatest I've heard since Birgit Nilsson, with a passion that stemmed from her religious Gospel heart.
This is a great album and I recommend it to any fan of Price and any fan of opera in general. If you have never heard Price and want to start somewhere, start with this one. This one or the Prima Donna Collection.
of course world class.......2000-08-14
the greatest american soprano of the 20th century.......1999-12-12
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RCA MET 100 Singers, 100 Years
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ASIN: B000003FFT Release Date: 1993-09-14 |
Tracks:
- Ardon Gl'Incensi (Mad Scene) - Marcella Sembrich
- Vissi D'arte - Emma Eames
- Devant La Maison (Serenade) - Pol Plancon
- Les Tringles Des Sistres (Gypsy Song) - Emma Calve
- A Vos Jeux, Mes Amis (Mad Scene) - Nellie Melba
- All'erta, Marinar: II Vento Cangia!; Adamastor, Re Dell'acque - Giuseppe Campanari
- O Pretres De Baal (Prison Scene) - Ernestine Schumann-Heink
- Come Paride Vezzoso - Antonio Scotti
- Jo-Ho-Hoe!; Traft Ihr Das Schiff (Senta's Ballad) - Johanna Gadski
- Vecchia Zimarra - Marcet Joumet
- Voce Di Donna - Louise Homer
- Rachel, Quand Du Seigneur - Enrico Caruso
- Se In Voi Cotanto Forte Fosse L'amor' I1 Cor Nel Contento - Geraldine Farrar, Hermann Jadlowker
- It Is Almost Midnight (Sung In German) - Emmy Destinn
- Eri Tu - Pasquale Amato
- Ed Io Non Ne Godevo; Sempre Cosi - Frances Alda
- Mein Vater! (Amfortas' Prayer) - Clarence Whitehill
Tracks:
- Qual Fiamma Avea Nel Guardo!; Stridono Iassu (Ballatella) - Alma Gluck
- Lunge Da Lei; Dei Miei Bollenti Spiriti - John McCormack
- Caro Nome - Luisa Tetrazzini
- Tutto Tace (Cherry Duet) - Miguel Fleta, Lucrezia Bori
- Lontano Eco Della Mia Giovinezza (Lenski's Air) - Giovanni Martinelli
- E Il Di Che Zar Saro (Garden Scene) - Paul Althouse, Margarete Ober
- Di Provenza Il Mar - Giuseppe De Luca
- Pace, Pace, Mio Dio! - Rosa Ponselle
- Mi Batte Il Cor; O Paradiso - Beniamino Gigli
- Bellah! Capretta Adorata; Si Carino (Slumber Song) - Amelita Galli-Curci
- Gluck, Da Mir Verblieb (Marietta's Lied) - Maria Jeritza
- Largo Al Factoum - Titta Ruffo
- Una Parola Sola; Or Son Sei Mesi - Edward Johnson
- Sieh' Evchen! Dacht' Ich Doch - Friedrich Schorr, Elisabeth Rethberg
Tracks:
- Meco All'altar - Giacomo Lauri-Volpi
- Nay, Marcus, Lay Him Down - Lawrence Tibbett
- Regnava Nel Silenzio - Toti Dal Monte
- Dir Tone Lob - Lauritz Melchior
- Deh, Vieni Alla Finestra - Ezio Pinza
- Depuis Le Jour - Grace Moore
- Depuis Heir Je Cherche; Que Fais-Tu? - Gladys Swarthout
- Salut A Toi (Hymnn To The Sun) - Lily Pons
- Adina Quest'oggi; Adina Credimi - Tito Schipa
- Ah, Malgre Moi - Rose Bampton
- Je Suis Seul!; Ah! Fuyez, Douce Image - Richard Crooks
- I Know You Better; This Very Vivid Morn - Helen Jepson
- Mild Und Leise (Liebestod) - Kirsten Flagstad
- Pres Des Remparts De Seville (Seguidilla) - Bruna Castagna
- So Its Es Denn Aus Mit Den Ewigen Gottern - Kerstin Thorborg
- Giunse Alfin Il Momento; Deh Vieni, Non Tardar - Bidu Sayao
- Einsam In Truben Tagen (Elsa's Dream) - Helen Traubel
Tracks:
- La Mamma Morta - Zinka Milanov
- Ah, Guai A Chi La Tocca!; Guardate, Pazzo Son - Jussi Njoerling, Enrico Campi
- Ist Ein Traum - Rise Stevens, Erna Berger
- O Saint Medaille; Avante De Quitter Ces Lieux - Leonard Warren
- Clock Scene (Sung In Russian) - Alexander Kipnis
- Elle A Fui, La Tourterelle! (Antonia's Romance) - Jarmila Novotna
- Con Onore Muore (Death Of A Butterfly) - Licia Albanese
- To Leave, To Break (Quintet) - Eleanor Steber, Rosalind Elias, Regina Resnik, Nicolai Gedda, Giorgio Tozzi, George Cehanovsky
- Tombe Degli Avi Miei; Fra Poco A Me Ricovero - Jan Peerce
- Oui, Pour Ce Soir; Je Suis Titania (Polonaise) - Patrice Munsel
- Se Quel Guerrier; Celeste Aida - Richard Tucker
- L'ho Abbandonato Senza Un Saluto; In Quelle Trine Morbide - Dorothy Kirsten
- Felice Ancor; Per Me Giunto - Robert Merrill
- Si, Pel Ciel - Ramon Vinay, Giuseppe Valdengo
Tracks:
- Morgenlich Leuchtend Im Rosgen Schein (Prize Song) - Set Svanholm
- Studia Il Passo; Come Ddal Ciel Precipita - Jerome Hines
- Che Gelida Manina - Giuseppe Di Stefano
- Ah, Non Giunge - Roberta Peters
- Ecco Ridente - Cesare Valletti
- Re Dell'abisso - Marian Anderson
- Credo In Un Dio Crudel (Iago's Creed) - Tito Gobbi
- O Figli, O Figli Miei! Ah, La Paterna Mano - Carlo Bergonzi
