| 1. The End of The Line |
| 2. Take It From Me |
| 3. American Son |
| 4. Where You Come From |
Editorial Reviews
CitySearch.com, October 20, 2000
Breiding has been compared to, and has shared the stage with, quintessential Pittsburgh blue-collar rocker Joe Grushecky.
Product Description
American Son is Tom's fifth release. It's gritty lyrics and subject matter - the Steel Industry in the Mon Valley, approach the subject matter in an honest blue-collar fashion. The songs on this new release deal with the dying steel industry in the Mon Valley - and support the Stand Up For Steel movement which is attempting to save and rejuvenate the region.
American Son
This wonderful CD set is a perfect compilation of her art as can be found anywhere. Her finest roles and performances are captured here, most of them derived from the Westminster/Audio Treasury recordings from her prime. Listening to them again demonstrates to me why she was so special, and such an inspiration to music lovers everywhere.
Bellini, I Puritani, "Son vergin vezzosa." Wonderful. Sutherland owns this--but so does Beverly Sills. Contemporary sopranos such as Netrebko and Gruberova have also sung this on their respective CDs, and while their product is nice, it simply does not compare. Sills is remarkably agile with her voice; the trills are well done; she cleanly hits high notes; the overall effect can only be described as wonderful.
Bellini, Norma, "Mira, o Norma". This is smoothly sung and very melodic. The technique that she exhibits does not overwhelm the music.
Rosini, Il Barbiere di Siviglia, "Contro un cor che accende amore." Again, her agile voice is well deployed. The florid singing is well done.
Donizetti, Roberto Devereaux, "Che m'apporti." Her clean, light voice matches well with this aria. Smoothly sung. Her "Quel sangue versato al cielo s'innalza," which follows, is well done. High notes cleanly hit, a smooth line.
Verdi, La Traviata, "E strano. . . .Sempre libera." Again, what agility! In "Sempre libera," she reveals a rich voice and, again, wonderful agility. This is an animated version of one of Verdi's showcase pieces.
Lehar, Giudetta. "Meine Lippen." A lot of fun! This is smoothly sung.
In the final analysis, this is a nice potpourri of Beverly Sills' repertoire. Those not familiar with her work will find this a nice entree to her oeuvre; those familiar with her will find this a good compilation.
Some cuts well depict her artistry across a range of genres and composers.
The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.
"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.
From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.
Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.
"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.
From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."
Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.
And so on.
Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.
There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.
In summary:
The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!
From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.
Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.
The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.
After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.
The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!
Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.
The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.
All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.
For those Opera-lovers who first encountered Ms. Price's magical vocalism from the recording studio, this collection includes the the entire legendary "Blue Album" which many operaphile consider to be one of the finest recordings ever. The selections gathered here vividly demonstrate the reason why Leontyne Price is regarded as the supreme VERDI soprano of her generation (30 years to date) a renowned PUCCINI specialist, and one of the greatest artists of all time. Recorded in the early 60's, Ms. Price's instrument was, in her own words "a juicy lyric". The intrinsic lyricism of her voice was aligned to warm, lustrous tone that pulsated in the middle voice, yielded a dark, uniquely sensuous sound in the lower regions, and gleamed with a distinctive, fast, liquid vibrato in the upper voice. That unique vibrato was elemental to this diva's ability to infuse Verdi and Puccini's most dramatic phrases with surging power (without pushing), and still produce lovely pianos in alt - soaring there with an ease that was singular to her, and that continued to her retirement in the 2002. Elsewhere the listener is treated to the rewards of Ms. Price's natural vocal evolution, wherein her voice developed into a full spinto with the middle throbbing, creamy, and lush, the low voice alternately chesty or breathy, slightly weaker -but retaining its smoky quality. It is in her upper voice, already superb, however, that Ms. Price revealed the rewards of maturation. The upper voice became rounder, less vibrant perhaps but refulgent with greater strength at the top, meeting the out-sized demands of STRAUSS and WAGNER (missing in this compilation) amongst others, while spinning out soft, exquisite pianos, and luxuriating in the long phrases of any number of composers, not the least of which were MOZART, VERDI and PUCCINI.
