Cosi E La Vita [Import]

1. Così é la Vita

2. LL Mio Punto Di Vista

3. Dimmi Che Mi Vuoi Bene

4. Per Amore

5. Mea Culpa

6. Come Mi Vuoi (Reprise)

7. Avere Amato Te

8. Piano Mclmato

9. Carta Bianca

10. Così é la Vita [Unplugged Version]

11. Valzer Lento

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:

Una de la mejores interpretaciones en CD del Cosi fan tutte
Overrated, but decent
Which classic Cosi to buy--Karajan or Bohm?
AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE

Mozart: Così Fan Tutte

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Cosi fan tutte (Opera Journeys Mini Guide Series)

ASIN: B000BL98ME
Release Date: 2006-01-10

Tracks:

Sinfonia/Overture - Philharmonia Orchestra & Chorus
La Mia Dorabella Capace Non E - Rolando Panerai
Cessate Di Scherzar - Rolando Panerai
E La Fede Delle Femmine - Rolando Panerai
Scioccherie Di Poeti! - Rolando Panerai
Una Bella Serenata - Rolando Panerai
Ah, Guarda, Sorella - Elisabeth Schwarzkopf
Mi Par Che Stamattina - Elisabeth Schwarzkopf
Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Sesto Bruscantini
Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf
Sento, Oddio, che Questo Piede - Various Artists
O Cielo, Questo E Il Tamburo Funesto - Various Artists
Bella Vita Militar! - Philharmonia Orchestra & Chorus
Non V'e Piu Tempo - Various Artists
Muoio D'affano!...Di Scrivermi Ogni Giorno - Various Artists
Oh, Di, come Veloce Se Ne Va Quella Barca! - Elisabeth Schwarzkopf
Soave Sia Il Vento - Elisabeth Schwarzkopf
Quante Smorfie...Quante Buffonerie! - Sesto Bruscantini
Che Vita Maledetta - Elisabeth Schwarzkopf
Ah, Scostati!...Smanie Implacabili Che M'agitate - Nan Merriman
Signora Dorabella, Signora Fiordiligi - Elisabeth Schwarzkopf
In Uomini, In Soldati Sperare Fedelta? - Lisa Otto
Despinetta!...Chi Batte? - Lisa Otto
Alla Bella Despinetta - Various Artists
Oh, Ciel! Mirate: Uomini In Cosa Nostra - Various Artists
Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
Ah, Non Partite! - Various Artists
Non Siate Ritrosi - Rolando Panerai
E Voi Ridete? - Rolando Panerai
E Avete Ancora Coraggio Di Fiatar? - Rolando Panerai
un'aura Amorosa Del Nostro Tesoro - Leopold Simoneau
E Come Credi Che L'affar Finira? - Lisa Otto

Tracks:

Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf
Si Mora, Si, Si Mora - Various Artists
Eccovi Il Medico - Various Artists
Dove Son? Che Loco E Questo? - Various Artists
Dammi Un Bacio, O Mio Tesoro - Various Artists
Andate La, Che Siete Due Bizzarre Ragazze! - Elisabeth Schwarzkopf
Una Donna A Quindici Anni - Lisa Otto
Sorella, Cosa Dici? - Elisabeth Schwarzkopf
Prendero Quel Brunettino - Elisabeth Schwarzkopf
Secondate, Aurette Amiche - Rolando Panerai
Cos'e Tal Mascherata? - Various Artists
La Mano A Me Date - Various Artists
Oh, che Bella Giornata! - Various Artists
Il Core Vi Dono - Rolando Panerai
Ei Parte...Senti...Ah No! - Elisabeth Schwarzkopf
Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
Amico, Abbiamo Vinto! - Leopold Simoneau
Donne Mie, La Fate A Tanti A Tanti - Rolando Panerai
In Qual Fiero Contrasto - Leopold Simoneau
Tradito, Schernito - Leopold Simoneau
Bravo, Questa E Costanza - Rolando Panerai

Tracks:

Ora Vedo Che Siete Una Donna Di Garbo - Elisabeth Schwarzkopf
E Amore Un Ladroncello - Nan Merriman
Come Tutto Congiura - Elisabeth Schwarzkopf
Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf
Ah, Poveretto Me, Cosa Ho Veduto! - Rolando Panerai
Tutti Accusan Le Donne - Rolando Panerai
Vittoria Padroncini! - Various Artists
Fate Presto, O Cari Amici - Lisa Otto
Benedetti I Doppi Coniugi - Various Artists
E Nel Tuo, Nel Mio Bicchiero - Various Artists
Bella Vita Militar! - Various Artists
Bella Vita Militar! - Various Artists
Sani E Salvi Agli Amplessi Amorosi - Various Artists
No, Signor, Non E Un Notaio - Various Artists
Ah, Signor, Son Rea Di Morte - Various Artists
A Voi S'inchina, Bella Damina - Various Artists
Fortunato L'uom Che Prende - Various Artists

Customer Reviews:

