Lady of the Lake

1. A New Day

2. Morning Mist

3. Ray Of Hope

4. Lady Of The Lake

5. Silent Waters

6. Homeland

7. Paradise

8. Distant Thoughts

9. Fond Memories

10. Precious Moments

Editorial Reviews

George Spelvin, George's Jungle Radio Station, August 10, 2004
The music of Scottish composer Tim McGowan is something you will be absolutely transformed by.

Product Description
The 7th CD release from Scotland's best kept secret... Composer Tim McGowan. This CD blends haunting instrumetal melodies and harmonies together beautifully using orchestral strings, piano, guitar and traditional celtic instruments such as uilleann pipes and bodhran. A very soothing and thought provoking collection of soundtracks telling a story of far off places.

Lady of the Lake

Tracks:

Ah Dov'e, Dov'e El Cimento
Che Ascolto!
Cessa Di Piu Resistere
Vieni Fra Queste Braccia
Concedi, Amor Pietoso
Terra Amica
Oh Fiamma Soave
Si, Ritrovarla Io Giuro

Amazon.com

This disc by the rising young Peruvian tenor Juan Diego Flórez is a winner. He has a light lyric tenor of quality, stunning coloratura technique, and a real feeling for the Rossini style. He shines in these bravura arias, scattering high Cs and Ds with abandon. There aren't many tenors these days who can fearlessly negotiate the perils of arias like "Cessa di piu resistere" from The Barber of Seville with such aplomb. Nor are there many who can capture both the pathos and the fevered intensity of "Oh fiamma souave" from La donna del lago. Even those who might wish for a warmer, sweeter sound in the bel canto repertory than Flórez's brighter, more brilliant tones should welcome this auspicious solo debut. He's helped by the sure hand of Riccardo Chailly at the helm, ensuring stylistically sympathetic performances. --Dan Davis

Customer Reviews:

What an incredible disc.......2006-03-04

This was my first Juan Diego Florez CD and I was just amazed for what I heard the very first time. Such an elegance while singing, bright and powerfull performance and above all a full respect for what rossini wrote. This is a masterpice and every single collector should have it. Juan Diego Florez sing as no one can: he is the number one. These selection of Rossini arias are among the most difficul ones for the tenor voice and Florez is able to sort them with no apparent effort. By the way if you have not yet bought his last disc, and if you have some affection for Latin America, go for it. That disc, "Sentimiento Latino" is full of the most representative songs from Latin America and Florez manages to master them all as no one has done before. What a great artist.

Rossini tenors.......2005-08-26

At last a real Rossini tenor, as rare as hens teeth! Mr Florez has all the right vocal technique and a stunnning head tone to produce the high, light tenor sound needed for these impossible to sing Rossini arias. I hope he continues to sing roles suited for his fabulous voice and avoids the heavy Verdi and Puccini roles. Juan Diego Florez is the real deal.

Exceptional Tenor!.......2005-01-30

Theo made a very good point when describing Juan Diego Florez. He indeed is all the talents of these legendary tenors combined, along with the exemplary skills of the old school of Italian music. Sure, he doesn't possess the warmth of a Domingo or a Gigli, but what would you expect of a Rossinian tenor? Heavy voice that goes up up up? That is quite uncommon for such a beautiful voice of this timbre. Now if there were indeed a tenor with a dark voice who could tackle such material and do just about anything that the operatic repertoire requires of him, yet maintain a limber quality about his voice when tackling the challenging bel canto repertoire, then we would have Callas reincarnated in the tenor voice (LOL!!). But truly, this is a gem of a recital. No other tenor nowadays can perform such challenging material without resorting to unconventional means of singing. He truly revived the real bel canto voice--fresh, light, yet invigorating in drama. Drama, I say, is exemplified here not through the typical verismo style we are acquainted to nowadays. It is rather inflicted upon the soul in the traditional bel canto manner--through embellishments and dramatic singing without sobs or such and so. He does it with grace. His florid lines will astound, amaze, and astonish you. His high notes are chesty yet beautiful. Take my word for it, this is a tenor you will be very sorry to miss if you don't sample the many delicacies he has to offer.