Leontyne Price recorded arias and scenas from every standard repertory VERDI opera with few exceptions (Nabucco/Luisa Miller/Vespri/Falstaff) in superlative fashion. Her onstage roles included the "Il Trovatore" Leonora, the role of her sensational MET debut (that resulted in a record 42 minute ovation), thrice recorded by her, and a signature role throughout her career. The selections on this recording were culled from her first complete recording of the opera. Here Ms. Price soars effortlessly to the heights repeatedly in "Tacea la notte", and sings the cabaletta fluently. "D'amor sull ali rosee" (once the sole property of Ms. Price's Verdian predecessor Zinka Milanov) is enhanced by the soprano's expert trills, musical nuances, and the glorious vibrato that carries her gossamer tones to the floated high C in alt. She was also the leading interpreter of Verdi's other Leonora -di Vargas- in "La Forza del Destino" which the diva recorded twice. There is also a Live MET performance available on DVD, recorded when the diva was nearing her retirement from Opera. (The two selections here also hail from her first complete recording of this work) "Son giunta!...Madre pietosa Vergine" is one of Verdi's most demanding scenas for soprano, but THIS soprano was a mistress of Verdian sweep, and supplies a wealth of dynamic shadings that illustrate the desperation of the hapless Leonora. Ms. Price produces silvery, vibrant, pulsing tone with amplitude that rises to the forte climaxes, riding them without overpowering the orchestra. This role was one of her most riveting potrayals from a dramatic viewpoint. The second "Forza" aria is the great lament "Pace, pace mio Dio" and is synonymous with Leontyne Price to this day. The diva sang this aria onstage more often than any other Verdi aria throughout her long career. Here she infuses the music with sorrow and despair, her voice in service to the text, and caps the aria with her stirring cries of "Maledizione!!" on a sustained forte high Bflat. Ms. Price's successful outings as Amelia are represented by the Act II aria "Morro, ma prima in grazia" from her stellar complete recording of "Un Ballo in Maschera". She sings the aria in a hushed, somber manner, climaxing on a brilliant high C, and with a lovely diminuendo at its end. One of the several operatic roles Ms. Price sadly did not assume onstage was Queen Elisabetta from "Don Carlo". We must be grateful for her warm, glowing, majesterial account of "Tu che le vanita", replete with burnished, opulent tone throughout. The leading newspaper of Italy said of Ms. Price that "..our great Verdi would have her the ideal Aida" and that sentiment has been adopted the world over. The "Aida" selections here are the first ones recorded by the American diva, and remains a revelation. In "Ritorna vincitor" the soprano's lyric instrument is indeed "juicy", declaiming her fierce opposition to the Egyptian invaders of her Ethiopian homeland with energetic and powerful vocalism. She then masterfully delineates the young princess' dilemma with fervent and youthful passion, ending with a prayerful "Numi pieta" suffused by warm, sable-colored tone. "O Patria mia" is another of Ms. Price's most revered performances, indeed the aria that garnered her a (5) five minute ovation on live television at her "farewell to Opera" performance in the same opera. The soprano injects Aida's farewell to her homeland with rich, smoky, plangent tones that rise effortlessly to a shining high C that bedeviled some of her most illustrous rivals, and would be bettered in the future only by the wonderful Spanish soprano Montserrat Caballe - and Ms. Price herself!!
Leontyne Price performed the veristic music of PUCCINI onstage in a number of his operas that included "Manon Lescaut"/"Tosca"/Madama Butterfly"/"La Faniculla del West"/"Il Tabarro"/ and "Turandot", albeit with less frequency than with Verdi. She brought a luminous, womanly quality to all of the composer's music. Here, she sings with particular intensity and emotion as the geisha girl Cio-Cio San (her favorite Puccini role)and offers limpid, melting tone as the fiery Roman prima donna Floria Tosca -the complete opera twice-recorded and highly-acclaimed. Puccini's music for the doomed Chinese slave-girl Liu are exquisitely sung, while "In quelle trine morbide" and "Senza mamma" benefit from the voluptuous, sensuous vocalism of the more mature Price. The most outstanding qualities of this diva in Puccini's music was a femininity and humanity, inherent in all of her singing, but most pronounced with this composer. She also fearlessly sang his highest phrases with a vocal splendor and freedom unrivalled by anyone, nowhere more than as the tragic Butterfly. However, until she retired from public singing, one aria remained a trademark for this diva: Chi bel sogno di Doretta" from Puccini's rarely performed operetta "La Rondine". The performance here was her first recording of it, and is a classic in its own right. Ms. Price's voice shimmers throughout, singing the high C with astonishing purity, and caressing, velvety tone elsewhere.
MOZART's operas also brought deserved glory to Ms. Price. Her plush-toned voice was considered to be almost too rich for some early in her career. This was amply belied by the rapturous reception her onstage performances brought her, most notably as Donna Anna, the leading lady of "Don Giovanni", ironically not included in this collection. Another aria Ms. Price enjoyed singing in concert, "Come scoglio" ("Cosi Fan Tutte") is missing here as well, though she performed the role of Fiordiligi at the MET. The soprano never performed in "Le Nozze di Figaro", but sang the scena "Dove sono" often in her live concerts, understandably, because of the smooth, elegant vocalism she lavished on this music. It is truly a pity that she didn't either record or perform the entire role. "Porgi amor" (also from Le Nozze) and "L'amero" (Il Re Pastore) were extracted from a Mozart aria recording, and are well-sung, if not as memorably as other Mozarteans.