Una de la mejores interpretaciones en CD del Cosi fan tutte.......2006-11-16

Esta es una de las mejores interpretaciones en CD del Cosi Fan tutte, en compañìa de la versión de Böhm de 1962. Uno de los méritos fundamentales de esta excelsa grabación es la magnífica dirección de Karajan. El maestro austriaco se demuestra en todo momento como un estilista consumado, obtiene timbres orquestales sugerentes y refinados, construye y define adecuadamente lo que es el "dramma giocoso", con gracia, con humor y justos toques de seriedad, todo con una elegante presición. Cuenta, por lo demás, con un cast abolutamente modélico; Elizabeth Schwarzkopf es considerada unánimemente por todos los criticos musicales como la intérprete de referencia del rol de Fiordiligi, por su imponente modo de esculpir y modelar las frases con un estilo y elegancia de fraseo espectaculares. Leopold Simoneau, es un Ferrando sutil e insinuante, ideal por su voz leve, clara y robusta a la vez. Es junto a Alfredo Kraus, de la versión Böhm 1962, el mejor intérprete histórico de este rol. Lisa Otto configura con musicalidad, vitalidad y fino humor una Despina excelente. Sesto Bruscantini, es sin duda el Don Alfonso de referencia, por su fina ironia y discreta elegancia, aunado a la belleza de su voz baritonal y excelente técnica. Rolando Panerai es el barítono brillante que todo aficionado serio a la opera conoce a la perfección. Excelente técnica, fraseo inteligente e incisivo, en suma un Guglielmo de referencia. Quizás el punto un poco mas debil del cast sea la Dorabella de Nan Merriman, pero solo si se la compara con el resto del cast, ya que se trata de una fina artista, muy musical y de excelente estilo (es necesario recordar que fue una de las artistas preferidas del gran Arturo Toscanini). En suma un clásico absoluto de la discografia, reconocido casi por unanimidad, por toda la crítica especializada y por los mozartianos en particular. Sería interesante comprarla junto a la versión de Böhm de 1962, ya que las dos son complementarias y no excluyentes.

Overrated, but decent.......2006-03-29

As a whole, this recording isn't bad at all. As far as quality of sound goes, while it definitely shows its age, you probably wouldn't notice unless you compared it side-by-side with a modern recording.

My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.

In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.

Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).

Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.

Which classic Cosi to buy--Karajan or Bohm?.......2006-03-20

Whereas EMI was fortunate enough to make one Don Giovanni and one Marriage of Figaro for the ages, both under Giulini, they achieved mixed results with two versions of Cosi fan tutte. Neither is an obvious first choice, so I thought it was worthwhile comparing their respective pluses and minuses.

Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.

Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.

Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.

AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE.......2006-01-30

EMI had been incredibly consistent with their Mozart opera recordings in the 1950's. Of course, their great fortune was to have conductors like Van Karajan, Giulini, and Furtwangler under contract. It was an age of great Mozart singers---Elisabeth Schwarzkopf, Anton Dermota, Irmgard Seefried, Sena Jurinac, and Leopold Simoneau - all of whom recorded for EMI. By 1954, Schwarzkopf and Von Karajan were already big ticket talent at EMI (they also had exclusive contracts with Maria Callas, Victoria de los Angeles, Nicolai Gedda, Tito Gobbi, Giuseppe di Stefano ---- seven-eighths of the greatest opera singers in the world at the time). This recording of Mozart's "Cosi Fan Tutte" comes from the height of that period, and it's very impressive indeed. Von Karajan's musicians make the most of Mozart's lush music, and the entire performance has a "float" to it that I find eludes other presentations of this opera. The legendary and gifted Schwarzkopf sings a beautiful Fiordiligi ---her "Come Scoglio" a real piece of virtuoso singing covering a span of two and a half octaves. Her singing throughout the opera is exemplary (I cannot understand one critic years ago referred to her performance as "pufferies of sound"---he's dead wrong!).
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.

Average customer rating:

Not a bad BALLO
For Carreras fans only

Un Ballo in Marschera (Dig)
Verdi , Carreras , Caballe , Roh , and Davis
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Giordano - Andrea Chenier / Jose Carreras, Eva Marton, Piero Cappuccilli, Silvana Mazzieri, Riccardo Chailly, La Scala Opera
Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan

ASIN: B00006LENO
Release Date: 2003-02-11

Tracks:

Preludio - Colin Davis
Posa In Pace - Robert Lloyd
S'avanza Il Conte ... La Revedra Nell'estasi
Il Cenno Mio Di La Con Essi Attendi
Alla Vita Che T'arride ... Il Primo Giudice
Volta La Terrea Fronte Alle Stelle
Signori: Oggi D'Ulrica Alla Magion V'invito ... Ogni Cura Si Doni Al Diletto
Zitti... L'incanto Non Dessi Turbare ... Ogni Cura Si Doni Al Diletto
Su, Fatemi Largo, Saper Vo' Il Mio Fato
Che V'agita Cosi? ... Della Citta All'occaso
Su, Profetessa, Monta Il Treppie
Di' Tu Se Fedele Il Flutto M'aspetta
Chi Voi Siate, L'audace Parola Puo Nel Pianto Prorompere
E Scherzo Od E Follia Siffatta Profezia
Finisci Il Vaticinio ... O Figlio D'inghilterra
Preludio - Orchestra And Chorus Of The Royal Opera House, Covent Garden
Ecco L'orrido Campo - Montserrat Caballe
Ma Dall'arido Stelo Divulsa - Montserrat Caballe
Teco Io Sto. - Gran Dio! ... Non Sai Tu Che Se L'anima Mia Il Rimorso Dilacera
M'ami, M'ami! ... Oh, Qual Soave Brivido

