Arpa [Import]

1. Pajaro Choguy

2. Asuncion

3. Galopera

4. Mis Noches Sin Ti

5. Galopando

6. Mi Dicha Lejana

7. Misionera

8. Nderendape Aju

9. Carreta Guy

10. Recuerdos De Ypakarai

11. Cascada

12. Alma Guarani

13. Pajaro Campana

14. Panambi Vera

15. Tren Lechero

16. India

Arpa,Nicolas Caballero,Vivid Sound,World Music

Average customer rating: Yes, she DOES sing a High G! Intriguing and powerful voice A beautiful voice, but the wrong stylistic approach... The Voice God A Bel Canto Cake: Enjoy

Renée Fleming: Bel Canto Gioacchino Rossini , Patrick Summers , and Orchestra of St. Luke's Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music General | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Renée Fleming Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss Renee Fleming: By Request Renée Fleming - Visions of Love ~ Mozart Arias / Mackerras Renée Fleming - Signatures ~ Great Opera Scenes / Sir Georg Solti ASIN: B00006589U Release Date: 2002-08-27

Tracks:

1. Bellini/La sonnambula: "Ah!..se una volta sola"
2. Bellini/La sonnambula: "Ah!..non credea mirarti"
3. Bellini/La sonnambula: "Ah! non giunge uman pensiero"
4. Donizetti/Maria Padilla: "Abbracciami"
5. Donizetti/Maria Padilla: "Il piu tenero suon d'arpa morende"
6. Donizetti/Maria Padilla: "Ah! non sai qual prestigio si cela"
7. Rossini/Semiramide: Introduzione
8. Rossini/Semiramide: "Bel raggio lusinghier"
9. Rossini/Semiramide: "Dolce pensiero di quell'istante"
10. Bellini/Il pirata: Introduzione
11. Bellini/Il pirata: "Ah! s'io potessi dissipar le nubi"
12. Bellini/Il pirata: "Col sorriso d'innocenza"
13. Bellini/Il pirata: "Oh sole! ti vela di tenebre oscure"
14. Rossini/Armida: "D'Amor al dolce impero"
15. Rossini/Armida: "Gli augei tra fronde e fronde"
16. Rossini/Armida: "La fresca eta sen fugge"
17. Rossini/Armida: "Ah! si, godete amanti"
18. Donizetti/Lucrezia Borgia:"M'odi, ah m'odi, io non t'imploro"
19. Donizetti/Lucrezia Borgia: "Figlio!...Figlio!...Ola, qualcuno!"
20. Donizetti/Lucrezia Borgia: "Era desso il figlio mio"

Amazon.com

Surely Renée Fleming's soprano must be one of the most beautiful voices before the public today. Though renowned for her interpretations of Mozart, Strauss, and Verdi, as well as for her commitment to contemporary music, she says that the bel canto repertoire has always been central to her career. On this recording, which features scenes and arias from operas by Bellini, Donizetti, and Rossini, she proves that she has achieved total, effortless technical mastery of the uniquely difficult vocal writing characteristic of the style. Every note is perfectly placed. Her runs, including scales over a huge range in both directions, are as clear and evenly paced as a chain of exquisite pearls. Her leaps always land in the center of the pitch. Her intonation is flawless.

Fleming also displays her emotional affinity for the drama, pathos, and lyricism of the music and her ability to identify with her larger-than-life heroines. Chosen from familiar and unfamiliar operas, the music is beguilingly beautiful, ranging from peacefully pastoral to darkly menacing. However, some listeners may feel that Fleming's tendency to overinflect, overphrase, make long pauses, and put swells on long notes, especially in the slow arias, undercuts the music's simplicity and the directness of her expressive communication. The performances are based on the latest scholarly research into the "bel canto" style regarding historically correct ornamentation (only in repeats) and the problems of balancing textual fidelity with imaginative freedom. The Orchestra of St. Luke's gives splendid support, with outstanding solos, especially from the winds. --Edith Eisler

Album Details

Bel Canto is Shrink Wrapped as a Strictly Limited Edition, with a Bonus Disc of Four Unreleased Tracks of Popular Favorites By: Bach, Handel, Mozart and Debussy

Customer Reviews:

Yes, she DOES sing a High G!.......2007-03-21

When I was reading the other reviews of this album, I saw people talking about Renee Fleming going up to a High G (that is G above High C), and I was a bit skeptical...I was used to hearing her in the roles that climax on High B-Flat or High C. But now that I have the album, I can verify that she does indeed go that high! She just touches on it, but hey, that counts! My favorite selections from this album are "Ah! Non Giunge" when she sings a brilliant high E-flat, and because I just love that bouncy little aria. And "Era desso il figlio mio"... that's the one where she sails up to a High G...and She ends the piece with another glorious High E-Flat. Her melismas are delectable. And her high notes are not grating or shrill. Her tone quality is, as usual, plush and sumptuous...and the way she turns the musical phrases so poetically is just amazing. I'm SO glad she made this CD!

Intriguing and powerful voice.......2007-01-21

Renee Fleming has an interesting voice and is obviously an accomplished bel canto singer. Her voice seems to have a heavier, darker sound than many sopranos who essay the coloratura corpus. The sound is very rich. While I'm not sure that I would call her voice ravishing or beautiful, it is clearly up to the task of producing a compelling sound.