It is good that RCA included several French selections, for Ms. Price's talents were marvellously well-suited to the Gallic idiom. Leontyne Price sang the leading role of Madame Lidoine in the American premiere of POULENC's "Dialogues des Carmelites", a few performances of MASSENET's "Thais" onstage (both sadly missing from this compilation) in addition to her celebrated recordings of BIZET's "Carmen" and BERLIOZ's song cycle "Nuits D'ete". She lent a deliciously silken tone to the more nuanced passions of the French repertoire. The "Carmen" excerpts are exceptionally vivid in Price's hands, successfully capturing the earthy, sultry qualities of one of Opera's more mercurial creatures. Ms. Price's lower register is richly displayed in the Berlioz song, while Manon's wistful, poignant "farewell" is sung with delicacy and shimmery tone.
The German wing is represented by music that Ms. Price sang onstage, and recorded as well. While the diva recorded Richard STRAUSS' entire "Four Last Songs" song cycle as well as the title heroine in a complete opera recording of "Ariadne auf Naxos" , the listener gets a good sampling of the potency, range, and the "dunkel" qualities she brought to this music. Fortunately, there is a CD of Richard Strauss arias sung by Ms. Price mid-career that is impressive in its breadth, and vocally sumptuous.
Versatility was a Price by-word. In the recording studio she stylishly performed the music of composers that ranged from the early music of PURCELL's "Dido & Aneas" to the 20th Century musings of Samuel BARBER, who wrote the opera "ANTONY & CLEOPATRA" for Ms. Price to open the New MET in 1966 - another historic milestone. Both selections included here are superbly rendered by the artist. The "Dido" aria is sung with a fuller, richer tone than is usually associated with this period (though it should be noted that two great Wagnerian sopranos Kirsten Flagstad and more recently Jessye Norman have been much admired in this music), but with no loss of style, her vibrato evoking pathos and beauty in this plaintive music. The "Antony" scena is sung with all of the majesty, seductive guile, and courage of Cleopatra, one of history's most storied women - and Ms. Price shines in this music written expressly for her voice. RCA also includes the diva's inimitable performance of "Summertime" the opening aria of GERSHWIN's American opera "Porgy and Bess".
This compilation is a superb introduction to the glories of this magnificent artist for a neophyte...and a treasure trove of musical excellence for the connoisseur of great voices, and they come no greater than America's diva assoluta soprano LEONTYNE PRICE.
Rolande M. Collins
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.
Breiding has been compared to, and has shared the stage with, quintessential Pittsburgh blue-collar rocker Joe Grushecky.
Product Description
American Son is Tom's fifth release. It's gritty lyrics and subject matter - the Steel Industry in the Mon Valley, approach the subject matter in an honest blue-collar fashion. The songs on this new release deal with the dying steel industry in the Mon Valley - and support the Stand Up For Steel movement which is attempting to save and rejuvenate the region.
American Son
American Son,Tom Breiding,Round Hotel Records,a Pittsburgh musician who delivers a poignant, plain spoken look at the shifting fortunes of an industrial town...file between "Born To Run," and "The Ghost of Tom Joad."
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The Great Recordings
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD  Bellini, Vincenzo
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ASIN: B0001Y4JG6 Release Date: 2004-05-11 |
Tracks:
- Son Vergin Vezzosa - Paul Plishka
- Eccomi... Oh! Quante Volte
- Mira, O Norma
- Santo Di Patria... Allor Che I Forti Corrono... Da Te Questo
- Contro Un Cor Che Accende Amore - Nicolai Gedda
- Che M'apporti? - Ambrosian Opera Chorus
- Quel Sangue Versato Al Cielo S'innalza - Ambrosian Opera Chorus
- Vorrei Spiegarvi, Oh Dio, K.418
- Amor, Op.68 No.5
Tracks:
- Martern Aller Arten
- E Strano! E Strano!
- Ah, Fors'e Lui
- Follie! Follie!
- Sempre Libera
- Ces Murs Silencieux - Pardonnez-moi, Dieu De Toute Puissance - Ambrosian Opera Chorus
- Toi! Vous! - Oui! Je Fus Cruelle Et Coupable! - Ambrosian Opera Chorus
- N'est-ce Plus Ma Main? - Ambrosian Opera Chorus
- Robert, Toi Que J'aime
- Tu Ne Chanteras Plus?