Tracks:

Ahime! S'appressa Alcun! ... Tu Qui! - Per Salvarti Da Lor
Seguitemi. - (Mio Dio!) - Montserrat Caballe
Ve', Se Di Notte Qui Colla Sposa - Montserrat Caballe
A Tal Colpa E Nulla Il Pianto - Montserrat Caballe
Morro, Ma Prima In Grazia - Montserrat Caballe
Alzati; La Tuo Figlio A Te Concedo Riveder - Chorus Of The Royal Opera House, Covent Garden
Eri Tu Che Macchiavi Quell'anima - Chorus Of The Royal Opera House, Covent Garden
Siam Soli ... Dunque L'onta Di Tutti Sol Una ... V'e Oscarre - Montserrat Caballe
Il Messaggio Entri ... Di Che Fulgor, Che Musiche - Montserrat Caballe
Forse La Soglia Attinse
Ma Se M'e Forza Perderti
Ah! Dessa E La ... Ignota Donna Questo Foglio Diemmi ... Fervono Amori E Danze ... Altro De' Nostri E Questo
Saper Vorreste Di Che Si Veste ... Fervono Amori E Danze - Chorus Of The Royal Opera House, Covent Garden
Ah! Perche Qui! Fuggite ... T'amo, Si, T'amo, E In Lagrime ... E Tu Ricevi Il Mio
Ella E Pura ... Cor Si Grande E Generoso

Customer Reviews:

Not a bad BALLO.......2007-07-07

It seems to me that the one other reviewer (Sherlock Holmes' ladyfriend?)has been overly harsh on this recording. No question that tempos are a bit slower and more deliberate than usual and that Carreras sounds as good as he's ever been. Caballe does not sound listless or uninvolved to me -- more like someone caught in a romantic plot beyond her control. This recording strikes me as a bit of a warmup for DON CARLOS, with its king, queen and courtiers, all with their various agendas and all pretty much doomed. The Callas EMI set is also very good, with Gobbi a fine Renato. Listen to them both; this one has the advantage, so far, of mediuim price.

For Carreras fans only.......2006-04-27

The best (and only) reason to get this recording: Jose Carreras caught at his prime. His gorgeous voice will make you wish that Verdi had written more arias for Riccardo. Heck, he might as well have just sung all the male parts in this opera.

As long as you buy this recording with the understanding that Carreras' performance is the only merit it has, you won't be disappointed. In terms of overall performance, this is far from the best Ballo committed to record. Go for one of the more popular recordings if you are new to Ballo (either the Solti/Pavarotti/Price or one of the di Stefano/Callas recordings will do fine). The conducting is lackluster, which places a serious limitation on how the orchestra sounds. Caballe here is inexplicably mediocre: spiritless, wobbly interpretation; it's a marvel how she can sing such an elegant Violetta for Pretre just years earlier and somehow turn in such an ugly performance here. Wixell is an awful Renato, with none of the passion of Brunson. However, without a doubt, the worst performance here is the Ulrica. Her octave-wide vibrato on every single note sustained longer than a quarter-second is irritating in the extreme. If Ludwig and Simionato are the major leagues, this Ulrica doesn't know what a ball looks like.

If you decide that that's too much garbage to deal with for the sake of Jose Carreras, Opera d'Oro has a live recording of him in this opera, also in his prime. The individual performances there are better, though there are other caveats. Personally, it's a total toss-up between the two.

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman

Average customer rating:

Refreshing and Surprising!
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.
Best ever!!

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Beethoven: Symphonies Nos. 1-9 (Fra)
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Mozart Opera Glyndebourne Collection: Cosi fan Tutte, Don Giovanni, Le Nozze di Figaro, Die Entfuhhrung aus dem Serail, Idomeneo, Die Zauberflote (6 DVDs)
Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin

ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

Tracks:

Ouvertura
Terzetto 'La Mia Dorabella Capace Non E'
Duetto: 'Ah, Guarda, Sorella'
Aria: 'Vorrei Dir'
Quintetto: 'Sento, Oddio Che Questo Piede'
Coro: 'Bella Vita Militar!'
Quintetto (Con Coro) 'Di Scrivermi Ogni Giorno'
Terzettino: 'Soave Sia Il Vento'
Aria: 'Smanie Implacabili'
Aria: 'In Uomini, In Soldati'
Aria: 'Come Scoglio Immoto Resta'
Aria: 'Non Siate Ritrosi'
Terzetto: 'E Voi Ridete'
Aria: 'Un'aura Amorosa'
Aria: 'Una Donna A Quindici Anni'
Quartetto: 'La Mano A Me Date'
Duetto: 'Il Core Vi Dono, Bell'idolo Mio
Aria: 'Ah, Lo Veggio: Quell'anima Bella'
Rondo: 'Per Pieta, Ben Mio, Perdona'
Aria: 'Donne Mie, La Fate A Tanti'
Cavatina: 'Tradito, Schernito'
Aria: 'E Amore Un Ladroncello'
Duetto: 'Fra Gli Amplessi'
Aria: 'Tutti Accusan Le Donne'

Customer Reviews:

Needs better singers.......2000-10-15

I like the smart cover painting and the lively direction of Mackerras. However, the cast is nothing to brag about. Come Scoglio doesn't sound good, and the rest of the arias are only okay. The chorus, however, is magnificent. Overall, an okay recording and a generous highlights disc, but there are better choices out there.