Worth a listen .......2004-10-10

As you may have determined from the other reviews of this CD, Juan Diego Florez is a controversial artist. With a high tessitura, athletic vocal agility, and penetrating vibrato, Mr. Florez's voice might find more fans in Europe than in the US (where the dramatic arias of Verdi, Puccini and Wagner are more popular than the jaw-dropping vocal fireworks that made Rossini famous). For opera fans who were introduced to Rossini's difficult and now rarely-heard music in the 1980s through such great artists as the Mexican tenor Francisco Araiza (e.g., through the opera film 'La Cenerentola' by Jean Pierre Ponnelle), Florez may be a shock. Mr. Araiza's voice was deeper, darker, and more 'masculine' than Florez's voice yet possessed the same amazing agility and range. However, Juan Diego Florez is worthy of praise and recognition. He has an 'easy top' much like Pavarotti, and high notes that avoid the bone-grating 'slide' up to the high Cs and Db's that other tenors have used in Rossini operas. Being young (barely 30), Mr. Florez will have time to grow into his powerful voice. We should all hope that his talent will be recognized by a wider audience and lead to new, more authentic recordings of Rossini's rare and difficult operas such as Semiramide, Tancredi, and Ermione.

Impressed, but not moved..........2003-06-20

I am sorry, but I only feel I can give this cd three stars. Juan Diego Florez pulls off some very diffcult roulades. His voice is definitely more beautiful in some ways than many of the tenore di grazia's to come before him. However, every note of the arias seems to sound the same. Maybe it is only my personal preference, but I have always enjoyed a bit more text painting. Although he has a solid technique, I think this cd set leaves me completely unsatisfied emotionally and I must admit that I do not particularly care for the shrillness of the high notes. I am impressed, but not moved. I recommend buying this cd just to hear a tenor that may be the best of the young tenors that are out there today(technically). However, I like to be reeled in emotionally and really feel connected to the text due to the singer's interpretive skill. Florez does this for me at no point. The singing is not effortless by any stretch of the imagination, but seems to show that a great deal of hard work was put into attaining the high level of technical achievement. Hopefully, he will continue to improve and blow me away with his next album release.

Average customer rating:

Marilyn Horne scintillates
One Of The Greatest Voices of All!
Not 100% satisfied with the selections, but what artistry!
Vive Madame Horne !

Just for the Record: The Golden Voice

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Spectacular Voice of Marilyn Horne: Rossini / Horne
Great Duets & Trios / Sutherland, Horne, Pavarotti
Dolora Zajick - The Art of the Dramatic Mezzo-Soprano
An American Songbook [Australia]
La Stupenda ~ The Supreme Voice of Joan Sutherland

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

This 2-CD set includes 32 separate "cuts." Thus, it provides a perspective on the broad range of works that Marilyn Horne mastered. While some pockets of work may be given somewhat short shrift (e.g., Rossini), overall this shows off her skills nicely. Born in Bradford, Pennsylvania (one of the coldest places in the nation during winter), she made her operatic debut in 1954. In liner notes copyrighted in 2003, she notes that: "Can't believe it's time for a 70th birthday celebration. . . ." And neither can I, since I recall hearing her perform at the Met (via the old Texaco opera show), and it does not seem all that long ago!

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

I am not the only one who regards Marilyn Horne's voice as exceptional. During the seventies and eighties she was regarded by The New York Times Music Critic as possessing the greatest voice of our time. One only has to sample this "golden" collection to prove how right he was. Her "mezzo" handles Handel and Rossini like no other. Brava all the way (To say nothing about Dalila's famous aria!) And I must even mention her "Jeannie With the Light Brown Hair". This is a two CD that is a MUST for those who appreciate the glories of the human voice (To say nothing about the warmth and spirit than accompany it.)

Not 100% satisfied with the selections, but what artistry!.......2004-11-03

Decca's release of this career-spanning Marilyn Horne recital contains many "golden" nuggets, but isn't the absolute best representation of her artistry, in my opinion.

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

Je suis soufflée, et tout bonnement reconnaissante à Decca pour avoir sorti cette compil qui rend si bien honneur à une des mes interprètes préférées. Voix de velours, aisance dans le grave et médium unique au Monde, Marilyn a été, dans toutes ses incarnations, un pur produit américain, certes, mais quel produit ! Bien évidemment son timbre si particulier, que d'aucuns ont défini androgyne, peut plaire ou non... Ce qui compte c'est l'apport émotionnel qu'elle donne à tout ce qu'elle chante, et sans que cela n'enlève rien à la pure beauté de sa voix à la technique sans faille. Merci Mme Horne, pour nous avoir livré une des plus mémorables leçons de chant de l'histoire, et joyeux 70ème anniversaire (car il n'est pas déplacé que de dire votre âge, étant donné la vitalité qui vous caractérise depuis toujours).

Average customer rating:

Incredible
A fine disk of selections from Rossini operas by one of the premier mezzo-sopranos
Best CD by Bartoli!
Stunning
This is my favorite Cecilia Bartoli recording.