- Chere Enfant Que J'appele
- Meine, Lippen, Die Kusen So Heiss
- Wien, Wien, Nur Du Allein
- Always Through The Changing
Customer Reviews:
RIP, BEVERLY SILLS 1929-2007.......2007-07-03
This wonderful CD set is a perfect compilation of her art as can be found anywhere. Her finest roles and performances are captured here, most of them derived from the Westminster/Audio Treasury recordings from her prime. Listening to them again demonstrates to me why she was so special, and such an inspiration to music lovers everywhere.
Brava Sills!.......2007-02-02
Bellini, I Puritani, "Son vergin vezzosa." Wonderful. Sutherland owns this--but so does Beverly Sills. Contemporary sopranos such as Netrebko and Gruberova have also sung this on their respective CDs, and while their product is nice, it simply does not compare. Sills is remarkably agile with her voice; the trills are well done; she cleanly hits high notes; the overall effect can only be described as wonderful.
Bellini, Norma, "Mira, o Norma". This is smoothly sung and very melodic. The technique that she exhibits does not overwhelm the music.
Rosini, Il Barbiere di Siviglia, "Contro un cor che accende amore." Again, her agile voice is well deployed. The florid singing is well done.
Donizetti, Roberto Devereaux, "Che m'apporti." Her clean, light voice matches well with this aria. Smoothly sung. Her "Quel sangue versato al cielo s'innalza," which follows, is well done. High notes cleanly hit, a smooth line.
Verdi, La Traviata, "E strano. . . .Sempre libera." Again, what agility! In "Sempre libera," she reveals a rich voice and, again, wonderful agility. This is an animated version of one of Verdi's showcase pieces.
Lehar, Giudetta. "Meine Lippen." A lot of fun! This is smoothly sung.
In the final analysis, this is a nice potpourri of Beverly Sills' repertoire. Those not familiar with her work will find this a nice entree to her oeuvre; those familiar with her will find this a good compilation.
Sills fits my bill.......2006-03-13
The Great American Soprano.......2005-10-01
My Favorite Woman.......2005-08-05
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Just for the Record: The Golden Voice
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ASIN: B0000TAYR0 Release Date: 2003-11-11 |
Tracks:
- L'amour Est Un Oiseau Rebelle (Habanera)
- Mon Coeur S'ouvre A Ta Voix
- Eccomi Al Fine In Babilonia
- Cruda Sorte!
- Hence, Iris, Hence Away
- Dove Sei, Amato Bene?
- Che Disse! Che Ascoltai!
- Addio, Addio O Miei Sospiri
- O Pretres De Baal... O Toi, Qui M'abandonne
- Elle Est La! Pres De Lui!
- Mura Felici
- Tanti Affetti
Tracks:
- Superbo Di Me Stesso
- Il Segreto Per Esser Felici - London Symphony Chorus
- Mi Chiami, O Norma!
- Deh! Con Te, Con Te Li Prendi
- Mira, O Norma
- Si, Fino All'ore Estreme
- Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
- Non Son Tuo Figlio? - Luciano Pavarotti
- Mal Reggendo - Luciano Pavarotti
- E Un Anatema! - Renata Tebaldi
- Nacht Und Traume, D 827
- Abendlied
- Traume
- Jesus De Nazareth
- Shenandoah
- I Bought Me A Cat
- The Lord's Prayer
- Somewhere
- At The River (Lowry)
- Jeannie With The Light Brown Hair
Customer Reviews:
Marilyn Horne scintillates.......2007-05-20
Some cuts well depict her artistry across a range of genres and composers.
The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.
"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.
From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.
Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.
"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.
From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."
Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.
And so on.
Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.
One Of The Greatest Voices of All!.......2006-01-29
Not 100% satisfied with the selections, but what artistry!.......2004-11-03
There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.
In summary:
The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!
From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.
Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.
The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.
After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.
The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!
Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.
The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.
All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.