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

Average customer rating:

Beyond all description...
An Absolute Must-Have for Any Pavarotti Fan
Wonderful!!!!

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Borat - Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Widescreen Edition)

ASIN: B00005O841
Release Date: 2001-11-13

Album Description

Disc 1: Donizetti Arias from L'elisir d'amore, Maria Stuarda, Lucia di Lammermoor, La Fille du Regiment, Linda di Chamounix, La Favorita, and Don Paquale

Disc 2: Bellini/Donizetti/Verdi Includes arias from I Capuleti e i Montecchi, Norma, La Sonnambula (1976 Duet Recording), I Beatrice di Tenda, I Puritani, Don Sebastien, Il Duca d'Alba, I Lombardi, I due Foscari, Ernani, and Attila

Disc 3: Verdi 1 Includes arias from Macbeth, Luisa Miller, Rigoletto, Il Trovatore, La Traviata, and Les Vepres Siciliennes

Disc 4: Verdi 2 Includes arias from Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello, and Requiem

Disc 5: Puccini Includes arias from La Boheme, Madama Butterfly, and Turandot

Disc 6: Puccini and Verismo Includes arias from Cavalleria Rusticana, Manon Lescaut, Pagliacci, Andrea Chenier, and Tosca

Disc 7: Arias 1 Includes arias from La Griselda, Atalanta, Orfeo ed Euridice, Don Giovanni, Cosi fan Tutte, Guillaume Tell, and more. Includes Unreleased Material.

Disc 8: Arias 2 Includes arias from Martha, Mefistofele, La Giocanda, Adriana Lecouvreur, Rosenkavalier, Fedora, Werther, Faust, Carmen, and more

Disc 9: Italian Songs Includes: In questa tomba oscura, Me voglio fa'na casa, Non t'amo piu, Pace non trovo, and more

Disc 10: Neapolitan and Italian Popular Songs Includes: O sloe mio, Torna a Surriento, Core 'ngrato, Funiculi Funicula, Non ti scordar di me, Mamma and more

Bonus CD: The 1964 EP (previously unreleased) "Che Gelida Manina," "E lucevan le stelle," "Questo o quella," "La Donna e mobile," and "Parmi veder" with Orchestra of the Royal Opera House, Covent Garden, Edward Downes conducting

Customer Reviews:

Beyond all description..........2006-09-19

As a boy, I heard so many hyperbolic references to the legendary Enrico Caruso that I chose to purchase a remastered copy of his "Greatest Hits" when I first began to acquire recordings as a young man. Soon after, I discovered Pavarotti and my life was changed by his music. Caruso ended up in the Goodwill Store. I am convinced that in 500 years, should the earth cool again and the Muslim hoards abate, the civilized world will still tell tales of the greatest tenor. I have often found myself grumpy when searching for recordings of Pavarotti because of the inconsistent fidelity of the recordings. That search for the definitive Pavarotti recordings, regarding both content and fidelity, has ended with the release of this extraordinary collection. Worth it's weight in gold, the Puccinni Volume (#5) alone is enough to send someone like me into hyperspace. I am astounded by the beauty and power of these performances. I will always remember the day, not long ago, when a NPR commentator glibly mentioned between the weather and the night's playlist the terrible words, "Luciano Pavarotti has announced that he is retiring from Opera." I felt as if something indescribably beautiful was fading from the world. Of course, beauty in all of its earthly forms is fleeting at best, but these discs contain a reflection of it that will surely bolster any soul.

An Absolute Must-Have for Any Pavarotti Fan.......2004-01-09

...and that certainly goes without saying. My one tiny little problem with it is that his recordings of "Santa Lucia" and "Caruso" are not on this incredible box-set. Even though I have those recordings on other CDs, I still think those are very important pieces to include on this set (assuming that this set of Pavi hits would be the only compilation that that any fan of this phenomenal tenor would have). He is probably my biggest idol, and he deserves to have been one of the biggest opera stars in history.

Wonderful!!!!.......2002-11-07

This Pavarotti set; The Pavarotti Edition; is a wonderful collection of Arias and songs that cover Luciano's great career. Pavarotti is THE Voice of the 20th Century and this set does him justice. It includes 10 CDs with over 750 minutes of music; Includes Music from All of His roles; has a beautiful 76 page full color booklet; Has a wonderful write up; and includes a bonus CD of Pavarotti's fist album, a 45, from 1964, which has never been released on CD before this set. Every Song is hear, This SET is a must have for every Pavarotti Fan.

