A Voce V.2 [Import]

Product Description
Revivendo Label is Now Relaunching the Old LP in CD Format. 21 Tunes Performed by Ataulfo, Nora Ney, Carlos Galhardo, Orlando Silva, Deo and Others.

Tracks:

Una Voce Poco Fa - Sherrill Milnes
Dunque Io Son - Sherrill Milnes
Contro Un Cor - Sherrill Milnes
Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
Via, Caro Sposino - Ambrosian Opera Chorus
Tornami A Dir Che M'ami - Ambrosian Opera Chorus
La Morale In Tutto Questo - Ambrosian Opera Chorus

Tracks:

Vilia - Beverly Sills
Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
Libiamo Ne' Lieti Calici - John Alldis Choir
Un Di Felice, Eterea - John Alldis Choir
E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
Che Fai? - John Alldis Choir
Addio Del Passato - John Alldis Choir
Parigi, O Cara - John Alldis Choir

Amazon.com

Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith Eisler

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Here's what the fuss was all about!.......2007-07-17

It would have been even better if they had included at least one Cleopatra aria and something from Baby Doe, but it doesn't really matter, because this collection will allow younger listeners especially to hear what the fuss was all about! There are moments listening to Sills, especially from Traviata or Manon, that are so beautifully sung and so genuine that they are heartbreaking. I feel so fortunate to have heard her Queen of the Night, Manon, Violetta, and Baby Doe. She was so generous as a performer and as a humanitarian, and she really brought opera into the American mainstream.

Beverly Sills - The Best.......2007-04-01

What a voice. No coloratura can compare, and she makes it seem so easy.

Beverly Sills' highs are breathtaking!.......2006-09-18

Adio del Passato is incredible! Beverly's high, floating coloratura is no less than ethereal which takes you to another world. Her voice has given me so much joy that it is hard to say one recording is better than another because I love her Mozart album equally with her Bellini/Donizetti. It is so wonderful to have these recordings captured on CD! Enjoy!

THE 2005 OPERA CD OF THE YEAR.......2006-08-19

THIS CD WAS THE BEST OPERA CD ISSUED LAST YEAR, AND HAS CAUGHT THE WORLD'S EAR IN NO TIME. I WAS BUSY WRITING IN SÃO PAULO, BRAZIL, WHILE THE STATEOWNED FM RADIOSTATION, DEDICATED TO CULTURE, WAS SOFTLY PLAYING OPERA ARIAS IN THE BACKGROUND. SUDDENLY I HEARD THE MOST FANTASTIC RENDERING OF "SEMPRE LIBERA" FROM "LA TRAVIATA". I GOT UP, SAT BY THE RADIO AND WAITED TO KNOW WHO WAS SINGING... THEN GOT BACK TO THE COMPUTER TO ORDER THIS CD FROM AMAZON! INCREDIBLE: ONLY 17 BUCKS FOR THIS, WHILE QUITE A BIT OF TRASH IS SOLD FOR 30.40 AND MORE...
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!

EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22

EMI's "Very Best Of" series are perfect introductions to operatic singers of the 20th century. Once you hear these artist tribute albums (much like The Singers series) you will get hooked on the singer and seek out their full-length studio recordings. Beverly Sills was the first truly famous American opera star. One may argue that she was not, that she was merely a continued tradition of American divas such as Mary Garden and Lily Pons and which still continues today with Renee Fleming, Elizabeth Futral and Susan Graham. Beverly was raised in New York City, which is still her home, and which is the home of the New York City Opera and the Met, opera houses which rocketed her to fame. Her first success (not featured in this recording...UH WHY ?) was Cleopatra of Handel's Julius Caesar, a performance she sang opposite the illustrious baritone Norman Treigle. Those performances were legendary because coincidentally at the same time the Met was opening its new theatre and season with what became a disastrous Samuel Barber's Antony and Cleopatra starring Leontyne Price in an overblown, big-budget, epic fiasco. The great roles that followed the 1965 Cleopatra were Manon, Queen Elizabeth I in Roberto Deveraux, Maria Stuarda and Anna Bolena in the Donizetti Tudor Queen operas, Pamira in The Siege of Corinth (which were Sill's La Scala and belated Met debut. None of the Queens are featured in this recording, though its supposedly the Very Best Of. An aria from Rossini's Siege of Corinth is featured here however. What we are treated to however are fine lyric roles- Beverly Sills shone brightly and acted convincingly as Gilda in Rigoletto (the final scene is featured here) as Violetta in La Traviata, Thais, The Merry Widow (the beautiful Vilja is featured here)and the ingenue role of Norina in Don Pasquale is also showcased here. To each of these roles, Beverly Sills delivered an authenticity and dramatic interpretation, not ot mention beautiful, sweet tone. I love her pianissimos, her high notes, her chest register. It was the voice of Beverly Sills who first hooked me into opera. For a recording that should showcase her best work, Manon is not featured nor any of her prized French heroines- Marie in The Daughter of the Regiment and the heroines in Tales of Hoffman. Also not in here is the role that was her first success- the Broadway opera Ballad of Baby Doe. Even as such, the arias here are gorgeous. The Barber of Seville is in here and as Rosina she is playful and charming. Sills was a modern singer, with a voice that was beautiful but willing to sacrifice beauty for the sake of dramatic content. When Sills was once asked what she thought of the supposed rivalry with Joan Sutherland (which was never real and only gossip from partisan fans) Beverly said something to this effect -Joan and I are apples and oranges in our take on opera, we are Picasso and Monet. She would do anything for the effect of beauty and tone, I'd sacrifice beauty for the sake of dramatic text. Even as such, I see no ugliness to any of the roles here. All of them are beautiful to hear, full of rich floating celestial tones. It would have been nice to hear the roles that did call for Sills to step up the tense drama - Norma, will her recording ever be reissued by EMI ? Also, few people know that Beverly Sills sung role most would consider dangerous for her voice (though she sang them long before her career even took off)- Aida and Carmen!!

Average customer rating:

Tutto Fellini

Manufacturer: Sunny Side
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
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Nino Rota: La Strada; Il Gattopardo; Concerto Soirée
8 1/2: Original Motion Picture Soundtrack
Fellini Rota: Music from the Classic Films of Federico Fellini
Nino Rota: Music For Film
Il Postino (The Postman)

ASIN: B000BLI3FC
Release Date: 2005-11-08

Tracks:

LUCI DEL VARIETA / VARIETY LIGHTS music by Felice Lattuada
LO SCEICCO BIANCO / THE WHITE SHEIK music by Nino Rota
I VITELLONI / SPIVS music by Nino Rota
LAMORE IN CITTA / LOVE IN THE CITY music by Mario Nascimbene
LA STRADA music by Nino Rota
IL BIDONE / THE SWINDLE music by Nino Rota
LE NOTTI DI CABIRIA / NIGHTS OF CABIRIA music by Nino Rota
LA DOLCE VITA music by Nino Rota
BOCCACCIO 70 music by Nino Rota
8 1/2 / EIGHT AND A HALF music by Nino Rota
GIULIETTA DEGLI SPIRITI / JULIET OF THE SPIRITS music by Nino Rota
TRE PASSI NEL DELIRIO / SPIRITS OF THE DEAD music by Nino Rota
FELLINI SATYRICON / FELLINI SATYRICON music by Nino Rota
I CLOWNS the clowns music by Nino Rota
ROMA FELliniS ROMA music by Nino Rota

Tracks:

AMARCORD music by Nino Rota
IL CASANOVA DI FEDERICO FELLINI FELLINIS CASANOVA music by Nino Rota
PROVA DORCHESTRA ORCHESTRA REHEARSAL music by Nino Rota
LA CITTA DELLE DONNE CITY OF WOMEN music by Luis Bacalov
E LA NAVE VA AND THE SHIP SAILS ON music by Gianfranco Plenizio
GINGER E FRED GINGER AND FRED music by Nicola Piovani
INTERVISTA FELLINIS INTERVISTA music by Nicola Piovani
LA VOCE DELLA LUNA THE VOICE OF THE MOON music by Nicola Piovani

Album Description

In the 2-CD set, TUTTO FELLINI (All Fellini), the 33 tracks of this double CD take the listener in an musical journey where all the 33 movies by Federico Fellini are the stopovers. From VARIETY LIGHTS (LUCI DEL VARIETA) to THE VOICE OF THE MOON (LA VOCE DELLA LUNA) Fellini's first and last movies. Nino Rota's music on 16 tracks illustrates Fellini's masterpieces like LA STRADA, LA DOLCE VITA and EIGHT AND A HALF. All tracks have been re-mastered in Dolby-Surround.