This CD begins with a scene from Bellini's "La Sonnambula." Her version of "Ah! Non giunge uman pensiero" is nicely done. She displays an agile voice. She hits the high notes well. Other versions feature trills; hers does not. However, later cuts on this CD surely show that her trill is one of the better ones today. I had never heard even small selections from Donizetti's "Maria Padilla" before. However, Fleming does a very good job. In the final part of the scene that she sings, "Ah, non sai qual prestigio si cela," she trills wonderfully. I have been acquiring CDs and listening to contemporary bel canto singers lately and, to this point of those to whom I have listened, she has one of the best trills around.

"Bel raggio lusinghier" from Rossini's "Semiramide" is nicely sung. Again, she is agile, can hit the high notes, and displays good coloratura technique. The high notes are wonderfully wrought; appoggiaturas well crafted. A number of other reviewers comment on her high note to conclude the cut from Donizetti's "Lucrezia Borgia." She nailed it pretty well, as those others noted.

And so on. No need to go through each cut one by one. All in all, a very good CD. Her darker, heavier voice combined with her vocal agility and coloratura technique make for a very interesting work. She clearly has some of the better coloratura technique among sopranos working in the vineyards of opera today.

A beautiful voice, but the wrong stylistic approach..........2005-11-16

I remember hearing Renee Fleming's first CD - I was instantly struck by the extremely beautiful lyric sound, and the ease with which Ms Fleming sang repertoire that required a high tessitura. I was reminded very much of Kiri Te Kanawa's tone, atlhough at the time, of course, Ms Fleming didn't have the polish of Te Kanawa.

The voice itself is a miracle. It is one of the beautiful voices of this age. But increasingly, I have become disenchanted with the WAY in which Renee Fleming uses her voice. Endowed with such a lovely voice, with a rich and even legato quality throughout, one would think that bel canto repertoire would suit Ms Fleming perfectly. And I think potentially it does... If you do not already possess the full opera recordings of Rosmonda d'Inghilterra (Donizetti) and Armida (Rossini), with Fleming in the title roles, I would like to recommend that you purchase them. They are very beautiful - stunningly so.

A small digression... My CD collection, I should mention (just casually), is nearly 3000 CDs strong, all of which are classical, and the majority of which are vocal (opera, oratorio, Lieder, operetta, early music, French chansons, etc.). The bel canto portion of my collection is substantial. I am also a bel canto singer myself. I speak, thus, with a knowledge of bel canto style, with particular reference to the ways in which the composers would have expected singers to handle their works.

So I hope readers will understand that when I say that Ms Fleming isn't performing on this CD with appropriate bel canto style, I am not speaking out of ignorance, malice, or uninformed opinion. The liner notes shed light on Renee Fleming's approach: she mentions that "like the great singers who premiered these works, we must use our own musical intelligence and imagination to make this music come alive. For someone like myself, trained as a jazz singer, this comes as a liberating reveltion."

Yes. That puts the finger on the major difficulty here. Of course the arias and scenas need to give interpretation and wonderful ornamentation in the repeats of cabalettas, etc. - but NOT, please God, with jazz in mind. The two fields are completely different. This explains to me why Ms Fleming's later recordings fail to satisfy me as much as her earlier ones. I was surprisingly enchanted by her Schubert album, in which I thought a lot of careful interpretative work had gone, and those two earlier full recordings of bel canto operas were superb. How had that wonderful bel canto technique gone astray in this recording? I think - I may be wrong - but I think that Renee Fleming is now relying almost entirely upon her own idea of how bel canto should be sung, rather than being given detailed guidance from an experienced conductor who's both au fait with the requirements and not intimidated by Ms Fleming's very beautiful voice and star billing.

I did buy this CD with great anticipatory pleasure, and I was disappointed because I had such high hopes. I am sorry, because I adore Ms Fleming's voice, but the swoops and the bathos of the interpretations are not moving to me. I so much want Ms Fleming to record bel canto in the future with a great conductor guiding her to avoid the mannerisms that may seem very expressive to Ms Fleming, but strike many listeners as only detracting from the creamy and lovely tone.

Three stars from me, because the voice is unquestionably beautiful.

I do hope that Renee Fleming decides to follow the guidance of some bel canto specialists.

For more authentic bel canto soprano singing, I recommend the peerless Edita Gruberova (still singing wonderfully), the beautiful Sumi Jo, and the great classic recordings of Callas, the young Caballe, and the young Joan Sutherland.

The Voice God.......2005-09-08

I've been a lover of opera for the past 5 years, and I'm 20 now. Never have I been so utterly blown away from a recording, and I have many. After purchasing this CD, I quickly bought 4 of her other recordings, as well as her film. After listening to "Bel Canto" I am sure that you will be convinced, as I am that Renee Fleming is hands down this generation's greatest soprano. Every selection on the CD is amazing, especially the scene from Lucrezia Borgia where she hits a high G above high C. You can feel the passion and drama through her voice, it pierces your heart it's so beautiful! For me, this CD was truly an epiphany. I did not realize that the human voice could be so beautiful, and now singing is all that I want to do! I highly recommend this CD for anyone who wants to hear unbelievable singing.