Average customer rating:

The best chill and erotica box set ever!!!
Great Box Set but has Copy Protection!
Mucho Maestro

Mondo Morricone: The Trilogy

Manufacturer: Stereo Deluxe
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music

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Movie Soundtracks | Soundtracks | Styles | Music

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ASIN: B0000YO7S2
Release Date: 2004-01-27

Tracks:

Lucertola [From a Lizard in
Bambola [From Veruschka]
Alegretto Per Signora [Fromla Foto Proibite di una Signora Per ...]
Foto Proibite Di Una Signora Per Bene [From le Foto Proibite di ...]
Ritratto d'Autore [From LA Donna Invisibile]
Doricamente [From ...]
In un Sogno il Sogno [From LA Donna Invisibile]
Alla Luce del Giorno [From Love Circle]
Una Voce Allo Specchio [From LA Stagione Dei Sensi]
Metti Una Sera a Cena [From Love Circle]
Sauna [From Love Circle]
Belinda May [From Alibi]
Altro Mare [From Dirty Angels]
Donna Gattina [From Come Imparai Ad Amare le Donne]
Moda [From LA Donna Invisibile]
Po d'Ironica Acida [From One Can Die of Love]
Immagini del Tempo [From Alibi]
Poesia Di Una Donna [From Veruschka]

Tracks:

Citta' Violenta [From Citta' Violenta]
Alla Serenita [From LA Donna Invisibile]
Come Maddalena [From Maddalena]
Giocoso, Giocoso [From Evil Fingers aka the Fifth Chord]
Terraza Vuota [From Love Circle]
Amore Come Dolore ... [From le Foto Proibite di una Signora Pere Bene]
Sospiri da Una Radio Lontana [From a Town ...]
Secondo Intermezzino Pop [From le Foto Proibite di una Signora Per ...]
Cugina [From La Cugina]
Sorridimi Sorridimi [From Lovers & Liars]
18 Pari [From ...]
Voce Seconda ... [From Evil Fingers aka the Fifth Chord]
Cosa Avete Fatto a Solange [From Who [From Cosa Avete Fatto a Solange]
Cosa Buffa [From Funny Thing]
Svolta Definitiva [From Citta' Violenta]
Lidia [From Listen, Let's Make Love]
Ultimo
Bacio [From la Donna Invisibile [From the Invisible Woman]

Tracks:

Ninna Nanna Per Adulti [From Dirty Angels]
Casse [From Gli Scassinatori]
Malinconica Serenita [From il Mostro]
Dal Mare [From il Secreto]
Ninna Nanna in Blu [From Il Gatto A Nove Code]
Rodeo [From Gli Scassinatori]
Ma Non Troppo Erotico [From "The Burglers"]
Scusi, Faciamo l'Amore [From Scusi, Faciamo l'Amore [From Listen, ...]
Revolver (Lounge Music 1) [From Blood in the Streets]
Beat No. 3 [From Teorema]
Ipocrisa [From LA Smagliatura]
Mariangela E la Seduzione [From Il Gatto A Nove Code]
Una Chegrida Amore [From Love Circle]
Intermezzino Pop [From [From le Foto Proibite di una Signora Per Bene]
De Copalamo [From La Cugina]
Autostop Rosso Sangue [From Autostop Rosso Sangue]
Senza Motivo Apparente [From Senza Motivo Apparente]
Una Donna Di Ricordare [From Maddalena]
Nastassia [From "Cosi Come Sei"]
Matto, Caldo, Soldi, Morto...Girotondo (Reprise) [From Vergogna ...]

Customer Reviews:

The best chill and erotica box set ever!!!.......2005-03-16

I must agree with the previous writer; this CD set contains CDS-200 copy protection which requires you to install a program on your cpu to play highly compressed versions of the songs that sound like garbage! If one pays for the cd, then why can they not copy it to his player of choice? The music industry is totally going about combatting music piracy the wrong way! Maybe they should lower CD prices to compete with piracy, but then they would lose their huge profits. We all know that the musicians see little of that money anyway.

Enough of my ranting... this boxset is absolutely amazing! Forget about Morricone's spaghetti western music... this is where it is! The first disc is my absolute favorite, then followed by the third. His unique arrangements are comparable to no one. Although, the lounge revival is long past us, this music is timeless and will leave you begging for more.

Check out the soundtracks to Le Casse, Forbidden Photos of a Lady Above Suspicion, and La Donna Invisible.

Great Box Set but has Copy Protection!.......2004-09-22

Ennio Morricone is the master of Italian soundtracks. Listening to these gems transports you inside the movies! This is a great box set especially at the price being offered by Amazon. This same box set goes for $50 and more at other sites. But there's something very ugly lurking in this box set: It has the Macrovision CDS-200 copy protection. Which means people who enjoy taking their music with them on portable devices will have lots of Internet searching to do to find out how to rip these 3 wonderful CDs! Shame on Amazon for not pointing this out in their description. Other internet sites that sell this box set, do disclaim that it has copy protection. Macrovision has supposedly released a CDS-300 version of their copy protection, but there is no news regarding whether this box set will be re-released with the newer copy protection. The new version does allow you to rip it for personal use.

You can get around it, I won't tell you how, but you can! No, I'm not a pirate, I own over 800 CDs that I've purchased all legally, I don't trade my mp3s, but I like to take my music with me.

It's a shame that people like me that do purchase CDs instead of downloading the crap that's out there have to pay the price.

Sincerely,

Frank Castro

Mucho Maestro.......2004-06-10

I'm not sure which is more amazing--the sheer overwhelming volume of films Ennio Morricone has scored over the years, or the fact that he has produced so much beautiful music in the service of so many obscure, second-rate and otherwise forgettable ones. There is a generous sampling of the latter on display in this 3-disc set, culled from late-sixties and early-seventies films whose titles even the most hardcore of movie--or Morricone--fans would be hard-pressed to recognize. And yet, as always, the variety, the quality and the beauty of the music is unsurpassed. This is a compilation for the Morricone collector who thinks he's heard it all before--there is very little of the overlap or duplication found in so many of the other compilations of this great artist's work. All of which gives the music a fresh, vibrant quality while remaining unmistakably, inimitably Morricone. Cool packaging too.