Vive Madame Horne !.......2004-01-09
Average customer rating:
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Al Agua Pato Latin American Music for Children
Cantare Manufacturer: Cantaré Music ProductGroup: Music Binding: Audio CD General
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ASIN: B000BGQW6E Release Date: 2005-10-06 |
Tracks:
- Al agua pato
- Ya lloviendo est
- Que llueva, que llueva
- Debajo del bot
- Chim pum fuera
- Baguala del grillo
- La mar estaba serena
- En un vag
- El payaso Plin Plin
- Guerra y Parra
- El rey de Constantinopla
- Pepe Pecas
- Maria Chucena
- Pablito clav clavito
- Mi barba tiene tres pelos
- Porque tengo muchas ganas
- Digo sdigo no
- Saco la manito
- Los piecitos
- Conga, conga
- TMonica
- Hokey Pokey en espa
- Al agua pato Reprise
Product Description
Brand new arrangements of Latin American favorites and original compositions inspired on styles such as son, merengue and swing. Contains sing-along songs, tongue-twisters and activity songs. Great for kids who are learning Spanish as a second language. In this playful musical journey to Latin America, they bring us the music that Latin parents, grandparents and teachers sing with their children. You will hear new renditions of traditional songs to sing along and dance, and a few tongue twisters with a twist.Customer Reviews:
great CD for little babies.......2007-07-05
Great CD and fun to listen too for parents...and baby!.......2006-12-23
Excellent sound quality, diversity of voices/songs.......2006-05-27
Good musicians and creative arrangements.......2005-11-28
Average customer rating: 
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ASIN: B0001TSWQO Release Date: 2004-11-09 |
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Leontyne Price: The Ultimate Collection
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ASIN: B00000J912 Release Date: 1999-05-25 |
Tracks:
- Aida: Ritorna vincitor
- Turandot: Signore, ascolta
- Le nozze di Figaro: Porgi amor
- Madama Butterfly: Un Bel Di
- Manon: Adieu, notre petite table
- Manon Lescaut: In quelle trine morbide
- Dido & Aeneas: Thy hand...when I am laid
- Il Trovatore: Che piu... Tacea la notte ...Di tale amor
- Les Nuits D'ete: Sur les lagunes
- Porgy & Bess: Summertime
- La rondine: Chi il bel sogno
- Carmen: Habanera
- La forza del destino: Son giunta...Madre.
- Vier letzte Lieder: Im Abendrot
- Ariadne auf Naxos: Es gibt ein Reich
Tracks:
- Aida: O Patria Mia
- TOSCA: Vissi d'arte
- Turandot: Tu che di gel cinta
- Le nozze di Figaro: Susanna
- Il Trovatore: Siam giunti
- Un Ballo in Maschera: Morro ma prima in grazia
- Carmen: Sequidille
- Il re pastore: L'amero
- Don Carlo: Tu che la vanita
- Suor Angelica: Senza Mama
- Anthony and Cleopatra: Give me my robe
- Madame Butterfly: Tu? tu?
- La forza del destino: Pace, pace mio Dio
Customer Reviews:
The Incomparable LEONTYNE PRICE: "The Stradivarius of Singers"!!.......2006-08-14
For those Opera-lovers who first encountered Ms. Price's magical vocalism from the recording studio, this collection includes the the entire legendary "Blue Album" which many operaphile consider to be one of the finest recordings ever. The selections gathered here vividly demonstrate the reason why Leontyne Price is regarded as the supreme VERDI soprano of her generation (30 years to date) a renowned PUCCINI specialist, and one of the greatest artists of all time. Recorded in the early 60's, Ms. Price's instrument was, in her own words "a juicy lyric". The intrinsic lyricism of her voice was aligned to warm, lustrous tone that pulsated in the middle voice, yielded a dark, uniquely sensuous sound in the lower regions, and gleamed with a distinctive, fast, liquid vibrato in the upper voice. That unique vibrato was elemental to this diva's ability to infuse Verdi and Puccini's most dramatic phrases with surging power (without pushing), and still produce lovely pianos in alt - soaring there with an ease that was singular to her, and that continued to her retirement in the 2002. Elsewhere the listener is treated to the rewards of Ms. Price's natural vocal evolution, wherein her voice developed into a full spinto with the middle throbbing, creamy, and lush, the low voice alternately chesty or breathy, slightly weaker -but retaining its smoky quality. It is in her upper voice, already superb, however, that Ms. Price revealed the rewards of maturation. The upper voice became rounder, less vibrant perhaps but refulgent with greater strength at the top, meeting the out-sized demands of STRAUSS and WAGNER (missing in this compilation) amongst others, while spinning out soft, exquisite pianos, and luxuriating in the long phrases of any number of composers, not the least of which were MOZART, VERDI and PUCCINI.