Cecilia Bartoli - Rossini Heroines
Gioachino Rossini , Cecilia Bartoli , Ion Marin , and La Fenice Theater Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000004202
Release Date: 1992-03-10

Tracks:

Rossini Heroines: Riedi al soglio - Zelmira
Rossini Heroines: Ah, non potrian resistere - Le nozze di Teti e di Peleo
Rossini Heroines: Giusto ciel, in tal periglio - Maometto II
Rossini Heroines: Tanti affetti in tal momento - La donna del lago
Rossini Heroines: Quant'e grato all'alma mia - Elisabetta, regina d'Inghilterra
Rossini Heroines: Fellon, la pena avrai - Elisabetta, regina d'Inghilterra
Rossini Heroines: Ah! che invan su questo ciglio - Maometto II
Rossini Heroines: Serena i vaghi rai... Bel raggio lusinghier - Semiramide

Customer Reviews:

Incredible.......2006-04-06

This is my favorite Bartoli recording. Her rich mezzo-soprano voice feels custom-made for Rossini. I own this CD-it's my second copy, I wore out the first one!

If you are browsing here in search of your first Cecilia Bartoli CD, this is it. It's one of the CDs I can't live without.

5+ stars!

A fine disk of selections from Rossini operas by one of the premier mezzo-sopranos.......2005-12-30

Bartoli is one of the premier mezzo-sopranos currently singing. This music shows off her vocal flexibility and emotional range quite well. Rossini is the right kind of composer for her musical gifts because he allows the voice to sing beautifully and without pushing it to extremes. Bartoli displays her dynamic range, from a whisper to a full forte while maintaining a singing tone. Her range from low notes to high soprano notes is quite impressive and delights the listeners (as she and the composer fully intend).

Here she sings numbers from various Rossini operas with full orchestral accompaniment and some chorus to provide context. However, the point is much less the drama than the vocal display the selection allows Bartoli.

The notes provided that describe each of the works is very helpful as are the supplied lyrics and English translation.

This is a very pleasurable disk and one you can listen to many times and still find new delights. The only thing that I find the least bit difficult is when Bartoli resorts to aspirating vowels (putting an "h" on each note of the vowel) in runs and melismas. She doesn't do it all the time, but it is jarring for me when she does. It is really a flaw, but a minor one given all her great gifts and talents. It just gets in the way, however.

That being said, I still recommend the disk and say, ENJOY! Learn to love opera and it will enhance your life. Really, it will!

Best CD by Bartoli!.......2001-09-04

The most enjoyable Bartoli CD for me was "Potrait".
Other than that, this is one of the enjoyable CDs from Her.
Money worthy CD with Belcanto Style.

Stunning.......1999-02-24

Everything about this CD is perfect. The music is great, her singing incredible, the production just right. This one will grow on you and sound fresh or different 5 years down the line. Warning: this recording got me into opera!

This is my favorite Cecilia Bartoli recording........1998-10-11

This artist's voice is hypnotic and compelling, very rich and expressive. I recommend this recording even for those who are not opera fans, as I am not. If you enjoy exquisite sound, you should hear this recording-a treat for the connosseur of any type of vocal music. I am presently on my second copy of this recording-I wore the first one out. My personal favorite is track 3, Giusto Ciel...

Ewa Podles - Rossini Arias for Contralto

Average customer rating:

Great music and a magnificent voice
No counter-tenors allowed!!
Probablemente la mejor voz femenina rossiniana del momento
A live performance from an engaging singer
Contralto GODESS!

Ewa Podles - Rossini Arias for Contralto
Gioachino Rossini , Hungarian State Opera Orchestra and Chorus , Pier Giorgio Morandi , and Ewa Podles
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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The Spectacular Voice of Marilyn Horne: Rossini / Horne

ASIN: B00000149V
Release Date: 1996-11-05

Tracks:

The Italian Girl In Algiers: Cavatina - Cruda Sorte! Amor Tiranno! - (Isabella) - From Act I
The Italian Girl In Algiers: Recitativo e rondo - Amici, in ogni evento m'affido a voi...(Isabella) - From Act II
Semiramide: Recitativo e cavatina - Eccomi alfine in Babilonia Ah! quel (Arsace) - From Act I
Trancredi: Recitative e cavatina - Oh patria...Di tanti palpiti (Tancredi) - From Act I
Maometto II: Non temer; d'un basso affetto (Calbo) - From Act II
The Lady Of The Lake: Elena! oh tu, che chiamo (Malcolm) - From Act I
The Barber Of Seville: Una voce poco fa (Rosina) - From Act I
Cinderella: Nacqui all'affanno (Cenerentola) - From Act II