Average customer rating:

Five stars for Yu Qiang Dai
Alagna the Over-rated -- He's fine for the deaf!
Alagna brings verismo favorites and rarities to 'real life'
5 for Variety 3 for Voice
What a cool recital!

Nessun Dorma; Roberto Alagna
Ermanno Wolf-Ferrari , Mark Elder , Roberto Alagna , London Voices , Ruggiero Leoncavallo , and Orchestra of the Royal Opera House - Covent Garden
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Bel Canto: Arias by Bellini & Donizetti; Roberto Alagna

ASIN: B0000DD76K
Release Date: 2003-10-21

Tracks:

Nessun Dorma!
Colpito Qui M'avete...Un Di All'azzurro Spazio (Improvviso)
Come Un Bel Di Di Maggio
Quando A Solden
Giulietta, Son Io
Non Parlate Cosi...Io Non Ho Che Una Povera Stanzetta
Musetta! O Gioia Della Mia Dimora!...Testa Adorata
Cielo E Mar!
Comare Lola...Viva Il Vino Spumeggiante
Mamma! Quel Vino E Generoso
La Dolcissima Effigie Sorridente
L'Anima Ho Stanca, E La Meta E Lontana
Dammi Un Amore Selvaggio E Ribelle
Che Piu Mi Resta! Tu Sola A Me Rimani
E Un Riso Gentil Qual'alba D'April
Mai Piu, Zaza, Raggiar Vedro
Tornato E Maggio Dopo Lungo Viaggio
Amor Ti Vieta
Un Orso In Musoliera Innamorato
Nessun Dorma!...O Sole! Vita! Eternita!

Amazon.com

Here Roberto Alagna takes on verismo arias, works which require a type of exclamatory delivery very unlike arias from the bel canto period or the French repertoire. The danger for any tenor in this music is overstatement and oversinging - passions run high in this music, and the orchestral accompaniment is big and aggressive. Alagna is, for the most part, remarkably successful, bringing interesting nuances to even the most familiar of the arias ("Nessun dorma," "Cielo e mar") and making a fine case for a beautiful, sad aria from Zandonai's Giulietta e Romeo and painting a vivid portrait of the drunken title character from Wolf-Ferrari's Sly. He occasionally sings sharp: a phrase or two at the close of Turiddu's "Addio" from Cavalleria and every so often in the otherwise mellow "Amor ti vieta." But this recital never bores or tires the listener, and there's a good chance that Alagna is finally living up to his reputation as "the fourth tenor." This is terrific, and worth repeated hearings. --Robert Levine

Customer Reviews:

Five stars for Yu Qiang Dai.......2005-01-28

It was a big shock to hear Yu Qiang Dai's debut cd. He is, I think, the best lirico-spinto tenor nowadays. He has a lovely voice, which is very well produced. The center is wonderful, the lower notes are good, the high notes are shining and of fantastic quality... the singing through the passage is very well handled. He is an itelligent musical interpreter and singer, with an interesting and appealing line and sense of style. Very good dynamic changes. He offers some of the absolutely best renditions of some arias (nessun dorma and cielo e mar, for example) that I have heard in many years.
He still has to work his Italian (specially the consonants) and his French. But there were great historical tenors with bigger idiomatical problems.

Despite taking spinto repertoire, Yu never pushes, never tries to make the voice sound darker than it is, everything is always under control, and he takes the chance to give very stylish renditions (for example, of una furtiva lagrima), which is strange for tenors who "want to sing spinto".

The tenor is a fantastic discovery, one of the best ones around. Actually, all my criticism goes to EMI and the production of the CD: no choirs, no solists (for example, for the aria of Cavalleria, where the mother should sing her line), and the acoustic "atmosphere" has made some people to doubt if Yu's voice is really as big as it seems (people who saw his Cavaradossi at Covent Garden say that it is very big, actually).
Not a the best production job by the people of EMI, but five stars (ten if possible) for the singer. Simply wonderful.

Alagna the Over-rated -- He's fine for the deaf!.......2004-12-18

For Heaven's sake, it is ludicrous to compare Alagna -- who has talent but is NOT one of the "greats" -- to the likes of Jussi Bjorling or Domingo. The only reason other reviewers are impressed by this recording is because they haven't heard these arias sung by other, better tenors. First of all, Alagna is a lyric tenor, not a dramatic tenor, and his voice simply isn't big enough to handle the material without displaying a highly unattractrive raspiness, almost a bleating sound, on virtually every aria on the disc. How come no one noticed it (or did his fans simply choose to ignore it)? Alagna can be expressive in his singing, and I have no quibbles with the orchestra or conductor, but this vocal rasp or near-choke hardly makes this CD a listening pleasure for the discerning opera fan. Mario Del Monaco, who had the right dramatic voice for this material, recorded an album of "Verismo" arias which is available on CD and shows how these works should be sung -- with great dramatic power and vitality, not to mention ringing high notes. Alagna hits the high notes, but they are hardly "ringing." This CD demonstrates all too aptly why Alagna has never really caught on with serious and discriminating, knowledgeable opera fans who are familiar with many different tenors of the classic period. Alagna is one of the most over-hyped singers of his generation.