- Una Macchia E Qui Tuttora (Sleepwalking Scene) - Leonie Rysanek, Gerhard Pechner, Carlotta Ordassy
- Addio Del Passato - Anna Moffo
- In Questa Reggia - Birgit Nilisson, Jussi Bjoerling
- Recitar!; Vesti La Giubba - Jon Vickers
- Give Me My Robe - Leontyne Price
Tracks:
- La Fleur Que Tu M'avais Jetee (Flower Song) - Franco Corelli
- In Fernem Land - Sandor Konya
- Ah! Tu Dei Vivere! Aida A Me Togliesti - Grace Brumbry, Placido Domingo
- Je Dis Que Rien Ne M'epouvante - Mirella Freni
- Mia Madre Aveva Una Povera Ancella (Willow Song) - Renata Scotto
- Too Weak To Kill - Sherrill Milnes
- Mi Chiamano Mimi - Montserrat Caballe
- La Donna E Mobile - Alfredo Kraus
- Stride La Vampa - Fiorenza Cossotto
- Fia Dunque Vero; O Mio Fernando - Shirley Verrett
- L'anima Ho Stanca - Placido Domingo
- O Isis Und Osiris - Martti Talvela
- Cruda Sorte, Amor Tiranno - Marilyn Horne
- Come Scoglio Immoto Resta - Kiri Te Kanawa
- Ave Maria - Katia Ricciarelli
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Bellini, Verdi: Italian Opera Arias
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B00005NPJ0 Release Date: 2003-01-07 |
Tracks:
- Oh! S'Io Potessi... - Giuseppe Baratti
- Col Sorriso D'Innocenza... - Giuseppe Baratti
- Oh! Sole! Ti Vela... - Giuseppe Baratti
- O Rendetemi La Speme - Matteo Manuguerra
- Qui La Voce! - Matteo Manuguerra
- Vien, Diletto, E In Ciel La Luna - Matteo Manuguerra
- Qui Radames Verra...O Patria Mia - New Philharmonia Orchestra
- Tu Che Le Vanita - Carlo Maria Giulini
- Pace, Pace, Mio Dio - Royal Philharmonic Orchestra
- Una Macchia E Qui Tutt 'Ora! (Sleepwalking Scene) - Thomas Allen
- Era Piu Calma...Piangea Cantando (Veil Song) - Elizabeth Bainbridge
- Ave Maria - Elizabeth Bainbridge
Customer Reviews:
Golden Caballe.......2003-03-18
The Bellini part of the set is rounded out by Qui la Voce/Vien, Diletto, from I Puritani. Being a Sutherland fan myself, I was curious to hear how Caballe would handle this aria and cabaletta. I have to admit that in the opening cavatina and aria, she very nearly matches Sutherland, note-for-note, in the level of bravura of the singing. However, the slight disappointment comes in the cabaletta, Vien Diletto. The conducting is just too slow, and this results in Caballe not being able to match Sutherland's sparkling recording. Of course, in terms of trills, Sutherland always had the edge. It's not that one was better than the other, just that they had different, wonderful vocal gifts.
The Verdi set is equally as good. My favorites are Tu che le Vanita and the Sleepwalking Scene (from Macbeth). In the latter, she sings with a bite to her diction, and reserve the pianissimo for dramatic effect, instead of using it as a crutch (which she became notorious for in the late part of her career). Also, she gives a good delivery of O Patria Mia. She might not be Leontyne Price, but she definitely puts her stamp on the role of Aida.
As far as the role of Desdemona, just about everyone else pales next to Mirella Freni, in my mind. But, that doesn't mean that Caballe doesn't give a worthy performance.
All in all, for [a] wonderful price, you can have a splendid selection of Caballe's recordings, all done in her prime.
What a voice!.......2003-01-28
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Sleepwalking
Kingmaker Manufacturer: Capitol ProductGroup: Music Binding: Audio CD General
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Tracks:
- Playground Brutality
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- Sad to See You Go
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Customer Reviews:
Loz Hardy at his best.......2005-01-07
I would also recommend their other albums 'Eat Yourself Whole' and 'In The Best Possible Taste.'
With the mix of excellent musicianship, catchy tunes and Loz Hardy's 'bitter world view' lyrics made Kingmaker stand out from their peers during the early nineties. It's a shame Kingmaker never got anymore popular.
If any of the guys from Kingmaker are reading this; please reform, brick back some decent music into the charts.
Music Album:
- Songs of the Sea
- Souvenirs from Denmark
- Standing In The Shadows
- Steeple on the Common 2
- Strong Women Rule the World
- Taste of the West [Import]
- Ten Thousand Charms
- The Best of Molasses Creek: 1993-2000
- The Lady and the Unicorn/The Hermit [Import]
- The Miracle Cure