Leontyne Price recorded arias and scenas from every standard repertory VERDI opera with few exceptions (Nabucco/Luisa Miller/Vespri/Falstaff) in superlative fashion. Her onstage roles included the "Il Trovatore" Leonora, the role of her sensational MET debut (that resulted in a record 42 minute ovation), thrice recorded by her, and a signature role throughout her career. The selections on this recording were culled from her first complete recording of the opera. Here Ms. Price soars effortlessly to the heights repeatedly in "Tacea la notte", and sings the cabaletta fluently. "D'amor sull ali rosee" (once the sole property of Ms. Price's Verdian predecessor Zinka Milanov) is enhanced by the soprano's expert trills, musical nuances, and the glorious vibrato that carries her gossamer tones to the floated high C in alt. She was also the leading interpreter of Verdi's other Leonora -di Vargas- in "La Forza del Destino" which the diva recorded twice. There is also a Live MET performance available on DVD, recorded when the diva was nearing her retirement from Opera. (The two selections here also hail from her first complete recording of this work) "Son giunta!...Madre pietosa Vergine" is one of Verdi's most demanding scenas for soprano, but THIS soprano was a mistress of Verdian sweep, and supplies a wealth of dynamic shadings that illustrate the desperation of the hapless Leonora. Ms. Price produces silvery, vibrant, pulsing tone with amplitude that rises to the forte climaxes, riding them without overpowering the orchestra. This role was one of her most riveting potrayals from a dramatic viewpoint. The second "Forza" aria is the great lament "Pace, pace mio Dio" and is synonymous with Leontyne Price to this day. The diva sang this aria onstage more often than any other Verdi aria throughout her long career. Here she infuses the music with sorrow and despair, her voice in service to the text, and caps the aria with her stirring cries of "Maledizione!!" on a sustained forte high Bflat. Ms. Price's successful outings as Amelia are represented by the Act II aria "Morro, ma prima in grazia" from her stellar complete recording of "Un Ballo in Maschera". She sings the aria in a hushed, somber manner, climaxing on a brilliant high C, and with a lovely diminuendo at its end. One of the several operatic roles Ms. Price sadly did not assume onstage was Queen Elisabetta from "Don Carlo". We must be grateful for her warm, glowing, majesterial account of "Tu che le vanita", replete with burnished, opulent tone throughout. The leading newspaper of Italy said of Ms. Price that "..our great Verdi would have her the ideal Aida" and that sentiment has been adopted the world over. The "Aida" selections here are the first ones recorded by the American diva, and remains a revelation. In "Ritorna vincitor" the soprano's lyric instrument is indeed "juicy", declaiming her fierce opposition to the Egyptian invaders of her Ethiopian homeland with energetic and powerful vocalism. She then masterfully delineates the young princess' dilemma with fervent and youthful passion, ending with a prayerful "Numi pieta" suffused by warm, sable-colored tone. "O Patria mia" is another of Ms. Price's most revered performances, indeed the aria that garnered her a (5) five minute ovation on live television at her "farewell to Opera" performance in the same opera. The soprano injects Aida's farewell to her homeland with rich, smoky, plangent tones that rise effortlessly to a shining high C that bedeviled some of her most illustrous rivals, and would be bettered in the future only by the wonderful Spanish soprano Montserrat Caballe - and Ms. Price herself!!
Leontyne Price performed the veristic music of PUCCINI onstage in a number of his operas that included "Manon Lescaut"/"Tosca"/Madama Butterfly"/"La Faniculla del West"/"Il Tabarro"/ and "Turandot", albeit with less frequency than with Verdi. She brought a luminous, womanly quality to all of the composer's music. Here, she sings with particular intensity and emotion as the geisha girl Cio-Cio San (her favorite Puccini role)and offers limpid, melting tone as the fiery Roman prima donna Floria Tosca -the complete opera twice-recorded and highly-acclaimed. Puccini's music for the doomed Chinese slave-girl Liu are exquisitely sung, while "In quelle trine morbide" and "Senza mamma" benefit from the voluptuous, sensuous vocalism of the more mature Price. The most outstanding qualities of this diva in Puccini's music was a femininity and humanity, inherent in all of her singing, but most pronounced with this composer. She also fearlessly sang his highest phrases with a vocal splendor and freedom unrivalled by anyone, nowhere more than as the tragic Butterfly. However, until she retired from public singing, one aria remained a trademark for this diva: Chi bel sogno di Doretta" from Puccini's rarely performed operetta "La Rondine". The performance here was her first recording of it, and is a classic in its own right. Ms. Price's voice shimmers throughout, singing the high C with astonishing purity, and caressing, velvety tone elsewhere.
MOZART's operas also brought deserved glory to Ms. Price. Her plush-toned voice was considered to be almost too rich for some early in her career. This was amply belied by the rapturous reception her onstage performances brought her, most notably as Donna Anna, the leading lady of "Don Giovanni", ironically not included in this collection. Another aria Ms. Price enjoyed singing in concert, "Come scoglio" ("Cosi Fan Tutte") is missing here as well, though she performed the role of Fiordiligi at the MET. The soprano never performed in "Le Nozze di Figaro", but sang the scena "Dove sono" often in her live concerts, understandably, because of the smooth, elegant vocalism she lavished on this music. It is truly a pity that she didn't either record or perform the entire role. "Porgi amor" (also from Le Nozze) and "L'amero" (Il Re Pastore) were extracted from a Mozart aria recording, and are well-sung, if not as memorably as other Mozarteans.