Alagna brings verismo favorites and rarities to 'real life'.......2004-03-21

The composers of the verismo school made it their mission to take opera away from the gods, royalty and nobles which it had exclusively depicted in the previous centuries and to finally have it concern people who lived 'real lives.' Unfortunately, too many opera fans and performers - especially tenors - make the mistake of assuming that the intense passions and 'crude realism' depicted by these composers is a license for excessive sobbing, gulping, screaming, macho posturing and other inartistic distortions of the music and drama. Roberto Alagna doesn't. What is so wonderful about his new disc of verismo arias is that none of what he sings is here merely a 'tenor showpiece'. His emotion is absolutely genuine, never 'look at me emote!'. He is always totally in tune with the dramatic situations, and serves them with a wide palette of tonal colors and vivid word-painting made even more intense by the clarity of his Italian diction, as superb as his native French. Although he has plenty of power and drama when required, more often he sings sweetly, smoothly, gently, and lyrically, even in the heaviest repertory. Best of all, Alagna's recent tendency to overuse the darker, rougher sides of his voice in recordings of Italian works has disappeared. This CD is his best work in that language and his singing here bodes extremely well for his future live excursions into these roles.

The title track 'Nessun Dorma' sets the stage for much of what follows. I can think of no higher praise than to say that it recalls that of Jussi Bjorling. Although Alagna doesn't have Bjorling's blazing voice and unsurpassable tonal beauty, he provides just as much sensitivity, nuance, and soft singing - this is a young man in love with a beautiful princess, not a soccer fan. His Andrea Chenier truly is a poet - youthful, passionate and desperate, and is Loris is equally impressive. Turridu in 'Cavalleria Rusticana' is surely an ideal vehicle for this tenor of Sicilian parentage, with his high spirits and smile in the voice for the drinking song turning serious and repentant for 'Addio alla madre'. For Enzo in 'La Gioconda', Alagna's 'Cielo e mar' is thoughtful and introspective, with a gorgeous diminuendo on 'O sogni d'or'. And what a joy to have Maurizio in 'Adriana Lecouvreur' sung by such a beautiful lyric voice, especially with more lovely pianissimo singing in 'L'anima ho stanca'! Can we hope for at least a live performance of the complete opera with his wife Angela Gheorghiu, who would be ideal in the title role?

Of course, any CD project Alagna undertakes will include a high percentage of rarities, and the very best of these are 'variations on a theme' to operas that Alagna is already famous for singing. Many consider his greatest role to be Romeo in Gounod's 'Romeo et Juliette', so it is no surprise that he is just as moving a Romeo in the tender and passionate tomb scene from Zandonai's 'Giulietta e Romeo'. In going from Puccini's version of 'La Boheme' to Leoncavallo's, Alagna switches from Rodolfo to Marcello, who is the tenor lead in this version. Having heard this opera in its entirety, I had originally thought that it was interesting but clearly inferior to the Puccini. Now I'm beginning to think all it needs is the right cast! More Leoncavallo rarities show Alagna at his most lighthearted and ebullient, even while playing some rather unsympathetic characters, from the feckless, selfish prince in 'I Zingari' to the married man having an affair with the title character in 'Zaza'. But in the wonderful 'Tu sola a mei rimani, poesia' from 'Chatterton', written by Leoncavallo when he was 17, Alagna is once again a heroic figure unlucky in love.

The 'Song of the Bear' from Wolf- Ferrari's 'Sly' is another triumph. Alagna darkens his tone to a rich bronze to become both the drunken poet of the title and his alter ego, the pathetic, lovestruck performing bear. He even improvises a delightful growl after 'voglio l'orsa!' ('I want the she-bear!'). Giordano's 'La Cene della Beffe' with its tale of a tenor jester's terrible revenge, would be a superb stage vehicle for Alagna's considerable dramatic talents, although here we only hear the character sweetly serenading about love in springtime. It is also nice to hear 'Quando a Solden', Hagenbach's anguished apology to the title character from Catalani's 'La Wally', an opera known mainly for the soprano aria 'Ebben? Ne andro lontano'.

The only problem I have with this disc, and I considered but decided against deducting the final star because of this, is that at least in the familiar selections I find conductor Mark Elder's tempos a little too slow. Although this allows Alagna to be at his most expressive, it takes away from the drama and urgency that is so necessary in this music. The Covent Garden orchestra does their usual splendid job, as does London Voices in their choral contribution, and Marianne Coterill and Tasmin Dalley are fine as Lola and Mamma Lucia. In addition to a wonderful background essay by John Steane, the documentation includes full texts and translations and - FINALLY - a biography of Alagna, as well as one of Elder.

I hope Alagna will get the opportunity to perform much of this material on stage, especially the rarities, although it might be best to limit his appearances in these roles to small theaters. Although Alagna has recently left EMI to go freelance, I am sure we will hear and see more of him in this and other interesting repertory - especially as he wants all his roles on DVD. Until then, "Nessun Dorma" is an ideal showcase for the marvelous voice and adventurous spirit of one of the greatest tenors of our day.