A Bel Canto Cake: Enjoy.......2005-07-27

Renee Fleming is today's leading American opera diva and her many albums attest to her versatility and superb musicianship. Among these albums, the recent jazz album Haunted Heart, (Fleming originally intende to sing jazz)Strauss- Der Rosenkavalier, Arabella and Cappricio as well as Four Last Songs, Mozart Don Giovanni (in the role of Dona Ana) Nozze Di Figaro (Countess)Cosi Fan Tutte (Fiordiligi)The Schubert Album, and such successful roles as Violetta in Traviata, Massenet's Manon and Dvorak's Rusalka. Not to mention she sang for such films as Lord of the Rings (in Elvish) and Bride of the Wind about the composer Gustav Mahler's ambitious composer wife Alma. Fleming has established herself as the most beautiful voice of recent years in the opera scene. I didn't know of her until she rose to prominence in the late 90's (she is also credited in the Mass In C by Beethoven in the movie Immortal Beloved). Fleming is primarily a lyric voice, whose purity and focus on tone is more important to her than dramatic effect. In this way, she is only following the tradition of the techniques of such sopranos as Elisabeth Schwartkopff, Leontyne Price, Montserrat Caballe and Joan Sutherland. She does have an ethereal beautiful voice, and this album - bel canto - is a showcase for gorgeous legato, pianissimi and coloratura trills and roulade fireworks.

Bel canto literally means "beautiful singing" and Renee Fleming brings that meaning back. Because of the illustrious efforts of such singers as Beverly Sills, Shirley Verrett, Leyla Gencers and inevitably Maria Callas, bel canto has now been a vehicle for dramatic intensity. Callas was never afraid to sound ugly or gritty to bring out the dramatic portions in the opera. But Renee Fleming knows she has a miraculous voice of sheer beauty of sound and she pleasures our ears with the sound of it. But one also sees her own efforts to sound as dramatic as she can sound. In La Sonnambula, Bellini created a vehicle for beautiful lyric sopranos with coloratura prowess. Singers like Anna Moffo made it sound gorgeous but Callas sang it and unearthed its dramatic power. Fleming attempts the Callas effect and even at times sounds like Montserrat Caballe, especially in such arias from Il Pirata (an opera Caballe recorded and performed on stage). She sounds creamy, golden, full-voiced, with gleaming high tops and rich chest registers, effectively colorizing all the melodic lines. I have not heard singing like this in a long time, and again Montserrat Caballe comes to mind. Just listen to how she sings Lucrezia Borgia, especially in the outburst "E sperto! " (He's dead!) the dramatic moment when Lucrezia discovers she has poisoned her own son. Fleming is also exceptional in Rossini's Semiramide. This is not her first experience singing Rossini. She has sung Il Vaggio A Reims, a rare Rossini opera. Bel canto is truly challenging, and it was for her, but she stepped up to the challenge and came out on top.

What's in the future for Fleming ? I would love for her to take on heavier roles, but she is herself very cautious about ruining her voice. Lyric sopranos like her can easily break if not properly trained. While she has sung Handel well and modern operas like "Ghosts of Versailles" I fear she will never take on the roles I long for her to sing - Tosca, Norma, not even Madame Butterfly. Mirella Freni, a voice quite like Fleming's managed to transition to heavier repertoire well- she sang Butterfly and Tosca with flying colors. Perhaps Fleming will continue to sing purely lyric roles- more Desdemonas, more Tatianas in Eugene Onegin or perhaps the heroine in Queen of Spades. But perhaps she can step outside herself and sing Elisabeth Valois in Don Carlo, or perhaps Lucia Di Lammermoor (why hasn't she sung that ? It's tailor made for her)Who knows what she has in mind but whatever it is, she will sound brilliant.

Average customer rating: Thoroughly enjoyable Disappointed Gratzi for the Italian Renaissance refreshing, sprightly and fun

Italian Renaissance Dances Manufacturer: Hmf Classical Exp. ProductGroup: Music Binding: Audio CD Baroque Dance Suites | Ballets & Dances | Classical | Styles | Music | Allemandes | Courantes | Gigue | Sarabande Galliardes | Ballets & Dances | Classical | Styles | Music All Works by Gesualdo | Gesualdo, Carlo | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Monteverdi | Monteverdi, Claudio | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Classical | Imports | Stores | Music $6.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Gesualdo, Carlo | ( G ) | Composers, A-Z | Classical Music Blowout | Stores | Music Monteverdi, Claudio | ( M ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Italian Renaissance Dances, Vol. 2 English Country Dances Baroque Lute Music, Vol. 1 Lute Music, Vol. 2 Early Venetian Lute Music ASIN: B000059WLF Release Date: 2001-05-08

Tracks:

1. Galliard III Based on "La Mantoana"
2. Galliard
3. Non Ha'l Ciel Cotanti Lumi - David Douglass, Ellen Hargis, Andrew Lawrence-King
4. Qual Cadavero Spirante - David Douglass, Ellen Hargis, Andrew Lawrence-King
5. Pavane II
6. Se Pur Ver
7. Dances from il Scolaro:Aria del Gran Duca
8. Dances from il Scolaro:Gagliarda Di Santino Detto la Muzza
9. Dances from il Scolaro:la Bergamesca
10. Dances from il Scolaro: Basso Delle Ninfe
11. Dances from il Scolaro: Bassa Gioiosa
12. Dances from il Scolaro: Il Ceferino
13. Gagliarda Falsa
14. Lagrime d'Erminia - David Douglass, Ellen Hargis, Andrew Lawrence-King
15. Sonatae Concertate, Book 2:Sonata XVI a 4
16. O Durezza Di Ferro - David Douglass, Ellen Hargis, Andrew Lawrence-King
17. Galliard
18. DSoletto
19. Galliard I, Known as "The Gallant One"
20. Consonanze Stravaganti