Amazon.com

One generally looks to the Naxos label for inexpensive recordings of the standards by minor European orchestras, and for competent performances of rarities--usually by forces that do not spring to mind as natural fodder for recording stardom--that the bigger labels are afraid to touch. So this remarkable album came as a complete surprise, because the Polish mezzo-soprano Ewa Podles is real star material. The sound has a contralto quality; the range is astounding, the flexibility of the voice incredible. This album has been a best-seller for Naxos, and rightly so. The chorus, orchestra, and conductor are adequate; buy this one for Podles, and for Podles (and Rossini) alone. -- Sarah Bryan Miller

Customer Reviews:

Great music and a magnificent voice.......2006-02-28

The Polish-born Mezzo-soprano is truly magnificent on this CD. Her voice is amazing and one-of-a-kind: it is full, rich and strong with an unbelievable range and a nice coloratura. She maintains full strength throughout her range and her voice never wavers and is never weak or shrill. If you like the beautiful melodies of Rossini and the sound of a great Mezzo-soprano, you'll like this CD.

No counter-tenors allowed!!.......2004-10-14

This is an amazing, surprising and refreshing way of looking/hearing Rossini. After years of hearing most mezzo-sopran and alt roles conquered just by force of numbers by counter-tenors and Cecilia Bartoli (don't get me wrong,she's really good, but have you ever asked yourself why she doesn't perform usually on big stages but on small ones or on studios? Her voice, though wonderful for coloratura, is small for a big audience), I have come to adore, simply adore, this polish singer. Her way of singing, her voice's colour, her strength and her ability to sing the most damned roles written for a low voice....including coloratura (just hear her in "Dovver, iustizia, amor..." from Handel's Ariodante) make her a wholesome alto. Which makes me hope for a better day for alto and mezzo-sopran voices. I must confess I don't like counter-tenors a bit, they sound too un-natural.

Probablemente la mejor voz femenina rossiniana del momento.......2004-06-19

Para los fans de Rossini y de las voces con personalidad sera imprescindible comprar este soberbio recital de la contralto polaca EWA PODLES, que hace un amplio recorrido por las paginas mas celebres del repertorio de Rossini para su cuerda con unos resultados absolutamente sobresalientes, ya que posee una voz extraordinaria en todos los registros. Ademas, tanto la orquesta como el coro rinden a buen nivel al mando de un rossiniano como es el Maestro MORANDI, lo cual redondea un fantastico disco.
De compra obligada.

A live performance from an engaging singer.......2001-12-03

There are precious few opportunities to hear this fantastic singer either live or on recording, which is a pity given her unique sound and impeccably-schooled voice.

One of the hallmarks of a great singer is a unique vocal quality. Such is true of Madame Podles. With the top voice of a dramatic soprano, a middle that sometimes resembles a counter-tenor sound, and a bottom voice that is almost baritonal, her sound may recall another singer's voice here and there, but ultimately, it is one-of-a-kind.

Ms. Podles has the perfect vocal qualities necessary to sing Rossini -- an incredible range, enormous flexibility, and subtle vocal coloration. On top of that, she has a unique vocal color and phrases beautifully.

The only possible quibble I can find with this recording is that a couple of the characterizations are a bit on the heavy side -- particularly Rosina. Although the notes are in place (and very impressive) and the coloratura impeccable, this Rosina sounds a bit older, perhaps more serious, than Rossini seems to require. In a later reading of the same aria, in a live 1998 concert in Poland (Rossini Gala recorded on DUX), her Rosina bubbles with youthful energy.

In general, that recording shows her in more brilliant voice, though both discs are impressive. Although several arias are common to the two, each has arias that the other lacks. Both are welcome additions to any vocal library, though if only one is possible, I'd recommend the 1998 recording over this one.

Contralto GODESS!.......2001-09-08

In the world of rare voices and trouser roles, Ewa Podles is quite possibly the MOST underappreciated singer in our generation. Her coloratura is near faultless, and her range of color and tone are something to be reckoned with. Having a range significantly larger than many low voices, she tends to create witty and daring cadenzas and ornaments that must make the golden singers of the past jealous. The only thing that kept this album from being a 5 is that, at times the sound quality is slightly less than perfection and that I prefer her baroque interpretations to the Rossini. Still an amazing album and an unbeatable price!

Average customer rating:

Viveca sparkles
Pure pleasure....
More Bravura
Bel Canto Arias; Vivica Genaux
BRAVA! BRAVA! BRAVA!