It is good that RCA included several French selections, for Ms. Price's talents were marvellously well-suited to the Gallic idiom. Leontyne Price sang the leading role of Madame Lidoine in the American premiere of POULENC's "Dialogues des Carmelites", a few performances of MASSENET's "Thais" onstage (both sadly missing from this compilation) in addition to her celebrated recordings of BIZET's "Carmen" and BERLIOZ's song cycle "Nuits D'ete". She lent a deliciously silken tone to the more nuanced passions of the French repertoire. The "Carmen" excerpts are exceptionally vivid in Price's hands, successfully capturing the earthy, sultry qualities of one of Opera's more mercurial creatures. Ms. Price's lower register is richly displayed in the Berlioz song, while Manon's wistful, poignant "farewell" is sung with delicacy and shimmery tone.
The German wing is represented by music that Ms. Price sang onstage, and recorded as well. While the diva recorded Richard STRAUSS' entire "Four Last Songs" song cycle as well as the title heroine in a complete opera recording of "Ariadne auf Naxos" , the listener gets a good sampling of the potency, range, and the "dunkel" qualities she brought to this music. Fortunately, there is a CD of Richard Strauss arias sung by Ms. Price mid-career that is impressive in its breadth, and vocally sumptuous.
Versatility was a Price by-word. In the recording studio she stylishly performed the music of composers that ranged from the early music of PURCELL's "Dido & Aneas" to the 20th Century musings of Samuel BARBER, who wrote the opera "ANTONY & CLEOPATRA" for Ms. Price to open the New MET in 1966 - another historic milestone. Both selections included here are superbly rendered by the artist. The "Dido" aria is sung with a fuller, richer tone than is usually associated with this period (though it should be noted that two great Wagnerian sopranos Kirsten Flagstad and more recently Jessye Norman have been much admired in this music), but with no loss of style, her vibrato evoking pathos and beauty in this plaintive music. The "Antony" scena is sung with all of the majesty, seductive guile, and courage of Cleopatra, one of history's most storied women - and Ms. Price shines in this music written expressly for her voice. RCA also includes the diva's inimitable performance of "Summertime" the opening aria of GERSHWIN's American opera "Porgy and Bess".
This compilation is a superb introduction to the glories of this magnificent artist for a neophyte...and a treasure trove of musical excellence for the connoisseur of great voices, and they come no greater than America's diva assoluta soprano LEONTYNE PRICE.
Leontyne Price: The Ultimate Collection.......2005-07-20
Rolande M. Collins
The true prima donna asoluta.......2002-05-23
Fabulous singing, Overblown orchestras.......2002-04-10
But then I heard a remastering of the famous 1961 "Aida" with Vickers, Gorr and Merrill, and I realized how great a singer she was. That's when I started listening more seriously, and discovered a soprano who had a thorough command of her voice from the late '50s to the late '60s, not only in terms of vocal color but also in terms of phrasing. Listening to Price in her prime is incredible...she almost sounds as if she never breathed, her phrasing is so beautifully bound and poised. At the same time, however, I was disappointed by RCA's choice of partners for her on recordings. ...
This set goes a long way towards restoring the legend. Stripped of her sub-par partners (with the exception of Corelli's belting in the "Seguidilla" from "Carmen"), one can listen to Price's voice uncompromised, and it is a thrill. Even when the orchestra sounds detached and uninteresting, as it often does, Price seems to be on an entirely different wavelength, giving out with passion and great musicality. As for the selections chosen, they represent an excellent cross-section of Price's best work, even though the Purcell and Berlioz sound awfully heavy by today's standards and I can live without the "Anthony and Cleopatra" selection or the Strauss song.
One caveat I have is the lack of discographical information. No dates, orchestras or conductors are given. This is a grave injustice, even though the backup does not always meet expectations. On the plus side, all of the legendary "blue album" (her first recital discs for RCA in 1961) is presented complete, including the two selections from the July 1959 "Il Trovatore" that were on that LP...and in MUCH better, more focused sound. For this, and the heavy orchestral sound, I give the set only 4 stars...but for the singing alone I would give it eight!!