Customer Reviews:

Thoroughly enjoyable.......2005-01-28

I have listened to this CD a great deal and I love it. I just want to answer vvic's point below: it's true that not all the tracks on this disc are rumbustious romps, but Renaissance dance had many different forms, genres and functions. It was an important means of personal expression and social interaction - you only need to think of the formal and ritualised minefield that surrounded love and courtship (especially in the higher strata of society) to be able to see dance's potency as an emotional outlet. In fact, dancing quickly was the one thing that would have been difficult because costume was often bulky and ungainly, especially for ladies.

So give these performances a chance, because this disc is bursting with life and musicianship: The King's Noyse play like a group of old friends together; Andrew Lawrence-King's harp playing is enchanting, and Ellen Hargis produces richly nuanced, beautifully coloured and poignant performances of the laments. The whole mixture is delighful.

It's also superbly engineered: the sound is detailed, rich, vibrant and delicate. (It's set in a fairly warm acoustic, which may partly account for vvic's feeling of 'churchiness'.) A pity there are no sound samples here on Amazon.

I presume this is a re-release of an earlier disc. The budget savings come from corners cut in packaging - the booklet is fairly perfunctory, but as my Dad says, 'you pays your money. you takes your choice'!

ps. I'm a really terrible dancer!

Disappointed.......2003-05-04

I am a big fan of renaissance instrumental music, and since these are dances, I was expecting some pleasant, spirited melodies, like on the excellent English Country Dances. Although there are several tracks like this on this CD, many are slow and dirgy. These, combined with the tracks with soprano vocals, make one feel as if they were in church, which is not a bad thing, if that's what you're looking for.

Gratzi for the Italian Renaissance.......2002-03-24

The sounds of the Italian Renaissance are very uplifting, beautiful and rational. The songs have structure and melody and flow very naturally. This collection is a pleasing variety of instrumental and vocal music with period instruments and authentic arrangements. The performances and sound quality are extremely good.

I don't know if I should feel guilty for having spent so little on this CD or irritated that more CDs of this quality are not available at this price. The other releases I have heard from the Classical Express label have been as good. (e.g. Mozart Horn Concertos, French Love Songs)

refreshing, sprightly and fun.......2001-07-12

THis is a sprightly and thoroughly well performed arrangement of Renaisaaance music. If you think there is no place for such period music think again. I snuck this on while entertaining and everyone began complimenting it. They loved the joyful upbeat quality it posseses and as I, were delighted with the quality of musicianship and recording. Give that next dinner party a historical twist or just give yourself this wonderful CD

Average customer rating:

Harp Music of the Italian Renaissance Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD Galliardes | Ballets & Dances | Classical | Styles | Music Toccatas | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Ballets & Dances | Renaissance (c.1450-1600) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music $9.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: The Harmonious Harp Music for Solo Harp Altre Follie, 1500-1750 Music for the Spanish Kings Boccherini: Fandango, Sinfonie & La Musica Notturna di Madrid ASIN: B0002CH8S8 Release Date: 2004-09-14

Average customer rating: Soulful playing from the man Brouwer and Williams at their best One of Williams' best recordings!

Brouwer: The Black Decameron Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music Guitar | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Brouwer: Guitar Music, Vol. 2 Leo Brouwer: Guitar Music, Vol. 1 Steve Gray: Guitar Concerto; Richard Harvey: Concerto Antico Brouwer: Sonata; Hika; Suite No. 2 Guitar Music from Cuba ASIN: B0000062E6 Release Date: 1998-03-17

Tracks:

1. Concerto De Toronto (For John Williams):: Moderato, II Theme And variations
2. Concerto De Toronto (For John Williams):: Theme
3. Concerto De Toronto (For John Williams):: Variation 1
4. Concerto De Toronto (For John Williams):: Variation 2
5. Concerto De Toronto (For John Williams):: Variation 3
6. Concerto De Toronto (For John Williams):: Variation 4
7. Concerto De Toronto (For John Williams):: III, Tempo Libero. Allegro
8. Elogio De La Danza - Eulogy For The Dance: Lento, Obstinato
9. El Decameron Negro (1981): El Arpa Del Guerrero
10. El Decameron Negro (1981): La Huida De Los Amantes Por El Valle De Los Ecos
11. El Decameron Negro (1981): Balada De La Doncella Enamoradal
12. Hika: 'In Memoriam Toru Takemitsu' (1996)

Customer Reviews:

Soulful playing from the man.......2004-10-19

I was recommended to approach this CD with caution, as John uses his trademark "faultless and riskless" playing style to the maximum, but being a huge fan I had to explore. I was not disappointed.
The opening to Concerto Toronto is quite simply spine tingling, John's technical ability boggles the mind in what seems to be one of the hardest guitar compositions to date, and also one of the most beautiful. Brouwer's typical theme development techniques are used to great effect, and his orchestration is also very appropriate - a rare trait for a composer so dedicated to one instrument. In this first movement, I found myself rewinding and relistening many times to some of the phrases, as Williams' playing is so impeccable. The second movement, a theme and variations is also excellently presented, and especially the first variation, I'd like to hear any other guitarist play this well.
The Elogio de la Danza is also very neatly presented, if a little souless in parts, on the whole justice is done to this fine work.
El Decameron Negro promised such great things - One of Brouwers finest compositions played by a true master. However, looking beyond technical ability (which anyone would agree is here in buckets) El Arpa del Guerrero sounds as though the notes have been put into a computer and churned back out. Yes its fluid and mistakeless, but for such an estabished performer,I expected better and more original things.
His interpretation of La Huida de los Amantes por el Valle de los Ecos, however, is among the finest, if not the finest pieces of playing I have ever heard from John. The lyricism shines at every opportunity, and is strongly backed by his technique. If the gallop at the end leaves you unmoved, then see a doctor. Absolute magic.
Then the Balada de la Doncella Enmorada. This is undeniably a little rushed, and often used to show off - again its fluid and hugely impressive, but somewhat immature.(?)
The Hika is fantastic, John really brings out the agressive nature of the phrasing, and the sombre melodies - I'd like to see him do it live. He sure can play guitar.
Overall, definitely worth checking out - interpretations vary, and who am I to cuss such a legend's playing. I like this CD very much and so will you.

Brouwer and Williams at their best.......2000-02-09

Normally I do not like John Williams playing Brouwer or any other South American composer for that matter. This CD however surprised me. The music is played with, as always, technical supremacy and a lot of feeling/emotion, which I think normally lacks when he plays Brouwer. The Concerto de Toronto is great. I never knew that Brouwer composed stuff like this. The El Decameron Negro is out of this world.

One of Williams' best recordings!.......1999-11-17

In addition to the excellent premiere recording of Leo Brouwer's Concerto de Toronto (which, fortunately for Brouwer fans, includes several motifs used by Brouwer in some of his previous works), John Williams provides the listener with an outstanding rendition of the much recorded El Decameron Negro. His approach to La Huida de los Amantes por el Valle de los Ecos (The Flight of the Lovers Through the Valley of the Echoes) results in some of the most sensitive and energetic playing I have heard from Williams.

Average customer rating: beautiful perfomances of exsquisite madrigals

Carlo Gesualdo: Madrigali Libri I-III Manufacturer: Cpo Records ProductGroup: Music Binding: Audio CD All Works by Gesualdo | Gesualdo, Carlo | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Madrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Similar Items: Gesualdo: Quinto Libro di Madrigali (1611) Gesualdo di Venosa: 18 Quarto Libro di Madrigali, 1596 Gesualdo: Complete Sacred Music for Five Voices Monteverdi: Concerto Settimo Libro dei Madrigali Gesualdo: Tenebrae ASIN: B000AMMSH6 Release Date: 2005-09-20

Customer Reviews:

beautiful perfomances of exsquisite madrigals.......2005-10-01

The first 3 books of Gesualdo's madrigals don't have the startling chromaticism and the violent rhythmic contrasts of the 5th and 6th books, but they're rich pieces nonetheless and here and there are hints of the over the top imagination of the later works. These performances are characterized by accurate intonation and lovely timbre. This is one of my favorite recordings of Italian madrigals.

Average customer rating: Ginastera's greatest hits

Ginastera: Estancia (Quatro danzas del ballet), Op. 8a / Concierto para arpa y orquestra, Op. 25 / Obertura para el "Fausto" criollo, Op. 9 / Variaciones concertantes, Op. 23 - Magdalena Barrera / Orquestra Ciudad de Granada / Josep Pons Alberto Ginastera , Josep Pons , Magdalena Barrera , and Orquestra Ciudad de Granada Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD All Works by Ginastera | Ginastera, Alberto | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Variations | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Harp | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Classical | Imports | Stores | Music Similar Items: Ahmed Adnan Saygun: Symphony No. 4; Violin Concerto; Suite Ginastera: Panambí; Estancia Ginastera: The Three String Quartets Carlos Chávez: The Complete Symphonies Rorem: Double Concerto for Violin and Cello; After Reading Shakespeare ASIN: B0000DIDM1 Release Date: 2003-12-09

Tracks:

1. Los Trabajadores Agricolas
2. Danza Del Trigo
3. Los Peones De Hacienda
4. Danza Final (Malambo)
5. Allegro Giusto
6. Molto Moderato
7. Liberamente Capriccioso - Vivace
8. Obertura Para El 'Fausto' Criollo Op.9
9. Tema Per Violoncello Ed Arpa
10. Interludio Per Corde
11. Variazione Giocosa Per Flauto
12. Variazione In Modo Di Scherzo Per Clarinetto
13. Variazione Drammatica Per Viola
14. Variazione Canonica Per Oboe E Fagotto
15. Variazione Ritmica Per Trombe E Trombone
16. Variazione In Modi Di Moto Perpetuo Per Violone
17. Variazione Pastorale Per Corno
18. Interludio Per Fiati
19. Ripresa Dal Tema Per Contrabasso
20. Variazione Finale In Modo Di Rondo Per Orchestra

Customer Reviews:

Ginastera's greatest hits.......2004-12-05

This is a great CD. Why? Because these are probably the Argentinian composer Alberto Ginastera's four most accessible pieces, the sound is clear and cool, and Pons and his smallish orchestra play with finesse. This is, in my opinion, the best harp concerto written in the last hundred years, and the Variaciones concertantes Op. 23 is a masterpiece. You can certainly find bigger, splashier versions of the Estancia ballet suite: if that's your main interest, look for Gisele Ben-Dor's LSO version of the complete ballet (with the complete Panambi) on a hard to find Conifer CD. And Howard Hanson's old Rochester recording of the Creole Faust Overture is much more earthy. Nevertheless, Pons lays it all out beautifully before us, and avoids the slow tempi that characterize some of his other performances (the Bizet Symphony, for instance). Make no mistake, this is music to be savoured.