Bel Canto Arias; Vivica Genaux
Vivica Genaux , Gioachino Rossini , Gaetano Donizetti , John Nelson , and Ensemble Orchestral de Paris
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Vivica Genaux - Handel/Hasse: Opera Arias
Arias for Farinelli
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Tragédiennes

ASIN: B0000BWTK1
Release Date: 2003-09-16

Tracks:

Nacqui All' Affanno
Cruda Sorte! Amor Tiranno!
Amici, In Ogni Evento...Pensa Alla Patria
Nella Fatal Di Rimini
Il Segreto Per Esser Felici
Popolo, Amici, Sanguinosi Allori... Ah! Si, Da Tanti Affani
E Sgombro Il Loco... Un Bacio, Un Bacio Ancora
Mura Felici
Eccomi Alfine In Babilonia... Ah! Quel Giorno Ognor Rammento
Una Voce Poco Fa

Customer Reviews:

Viveca sparkles.......2007-01-04

If you love Bel Canto and Mezzo Sopranos, you will love Vivica Genaux!

Pure pleasure...........2006-05-19

I have her Farinelli CD, as well. I also saw her on A&E some time ago. My only criticism was her excessive chin movements but, then, I don't get all bent out of shape over Bartoli's grimaces -- and the voice is the thing, after all.

As for Fach, a singer doesn't need to enjoy merely one, although many are restricted to such. What I like about Genaux, aside from the absolutely beautiful tone, is that she is NOT mannered. She has just the right take on every one of these arias. Spare me from the singers who just MUST emote all over the place when simplicity and class are sufficient.

I've had this CD since for some time and decided to see what others thought of it -- I'm always interested in other opinions.

Nancy Eckert

More Bravura.......2006-03-23

When I read a review stating that Vivica sang with two little volume on this recording, I found that very hard to believe. Everything I had previously heard of her showed a voice with unlimited power. However, when I purchased this set I agreed that Vivica sings with to little volume and possibly emotion. This is puzzling; I think it must have been an artistic decision that doesn't really work.

However, I can't agree with the other reviewer about this being the wrong repertoire. Most of Genaux's early roles were Rossini and her Bel Canto technique is superb. I love the selection of music, and despite the shortcomings, I really enjoy listening to this CD. I just wish she used a little more emotion and power in the parts that call for it.

Bel Canto Arias; Vivica Genaux.......2005-09-26

Vivica Genaux seems to have a lovely personality not to mention an absolutely fabulous voice both live and on disc, but some of these arias just don't work for her voice, some are just too.....well.... Bel Canto but the arias by Rossini I liked, especially
"Una Voce Poco Fa".
I also feel I should mention that Vivica is NOT a soprano
as "Sergey Tsoy "Dallas Opera"" states in his review, but rather a Mezzo-soprano.

BRAVA! BRAVA! BRAVA!.......2004-12-20

In my opinion, Vivica is a fantastic singer and an outstanding artist. I have heard her singing live in Rossini's La Cenerentola, and it was literally breathtaking. Many sopranos sing well and have beautiful voices, but it is perhaps their choice of vibrato which makes them sound extremely out of tune, weak, irritating, and just ugh! Also, many of them sing just loudly. I am not a singer, but to my ears, Vivica is absolutely the best soprano (or at least, one of a few) whom I have heard live - beautiful, pure, in tune (yes, fortunately and unfortunately it matters, too), great vibrato, wild tempi, rock-solid consistency of musical ideas, convincing stage presence, logical, elegant, and so forth. It is all these things add together, which make a true impression. I still wonder, how is it possible to sing with such clarity, presicion, and beauty? Because it is often either, or. But she somehow combines everything, and that's just marvelous. And also, her tonal quality is so fresh and sounds really out of the ordinary. Although I have never heard her CDs, I have no second thoughts about this particular one, which I have just bought and wait with great impatience until it arrives. Brava to Vivica, for, to my mind, her type of artistry comes in a truly short suply nowadays! It is my personal opinion.

Average customer rating:

A Wonderful Recital with Caballe at her Best
no news
Montserrat Caballe's Claim To Fame
Welcome to the Caballe school of singing!

Rarities: Donizetti, Rossini, Verdi

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002VYE0O
Release Date: 2004-10-12

Customer Reviews:

A Wonderful Recital with Caballe at her Best.......2006-12-10

At the wake of Maria Callas' explorations into the bel canto repertoire, great sopranos such as Joan Sutherland, Leyla Gencer, and most importantly, Montserrat Caballe, dominated the Italian repertoire during their careers to revive the forgotten operas of Donizetti, Bellini, Verdi, and Rossini. I say that Caballe is the most important of these three post-Callas sopranos because more so than any of these divas, she epitomized the true bel canto style needed to make her characterizations come to life. Sutherland had an excellent technique, but her characterizations were sadly lacking in verve, and Leyla Gencer was too often in an undesirable state of voice despite her thespian histrionics. Montserrat had both, and she championed the great operas of Verdi, Puccini, Donizetti, Bellini, Rossini, Massenet, Wagner, Strauss, Mozart, Giordano, Pergolesi, and all the other great, almost-unknown composers who became part of her core repertoire, if there was any at all. Her excellent technique allowed her to continue assuming roles that displayed her magnificent artistry well into her 70's...up to today! Yes, she is still singing, and in fact she is going to be starring in a role in the Vienna Opera next year.