Fabulous!.......2002-01-19
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Ultimate Movie Album
Manufacturer: Polygram Int'l ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B00005QC28 Release Date: 2001-11-20 |
Tracks:
- Bridget Jones's Diary: Out Of Reach - Gabrielle
- Gladiator: Now We Are Free - Gavin Greenaway
- Moulin Rouge: One Day I'll Fly Away - Nicole Kidman
- Notting Hill: When You Say Nothing At All - Ronan Keating
- American Beauty: Dead Already - Thomas Newman
- Braveheart: Main Theme - For The Love Of A Princess - London Symphony Orchestra
- Four Weddings And A Funeral: You're The First, The Last, My Everything - Barry White
- O Brother Where Art Thou: Down To The River To Pray - Alison Krauss
- Hannibal: Vide Cor Meum - Gavin Greenaway
- The Shawshank Redemption: Courtyard Theme: Che Soave Zeffiretto (Marriage Of Figaro) - Chor und Orchester der Deutschen Oper Berlin
- The Thomas Crown Affair: Windmills Of Your Mind - Sting
- Platoon: Adagio - Neville Marriner
- Ghost: Unchained Melody - Hollywood Bowl Orchestra
- Fantasia: The Sorcerer's Apprentice - Montreal Symphony Orchestra
- The Big Lebowski: Just Dropped In (To See What My Condition Was In) - Kenny Rogers & The First Edition
- Philadelphia: La Mamma Morta - Monserrat Caballe
- Snatch: Hernando's Hideaway - The Johnstone Brothers
- Lock, Stock & Two Smoking Barrels: Eighteen With A Bullet - Lewis Taylor And Carleen Anderson
- A Room With A View: O Mio Babbino Caro - Sylvia McNair
Tracks:
- Billy Elliot: Cosmic Dancer - Marc Bolan & T-Rex
- Captain Corelli's Mandolin: Pelagia's Song - Orchestra
- Four Weddings And A Funeral: Love Is All Around - Wet Wet Wet
- Robin Hood Prince Of Thieves: Maid Marian At The Waterfall/Everything I Do - Michael Kamen
- Dances With Wolves: John Dunbar Theme - John Mauceri
- American Beauty: Any Other Name - Thomas Newman
- Gladiator: The Battle (Excerpt) - Gavin Greenaway
- The Silence Of The Lambs: Goldberg Variations (Aria) - Andrei Gavrilov
- Notting Hill: She - Elvis Costello
- Pulp Fiction: Son Of A Preacher Man - Dusty Springfield
- Mission Impossible: Main Theme - Orchestra
- Waking Ned: Let The Draw Begin - Orchestra
- Out Of Africa: Love Theme - John Williams
- Shine: Piano Concerto No.3 In D Minor, Op.30 - Concertgebouw Orchestra
- The Godfather Part III: Intermezzo From Cavalleria Rusticana - Pavarotti
- The Mexican: End Credits Medley - The Hollywood Film Chorale
- Body Heat: Main Theme - John Williams
- Apocalypse Now: The Ride Of The Valkyries - Chicago Symphony Orchestra
- Star Trek: The Final Frontier - Main Theme & March Of The Klingons - John Williams
Album Description
UK compilation featuring a combination of hit songs & theme music from some great soundtracks. Tracks include, Gabrielle 'Out Of Reach' (Bridget Jones Diary), 'Now We Are Free' (Gladiator), 'Dead Already' (American Beauty), Alison Kraus 'Down To The River To Pray' (O Brother Where Art Thou), Ronan Keating 'When You Say Nothing At All' (Notting Hill) & many more. 35 tracks on 2 CDs. 2001.Customer Reviews:
Highly recommended.......2002-08-20
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Brava Berganza! A Birthday Tribute
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ASIN: B0007DHPRG Release Date: 2005-04-12 |
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Brava, Jessye!: The Very Best of Jessye Norman
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ASIN: B000004190 Release Date: 1993-10-12 |
Tracks:
- Dove Fuggo
- Villanelle
- Non san quant'io nel petto - Non vo'quel vecchio, non son si sciocca
- Schmerzen
- Beim Schlafengehen
- Zueignung
- Thy Hand, Belinda - When I Am Laid In Earth
- Es gibt ein Reich
- Three Songs from Des Knaben Wunderhorn: Wer hat dies Liedlein erdacht?
- Three Songs from Des Knaben Wunderhorn: Das Rheinlegendchen
- Three Songs from Des Knaben Wunderhorn: Urlicht
- Widmung
- Erlk
- Vocalise-de
- He's Got The Whole World In His Hands
- L' inconnue
Customer Reviews:
Realmente o melhor.......2001-04-22
Average customer rating:
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Amelita Galli-Curci: Complete Acoustic Recordings, Vol. 2 (1920-24)
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ASIN: B000001S37 Release Date: 1995-11-01 |
Average customer rating:
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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.
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