Average customer rating: Magic gondola ride

Sonate Al Pizzico Manufacturer: Atma Classique ProductGroup: Music Binding: Audio CD Kapsberger, Giovanni | ( K ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Monteverdi | Monteverdi, Claudio | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Toccatas | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Teatro Lirico ASIN: B000231UD6 Release Date: 2004-05-04

Customer Reviews:

Magic gondola ride.......2005-06-15

This is a delicious collection of pieces from the pens of Cavalieri, Trabaci, Corbetta, Frescobaldi, Castaldi, Kapsberger, Granata and Monteverdi, played on the arpia doppia (double harp) by Maxine Eilander and the chitarrone or the 5-course Spanish baroque guitar by Stephen Stubbs. The blend of the two instruments is delightfully rich and always sounds just right for the repertoire, which conjures up the ancient airs and dances that inspired Respighi to write his famous suites.

The music comes from a time, the early 17th century, when new genres were emerging in Italy, like the opera, oratorio, monodic song and instrumental toccata. It was a time of change and the arpa doppia, the chitarrone and the chitarra spagnola were right in the thick of things. The triple harp flourished in Naples and Florence, especially through the works of Mayone and Trabaci. The designation "arpa doppia" however first appears in Monteverdi's opera "L'Orfeo" of 1607. The Florentine "Intermedi" for the Medici wedding of 1589 include the arpa doppia and the newly developed chitarrone, a large lute with extra bass strings. Kapsberger was one of the first virtuosi to write for the chitarrone (also known as a theorbo). The 5-course Spanish guitar emerged in Spain in the late 16th century, becoming popular in Italy through the virtuoso playing and compositions of Francesco Corbetta.

This charming, elegant music testifies to the magnificence of that era. The confidence and fluency exhibited by Eilander and Stubbs tops off the allurement, and the recording is bright and detailed. Thoroughly enjoyable.

Average customer rating: Poised between the Baroque and Empfindsamkeit

Carl Heinrich Graun: Te Deum [Hybrid SACD] Manufacturer: Cpo Records ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Similar Items: Carl Heinrich Graun: Der Tod Jesu ASIN: B000H4VZ62 Release Date: 2006-09-26

Tracks:

1. Te Deum Laudamus
2. Te Gloriosus
3. Te Per Orbem
4. Tu Rex Gloriae
5. Tu, Ad Liberandum
6. Tu Ad Dexteram Dei
7. Te Ergo Quaesumus
8. Salvum Fac
9. Et Rege Eos
10. Dignare, Domine
11. In Te, Domine, Speravi
12. Herr, Ich Habe Lieb Die Statte Deines Hauses
13. Lasset Uns Freuen Und Frohlich Sein
14. Machet Die Tore Weit

Customer Reviews:

Poised between the Baroque and Empfindsamkeit.......2007-06-08

This is a lovely disc. The Te Deum is reminiscent of Zelenka's music for Dresden and C. P. E. Bach's choral works in its alternation of plangently melodious arias and fugal choruses, which match memorable melody with contrapuntal rigor - the lively concluding double fugue is as arresting and indelible as anything in Handel.

The a' capella motets are equally fine, though more consciously Baroque than galant in affect. Again, the melodies are memorable, whether treated in harmonic blocks, antiphonal exchange, or fugal elaboration, and Graun's contrapuntal writing has an expert yet pleasurable flow to it, which is never dry. These motets are closer to the level of those written by the members of Bach's family and his friend Telemann than the grand testaments penned by Johann Sebastian himself, but are no less attractive or devoid of individual touches for all that.

Average customer rating: Rare early Italian baroque keyboard music

Keyboard Music (Book II 1615) Trabaci , Vartolo , and King Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Similar Items: Trabaci: Keyboard Music (Book I, 1603) ASIN: B00007FKQ9 Release Date: 2003-02-18

Tracks:

1. Primo Tono Con Tre Fughe
2. Secondo Tono Con Tre Fughe E Suoi Riversi
3. Terzo Tono Con Tre Fughe
4. Quarto Tono Con Tre Fughe & Suoi Riversi
5. Quinto Tono Con Quattro Fughe
6. Sesto Tono Cromatico Con Una Fuga Sola
7. Settimo Tono Con Tre Fughe
8. Ottavo Tono Con Tre Fughe
9. Nono Tono Con Tre Fughe
10. Decimo Tono Con Tre Fughe
11. Undecimo Tono Con Tre Fughe
12. Duodecimo Tono Con Quattro Fughe

Tracks:

1. Gregoriano - Verso Primo (Ripieno) - Gregoriano / Verso Secondo (8, 4, 2) - Gregoriano
2. Verso Quarto (8, 4) - Gregoriano / Verso Quinto (Ripieno) - Gregoriano / Verso Sesto (8, 4, Fl XII, XXII) - Gregoriano
3. Verso Settimo (8, Fl4) - Gregoriano / Verso Ottavo (8, Fl4, XIX) - Gregoriano / Verso Non (8, Fl4, XIX, XXII, XXVI) Gregoriano
4. Verso Decimo (8) - Gregoriano - / Verso Undecimo (8, Voce Humana) - Gregoriano /
5. Gregoriano - Verso Primo (Ripieno) - Gregoriano / Verso Secondo (8, 4, 2) - Verso Terzo (8, 4)
6. Verso Quarto (Fl4) - Verso Quinto (Fl4) / Verso Sesto (8, 4, 2)
7. Verso Settimo Cromatico (16) - Verso Ottavo (8, 4) / Verso Nono (8, 4, 2)
8. Verso Decimo (8, 4, FlXII) - Gregoriano / Verso Undecimo (8, 4, FlXII, XXII)
9. Gregoriano - Verso Primo (Ripieno) - Gregoriano / Verso Secondo (8, 4, 2) - Verso Terzo (8, 4)
10. Verso Quarto (8, 4) - Gregoriano / Verso Quinto (8, 4, FlXII, XXII)
11. Vero Settimo (8, Fl4) - Verso Ottavo (8,Fl4,XIX) Gregoriano / Verso Nono (8, 4)
12. Verso Decimo (8) - Gregoriano - / Verso Undecimo / Verso Duodecimo & Ultimo (Ripieno)
13. Gregoriano - Verso Primo (Ripieno) - Gregoriano / Verso Secondo (8, 4, 2) - Verso Terzo (8, 4)
14. Verso Quarto (8) - Verso Quinto (8, 2, XXII) Gregoriano / Verso Sesto (8, Voce Humana)
15. Verso Settimo (8, 4, 2, XIX, XXI) / Verso Ottavo (8, 4, XXIX e XXXII)
16. Verso decimo (8) / Verso Undecimo (8, 4, XIX) Gregoriano / Verso Duo Decimo (Ripieno)
17. Gregoriano - Verso Primo (Ripieno) - Gregoriano / Verso Secondo (8, 4, 2)
18. Verso Quarto (8, 2, XIX) / Verso Quinto (8, 2, XIX, XXII) / Verso Sesto (8, 2, XXII)
19. Verso Settimo (8, Voce Humana) / Verso Ottavo (8) - Verso Nono (8, 4)
20. Verso Decimo (8, 2, XXII, XXVI, Usignuoli) / Verso Undecimo (8, 4, 2, XIX) / Verso Duodecimo * Ultimo (Ripieno)
21. Gregoriano - Verso Primo (Ripieno In 24) Gregoriano - Verso Secondo (Ripieno In 12, No XII) Verso Terzo (24, 12, 8, 4)
22. Verso Quarto (12, Fl XII) Verso Quinto (12, XII, XXII) Verso Sesto (12, Fl 4) - Gregoriano
23. Verso Settimo (Fl 4) - Verso Ottavo (8, Fl4, XIX) Verso Nono (24, 12, XII)
24. Verso Decimo (12, 4) Verso Undecimo (Ritornello In 12) Verso Duodecimo & Ultimo (Ripieno In 24)

Tracks:

1. Gregoriano - Verso Primo (Ripieno) - Gregoriano Verso Secondo (Ripieno) Verso Terzo (8,2,XXII) - Gregoriano
2. Verso Quarto (8,2,XXIX E XXXIII, Usignuoli) Verso Quinto (8,4,2) Verso Sesto (8,4) - Gregoriano
3. Verso Settimo (8,XXIX E XXXIII) Verso Ottavo (8,2) Verso Nono (8,2,XXII,XXVI) - Gregoriano
4. Verso Decimo (8,XIX) Verso Undecimo (8,Voce Humana) - Gregoriano Verso Duodecimo & Ultimo (Ripieno)
5. Gregoriano - Verso Primo (Ripieno) - Gregoriano Verso Secondo (8,4,2) Verso Terzo (8,FlXII,XXII)
6. Verso Quarto (8,4) - Gregoriano Verso Quarto (8,4) - Gregoriano Verso Quinto (Principle Secondo, Voce Humana) Verso Sesto (8, Fl 4 Rit: + XIX) - Gregoriano
7. Verso Settimo (Fl 4) - Gregoriano - Verso Ottavo (Principle I E II) Verso Nono (8,2)
8. Verso Decimo (Principale II,4) Verso Undecimo (+ Fl XII) Verso Duodecimo (+ XXII) Verso Terzodecimo (Fl4,Fl XII,4) Verso Quartodecimo (+8) Verso Quintrodecimo (+ XIX,XXII) Verso Sestodecimo & Ultimo (+ XXVI,XXI)
9. Toccata Prima A Quattro (CRZ)
10. Toccata Seconda & Ligature Per L'Arpa (Versione Per Cembalo) CRZ
11. Toccata Seconda & Ligature Per L'Arpa (Versione Per Arpa)
12. Toccata Terza, & Ricercar Sopra Il Cimbalo Cromatico (CRZ)
13. Toccata Quarta, & Ultima, A Cinque (CRZ)
14. Ricercar Sopra Il Tenor De Constantio Festa A 4 Con Due Parti In Canone Senza Regola (CRZ)
15. Soptra Il Stesso Canto Fermo A 5 Con Tre Parti In Canone Senza Regola, Ma Per Forza Di Contrappunto (CRZ)
16. Gagliarda Prima A 4 Detto Il Galluccio
17. Gagliarda Seconda A 4 Detta La Morosetta
18. Gagliarda Terz A 4 Detta La Talianella
19. Gagliarda Terza A 4 Detta La Morenigna