This recital shows Caballe in the repertoire that was arguably her best. Although I found her compelling in some Verdi, I thought that she lacked the spinto sound needed to set those Verdi roles on fire. In this recital, Caballe shows her knack and ability to make the earlier Verdi operas shine. She had a coloratura facility that was simply astounding for an instrument of her particular smoothness, beauty, and timbre, and I believe that her excerpt from Aroldo is a must hear. Her Donizetti is brilliant as well, a highlight being the Parisina and the Belisario excerpts. It makes us wish that there were a Belisario lying around somewhere with her singing. Her Rossini makes us hope for an Armida and a Tancredi. This recording finds her in superb voice, much more so than many of the recordings of her latter years that find her singing with a trademark Caballe bleat. For people who love bel canto and tasteful singing, I think this is a recital that anyone should own.

no news.......2006-02-21

If you have the earlier release of this set (1992 I think), there's really no need to replace it. This current (2004) release was supposedly remastered, but I can hear little if any difference. Amazon shows both versions, but I'd bet the earlier one may well be out of print. You get all the Caballe trademarks here: floated pianissimos, gorgeous mid-range singing - and the usual glottal stops. Even if you're not a big MC fan, the set is worth getting for all those arias you're not likely to hear elsewhere, or done as well.

Montserrat Caballe's Claim To Fame.......2005-11-09

Bel canto opera was soprano Montserrat Caballe's claim to fame. Blessed with both a huge and lyrically resplendent voice, she was a refreshing change from the purely dramatic style of singing provided by Maria Callas. Her pianissimi are still talked about even long after they disappeared, her coloratura is dynamic, her stamina and breath control impressive and her orutund, vigorous but beautiful tone made her particularly suited for the roles of queens or strong women- Donizetti's Lucrezia Borgia and Bellini's Norma especially. The other reviewer says she was perfect for the roles of mothers, queens and wives, and this is true because she was able to portray seemingly powerful women dying of love underneath. She would have made an exceptionally terrific Turandot but she never sang the role in her career.Her career in opera spanned the decades of the 60's, 70's and even part of the 80's. The arias from Parisina and Torquato Tasso are indeed outstanding. These operas are obscure bel canto operas by Donizetti, Rossini and even early Verdi operas. These operas will never be staged again and some of them enjoyed only mild success in their original stage premieres in the 19th century. This is the work of young and energetic composers who had not yet mastered character insight and thrilling dramatic elements. Mostly, it's beautiful singing, the actual definiton of the term bel canto. What we get in place of dramatic potency is ornate, lush singing. In the very least, these arias should be sung in recital. Caballe sang numerous bel canto pieces in recital, displaying her gift for this type of singing. She is the very embodiment of bel canto. Not even Joan Sutherland and Beverly Sills, considered her fellow peers in the same "back to bel canto" movement could essay the arias with such grace, elegance and majestic beauty. Sutherland sang with obvious gloss and no real dramatic power, Sills sang beautifully but focused on the significance of text as drama and therefore "spoke" some of her lines or cried or raged instead of singing. Callas was the same way only hers was a bigger voice. Caballe gave us simply beautiful singing. And we thank her for that.

Welcome to the Caballe school of singing!.......2004-12-18

This re-released recitals indisputably rank among Caballe's best recording material. Each "rarity" has something different to offer. In Rossini, Caballe mostly displays her coloratura ability which was not in the same league as Sills', Callas' or Sutherland's but had a magic of its own. One never expects such agilty from such a firm and full voice. The Tancredi scene is my favourite.

In Donizetti, Caballe truly reigns! If only she'd recorded these operas completely. I've always found her sound perfectly suited to roles of wifes, mothers and aristocratic ladies in general. The operas chosen here deal with marrital problems and Caballe is the definition of the Donizzeti roles she sings here! My favs are the Parisina and Torquato Tasso moments. Comparing her and the lighter sopranos who nowadays perform these operas makes one realise that high notes are not the issue here. The full, sumptuous sound of a Monsterrat is what these operas need!

Early Verdi has a lot in common with bel canto and Caballe is again sublime! The Un Giorno extract stands out. It's breathtakingly perfect! Caballe finds meaning in every phrase she sings. But all other tracks are unforgettable as well. Needless to say that the voice at this moment of her carreer was at its best!

These recitals will always have a special place in my opera collection and my heart!