5 for Variety 3 for Voice.......2004-03-19

First off I think that it is really awesome that Roberto Alagna is recording rare works. On the flip side of that coin I dont really see how his voice can last through much more.
It is very clear that Alana should not really touch Verismo. I don't say this to be cynical or dismissive, he just goes very sharp and shows alot of force. The voice is very comfortable in French lyric Rep. When building a carrer, I think, a singer must find what his voice natually tends to and build around that. Certainly you can test and push boundaries, but If you make it your whole life pushing boundaries, than the voice breaks down. A similar fate befell Carreras, Di Stefano and many other singers. When I say that he should not touch verismo, I don not say that he brings nothing to the table, but that his voice does not have squillo and he goes very sharp when he hits high notes under stress, a sign of forcing. There is no squillo in his tone or dramatic declamation, and he has picked up the odd habit of scooping to seeminly every higher note.

The real positive is the interpretative ability, it is clear that Alagna is really thinking about each note, expecially in his excellent stuff from Cavalleria. I really enjoyed the Aria from sly, and listen to it more than most of the other tracks combined. Overall this is a good buy for some arias that you probably havent heard before.
I am not suggesting that roberto Alagna will ruin his voice. I am suggested that he is slowly beating the bloom out of his high notes, and taking the flexibilty and bright color by doing many artificial things in heavier rep.
So although I enjoyed this disc, and would recommend its purchace, I don't think it is the idiomatic verismo voice that one might expect in a verismo recital disc.

What a cool recital!.......2004-02-18

After a downright magnificent account of Berlioz, Roberto Alagna ventures into an equally demanding world of verismo. With Ruggero Leoncavallo most prominently featured, a wealth of material abounds.
Some of the grounds covered here were recently treaded by Argentinean tenor José Cura. I would venture to say that while Cura's recital was unusual and interesting, the CD at hand provided a lot more exciting moments in its 65-min time span save for the double-take of "Nessun Dorma." (the "updated" version would be welcome on another disc, I don't believe we need to have them both here for contrast).
Alagna's matured tenor is remarkably agile and the top notes are very secure. Even the rare sharps don't sound out of place. While there is an occasional unsteadiness in upper range, he makes up for it by a strong attack and seemingly endless breath span. He is also able to infuse a little sob when called for - some argue that this sob and not a hair more is what verismo demands. Such treatment of little known aria from Zaza "mai piu, Zaza, raggiar vedro" brought to mind young Carreras on his extremely rare Philips album. It's really a heart-gripping piece and it's a shame that a full recording of the opera is not available. Aside from this brief comparison, I wish Mr. Levine et al would stop the senseless references to the "4th tenor". The only "package" deal that Alagna participates in is with the missus - soprano Angela Georghiu. I sincerely hope he would not ever consider forming another duo or trio and ever venturing into pop. It's better to be a leader than a follower, even if the latter approach makes more money.
With his latest two CDs, Alagna shines as a pioneer of wonderful, but forgotten material. I have little doubt that composers such as Zandonai and Franchetti just found legions of fans thanks to this recital. I hope to be treated to a full recording soon!

Average customer rating:

Excellent introduction to Tebaldi's art
Wonderfull
Classic Renata

Classic Puccini Recordings
Puccini , and Tebaldi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Andrea Chenier
The Complete Recordings, 1902-1920 (Box Set)
Wagner: Der Ring des Nibelungen
Puccini: Turandot

ASIN: B00006IU8W
Release Date: 2003-03-11

Album Details

Italian Soprano Renata Tebaldi was One of the Most Important Post-war Sopranos to Tackle a Wide Range of Puccini Roles, and During the 1950s She Recorded Several Complete Opera Recordings. Some of the Operas were Recorded Twice — in Mono and Then in Stereo. Amongst Those which Tebaldi Committed to Disc in the Recording Studio on Two Occasions Must Be Included La Bohème and Madama Butterfly. It is the Earlier, Mono Recordings of These Two Operas which Are Included Here and They Reveal a Fresh-voiced Tebaldi in Recordings Which, Despite the Stereo Remakes, have Stood the Test of Time.

Customer Reviews:

Excellent introduction to Tebaldi's art.......2005-09-29

This set covers the entire productive years of Tebaldi's recording career. Turandot, Butterfly and Boheme are from her earlier career while Tosca is from her later career. Since this Tosca recording is now out of print and is somewhat hard to find, this recording itself almost worth the cost of the set. In Turandot, you will find Tebaldi at her fresher voice, lovely and melting. Eventhough I would still rate Callas' first recorded Tosca as my first choice, this Tosca comes very close. Enjoy.

Wonderfull.......2005-08-19

Fantastic recordings at a very good price. Tebaldi and Del Monaco rule. You should definetely own this set.

Classic Renata.......2005-03-16

To say that these 12 disks contain some of the finest singing ever committed to disk is no exaggeration, but a simple statement of fact. Historical fact. In the 100 years (more or less) that Puccini operas have been around, only a few sopranos in each generation have been the equal of Renata Tebaldi. One cannot objectively say that anyone has surpassed her. Some opera lovers find her peerless in many of these performances. Personal tastes in singers vary, but no one ever sang these roles better. Few anywhere nearly so well. There is not a single note on any of these recordings that is not heartfelt to the core of her being. Like Maria Callas and Franco Corelli, she was luminous, gargantuan in her talent that personified an age. This is one of the great compilations.

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