Tracks:

1. Gagliarda Prima A 5 Detta La Galante
2. Gagliarda Seconda A 5 Detta La Scabrosetta
3. Gagliarda Terza A 5 Sopra La Mantoana
4. Gagliarda Quarta A 5 Alla Spagnola
5. Gagliarda Quinta Cromatica A 5 Detta La Trabacina
6. Partita Prima (Con Ritornello)
7. Partita Seconda Per L'arpa (Versione Per Cembalo)
8. Partita Terza Per L'arpa (Versione Per Cembala)
9. Partita Quarta
10. Partita Quinta
11. Partita Sesta (Con Ritornello)
12. Partita Settima (Con Ritornello)
13. Partita Ottava Per L'arpa (Versione Per Cembalo)
14. Partita Nona Per L'arpa (Versione Per Cembalo)
15. Partita Decima Con Due Fughe
16. Partita Undecima Per L'arpa
17. Partita Duodecima & Ultima Con Due Parti In Canone Senza Regola
18. Partita Seconda Per L'arpa (Versione Per Arpa)
19. Partita Ottava per L'arpa (Versione Per Arpa)
20. Partita Nona Per L'arpa (Versione Per Arpa)
21. Partita Undecima Per L'arpa
22. Ancidetemi Pur, Per L'arpa (Versione Per Arpa)
23. Jakob ARCADELT: Ancidetemi Pur (Tenore E Continuo)
24. Ancidetemi Pur, Per L'arpa (Versione Per Cembalo) (CRZ)

Customer Reviews:

Rare early Italian baroque keyboard music.......2003-04-18

This 4CD collection from Naxos is the second installment of keyboard music by the early Baroque Italian composer Giovanni Maria Trabaci (c. 1575-1647). It is, as far as I know, the first recording of the Book II (1615) of his keyboard music. His music is not widely known by music-lovers at least partly because there was no modern edition of this music until recent years. The early editions were printed in four-stave open score using archaic notation, making it difficult for performers to play, even those who specialize in the music of the era. This set's primary performer, Sergio Vartolo, is something of a specialist in Trabaci's music and he plays on several different organs, harpsichords and even an 18th-century Italian spinettone. There are also some pieces played by the harpist Andrew Lawrence King. The variety in tonal color amongst the various instruments tends to obviate monotony in the almost four hours of music presented here. The various instruments employed are enjoyable, although there is a particularly irritating 'usignuoli' ('nightingales') stop on one of the organs; fortunately it is used sparingly.

Trabaci was a renowned organist and composer from Naples; he was the organist of the Chapel Royal there during a period when Naples was under Spanish rule. He is a contemporary of the much-better-known Girolamo Frescobaldi (1583-1643) of Venice. Both he and Frescobaldi were masters of the rather severe late-Renaissance/early-Baroque contrapuntal style passed down from Flemish masters. If anything, Trabaci's music is darker and more chromatic than that of Frescobaldi.

The first CD contains twelve 'ricercate' (the old term for 'ricercare', a forerunner of the fugue) which display Trabaci's ability not only to write expert contrapuntal pieces, but to devise memorable themes.

The next two CDs contain the 'Centi Versi sopra li Otto finali Ecclesiastici' ('100 versets on the eight ecclesiastic finals'). Each 'verset' is accompanied by the appropriate Gregorian chant, in this set sung exquisitely by countertenor Michel van Goethem.

The last CD contains assorted other pieces in various forms - toccatas, galliards, partitas - including a setting by Jacob Arcadelt (sung by tenor Mario Cecchetti) of 'Ancidetemi pur,' preceded by a Trabaci setting played on the harp by Andrew Lawrence King, and afterwards by the same setting played on harpsichord by Vartolo.

Vartolo's playing is generally expert, but I was bothered somewhat by what seemed to me a rather capricious use of rubato. Since Vartolo is a musicologist it may be that he is using performance practice of the time, and my criticism reflects my own ignorance of that issue.

It is very likely that these will be the only recordings of this music for years to come. So, if you feel impelled to explore this rather obscure byway, I would suggest you buy this set (as well as the set containing Book I from 1603), because it's not likely you'll have others to choose from any time soon. And, of course, Naxos's budget price makes these sets eminently affordable.

Scott Morrison

Average customer rating: Best I've ever heard Renee

Bel Canto [Hybrid SACD] Manufacturer: Umvd Labels ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Puccini: Madama Butterfly [Hybrid SACD] Sibelius: The Symphonies [Hybrid SACD] Midnight at Notre-Dame [Hybrid SACD] Arias [Hybrid SACD] Mozart: Piano & Violin Sonatas [Hybrid SACD] ASIN: B000079BGG Release Date: 2003-08-12

Customer Reviews:

Best I've ever heard Renee.......2005-10-25

This cd is chock full of vocal dynamite! Renee's voice soars though the long lines and fast mellismatic passages of these unknown bel canto gems of opera. It is a genre I wouldn't have expected her voice to do well in, but I was wrong. If you are a true fan of Renee, buy this to hear what her voice REALLY sounds like.

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