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Peculiar Amazon indexing

100 World's Best Loved Melodies

Manufacturer: Madacy Records
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The Most Relaxing Classical Album in the World...Ever!

ASIN: B0009VNBR4
Release Date: 2005-07-05

Tracks:

Blue Danube
Waltz of Flowers
Waltz No. 1
Waltz of the Snowflakes
Naila Waltz
Spanish Dance
I Dream of Jeannie With the Light Brown Hair
Sugar Plum Fairy
Dance of the Comedians
Camptown Races
Carnival of the Animals Finale
Dance of the Clown [From "A Midsummer Night's" Dream]
Dance of the Hours
Dance of the Swans [From "Swan Lake"]
Faust Ballet
Tritsch Tratsch Polka
Hungarian Dance
Dance of the Priestesses
Overture from "William Tell"
Toreador Song [From "Carmen"]
Overture from "Carmen"
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Ride of the Valkyries
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Scheherazade
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Eine Kleine Nachtmusik
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Prde L& Arlenne
Preer Gynt Suite No. 1 Anitra's Dance
Liebestraum
Adagio from "The New World Symphony"
Flight of the Bumblebee
Ave Maria
Air on a G String
Neapolitan Song
Violin Concerto
Serenade No. 4

Tracks:

When You Wish Upon a Star
Chances Are
Calcutta
Cherry Pink and Apple Blossom White
Gigi
They Call the Wind Maria
Memories Are Made of This
Catch a Falling Star
Smoke Gets in Your Eyes
So in Love
Begin the Beguine
Misty
Little Things Mean a Lot
Embraceable You
It Might as Well Be Spring
On the Street Where You Live
Moment to Remember
Anniversary Song
Golden Days
Theme from a Summer Place
Tonight
Lullaby of Broadway
Easter Parade
Tenderly
Young at Heart

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Claire de Lune
Piano Concerto No. 1
Minute Waltz
Piano Concerto
Fantasy Impromptu
Piano Sonata No. 20 - Finale
Swan
Polonaise No. 6
Waltz in C Minor
1812 Overture
Light Cavalry Overture
Nutcracker Overture
Marche Militaire
Tannhauser Overture
Radetsky March
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Tales of Vienna Woods
Emperor's Waltz
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Voice of Spring
Fledermaus Overture
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Roses from the South
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Symphony No. 5
Mer
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Greensleeves
Souvenir
Lonely Heart
Die Meistersinger
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Customer Reviews:

Peculiar Amazon indexing.......2007-06-08

A search for Deep Purple's "Smoke on [in] the water," brought up this title. I rate it only #1 because I could not locate the "Smoke on the Water" listing. Amazon seems to be having an indexing problem.

Average customer rating:

A very inspirational piece
Amazing

Lady of the Lake
Mike Rowland
Manufacturer: Oreade Music
ProductGroup: Music
Binding: Audio CD

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The Fairy Ring
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ASIN: B00004RD18
Release Date: 2000-03-14

Tracks:

Neptune
Star To Guide You
Never Alone
Fly Away
Dance Of The Twin Sylphs
Grace
Out Of The Blue
Pisces
Lady From The Lake
Out Of The Mist
Garden Of Treasures
Longing For You

Customer Reviews:

A very inspirational piece.......2003-01-23

This album is the latest one in my collection of Mike Rowland's music. This one is definitely one of his best and doesn't fail to release you from any stress or tension you have been experiencing in the day. A visionary piece, which runs alongside the ethereal effects that came with The Land of Hopes and Dreams, his other album. Highly recommended; once I bought this title I couldn't help but play it over and over again!

Amazing.......2000-06-29

There are no words to express the beauty of this music.It touches the soul deep,deep inside.It is the music of the sky and whoever will listen to it will enter in a dreaming state.Dont't miss this album.

The Spectacular Voice of Marilyn Horne: Rossini / Horne

Average customer rating:

The greatest coloratura along with Sutherland
"Spectacular" Is Right!
stupendous in every way
ROSSINI SINGING WITHOUT EQUAL IN THE TWENTIETH CENTURY!

The Spectacular Voice of Marilyn Horne: Rossini / Horne

Manufacturer: Decca
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Binding: Audio CD

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ASIN: B000006P4X
Release Date: 1998-05-12

Tracks:

Semiramide: Bel raggio lusinghier
L'Italiana in Algeri: Cruda sorta!
Tancredi: Di tanti palpiti
La Cenerentola: Nacqui all'affanno ... Non piu mesta
La Donna Del Lago: Mura felici
La Donna Del Lago: Tanti affetti
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L'Assedio di Corinto: Avanziam ... Non temer, d'un basso affetto ... I destini tradir ogni speme! ... Signor, che tutto puoi ... Sei tu che stendi, o Dio

Customer Reviews:

The greatest coloratura along with Sutherland.......2003-07-21

This is Rossini singing in the finest. Horne has no peers in coloratura. She even give Sutherland a run for her money.
Attention, Horne fans, the historic Rossini's Semiramide with Horne/Sutherland is finally available. Do a search for
Horne, Semiramide and you'll get Rossini's neglected masterpiece containing the most difficult music ever written for the human voice. Coupled with Sutherland, the duets make their Norma duets seem like nothing.
I recommend this Rossini cd highly. And I also recommend the Semiramide. I love Rossini!

"Spectacular" Is Right!.......2003-07-02

This CD contains some of the most virtuosic singing I've ever heard. Marilyn Horne is rightly considered one of the great bel canto (and in particular, Rossini) singers of all time. Her mezzo-soprano is a rich and glorious instrument, and there seems to be NOTHING that it can't do; she even sings several soprano arias on this disc. Malcolm's aria from LA DONNA DEL LAGO is masterfully done, and the two selections from L'ASSEDIO DI CORINTO (one for soprano, the other for mezzo) are absolutely superb, almost Callas-like in their intensity. This CD represents a great mezzo in her prime. It should be in the collection of every Rossini-lover.

stupendous in every way.......1999-12-17

This is an incredible CD filled with wondrous singing. The art of belcanto is not just beautiful singing, and an uncanny ability to sing a million notes a second, it is giving meaning to all that technique. That is exactly what Marilyn Horne does! She breathes life and direction into the music reflecting the purpose behind the character's words, and the intention behind the composer's music. To some her presentation is too "Farward", too "hard-driven." And to others not like some wonderful diva from the past ( Superviva ). Their techniques in this music are not the same. Superviva was dazzling, but not that accurate. Horne is dazzling, and accurate! She is not the frail heroine when singing female contralto, but she is not overbearing either. As for the contralto "male" leads, well, there are none to compare, and none with her gusto. Bartoli is ravishing, but not heavy enough in sound, Lamore is wondrous, but far too feminine. Ewa Podls may have a dark musky sound ( often nearly laboured, and mushy ), but more is required to give a special gusto, a machismo, if you will, to these roles. Horne does that in spades! Though her voice is not necessarily that large a voice ( strong at the bottom and top, gentler in the middle ), and one suited well to Verdi she is not ( even at her own admission ), she has a way of making everything Rossini wrote seem fresh, new, and exciting. I must mention her singing from the catacomb scene from L'Assedio di Corinto ( Act 3, scene 1 ). If one follows the score, one soon learns Horne is not only singing the difficult music written in the Paris rewriting of the opera, but a whole scene ( the same scene actually ) found in the opera Moametto II, the aria for the character of Calbo, as well. I say a special treat for anyone, for in performance one would never hear the wealth of music one will hear here. For a good sampling of Horne's art this is a must buy, for a good introduction to the wonders of Rossini ( and more than just the Barber of Seville ), this CD is a wonderfully exciting introduction to both.

ROSSINI SINGING WITHOUT EQUAL IN THE TWENTIETH CENTURY!.......1999-11-30

If one must only one recording of Marilyn Horne, this is it. But this recording has an even greater importance in that it showcases a type of Rossini singing that has been heard from no one else in the twentieth century. Horne was a rare bird indeed ------ a mezzo soprano (sometimes even contralto) capable of executing the most astonishing technical and florid feats that would have defeated even a high coloratura soprano, save for Joan Sutherland. In fact, Horne had the equal technical proficiency of Sutherland, but in a lower range, which made them so cherishable as a team in such operas as "Norma" and "Semiramide". But Horne's gifts were so spectacular that a permanent role as Sutherland's "sidekick" would have been completely unsuitable for her. Rossini operas not heard in over a hundred years were revived for her all over the world ----- for hers was the only voice capable of executing the demands of such music. Truly, Marilyn Horne is as significant in the bel canto revival as Maria Callas, Joan Sutherland, and Montserrat Caballe (with whom she also sang on many occasions). Virtually every selection heard on this CD is an exemplary example of Horne's artistry. All of them contain vocal fireworks that flare like Roman candles, and many of them are NEVER going to be performed like this again, if they are ever done again at all, which at this time seems somewhat doubtful. Certainly we are blessed by the presence of present Rossini mezzos like Cecilia Bartoli and Jennifer Larmore ----- great singers both ------but it seems unlikely that either will ever scale the heights of Mount Rossini that Marilyn Horne did. She was truly one of a kind. For anyone who treasures spectacular and vivid examples of singing not heard in well over a century, this CD is an absolute must. I cannot run out of superlatives for this one.