Average customer rating:

The Best of Rossini
this is a magnificent recording for the price

The Best of Rossini

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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

Oratorios | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music
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The Ultimate Puccini Collection
The Most Famous Opera Arias
The Most Famous Opera Duets

ASIN: B000002SC0
Release Date: 1992-04-14

Tracks:

The Barber Of Seville: Overture
The Barber Of Seville: Largo al factotum (Figaro, Act I)
The Barber Of Seville: Una voce poco fa (Rosina, Act 1)
The Barber Of Seville: La calunnia (Basilio, Act I)
La Cenerentola: Overture
La Cenerentola: Nacqui all'affanno...non piu mesta (Angelina, Act II)
The Thieving Magpie: Overture
The Thieving Magpie: Di piacer mi balza il cor (Ninetta, Act I)
Semiramide: Overture
Semiramide: Bel raggio lusinghier (Semiramide, Act I)

Tracks:

William Tell: Overture
William Tell: Ils s'eloignent enfin...Sombre foret (Mathilde, Act II)
William Tell: Pas de six (Act I)
William Tell: Ne m'abandonne pas, espoir de la vengeance.. Asile hereditaire (Arnold, Act IV)
The Silken Ladder: Overture
Petite Messe solennelle: Domine Deus
Stabat Mater: Inflammatus et accensus
Peches de vieillesse: La Passeggiata
Peches de vieillesse: Un petit Train de plaisir
Peches de vieillesse: La Chanson du bebe
Peches de vieillesse: Toast pour le nouvel an
Peches de vieillesse: Duetto buffo di due gatti
Peches de vieillesse: La Danza

Customer Reviews:

The Best of Rossini.......2000-04-03

This album contains the overtures and the highlights of his main operas. "Sins of old age" is the favorite part, especially "the Cat's Duet".

this is a magnificent recording for the price.......1999-09-11

this is a great recordin

Sumi Jo - Bel Canto / Arevalo · ECO · Carella

Average customer rating:

The artistry of Sumi Jo
Nice Collection, Pure Voice. Slightly Weak High Notes
Angels sings like this...
This is a tribute to Bel Canto
Another Sutherland, yet even better...

Sumi Jo - Bel Canto / Arevalo · ECO · Carella
Gioachino Rossini , Vincenzo Bellini , Giuseppe Verdi , Gaetano Donizetti , Federico and Luigi Ricci , Giuliano Carella , Sumi Jo , Octavio Arevalo , and English Chamber Orchestra
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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
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ASIN: B000005E5A
Release Date: 1997-09-16

Tracks:

Semiramide: Bel raggio lusinghier
La Sonnambula: Care compagne
Falstaff: Sul fil d'un soffio etesio
I Puritani: Son vergin vezzosa
I Capuleti e i Montecchi: Eccomi in lieta vesta...Oh! quante volte, oh! quante
Linda di Chamounix: O luce di quest' anima
Tancredi: No, che il morir non e
I Puritani: Qui la voce sua soave
Crispino e la Comare: Io non sono piu l'Annetta
La Traviata: E strano, e strano

Customer Reviews:

The artistry of Sumi Jo.......2007-02-28

This CD shows Sumi Jo's bel canto technique off to good effect. She has a light agile voice that exemplifies top notch coloratura singing (and I know that bel canto and coloratura are not the same). Indeed, she probably must be rated as one of the best coloratura sopranos of the current era.

Some samples of her work. . . .

"Bal raggio lusinghier," from Rossini's "Semiramide" is enchanting. She displays, as always, an agile voice with a lovely quality to it. Her technique is good; this is fun to listen to. She hits a nice high note at the end.

From Bellini's "I Puritani," we have "Son vergin vezzosa." There are iconic versions of this, first, from Joan Sutherland, and, second, from Beverly Sills. However, Sumi Jo's rendering of this work stands well in comparison. She sings this at a quick pace, as seems appropriate. She shows a nice trill; her florid singing is nicely done. She hits high notes cleanly, although one appears a bit thin and strained--but that's a mere quibble. The repeat is very well done.

"O luce di quest'anima," from Donizetti's "Linda di Chamonix," is also well sung. The opening portion is prettily sung. The cabaletta picks up the pace. She shows off nice appoggiaturas and her singing is, as always, very agile. She displays a decent trill before the final high note.

And then there is one of the great showpieces for coloratura sopranos, "Qui la voce. . .Vien diletto," from Bellini's "I Puritani." "Qui la voce" is poignantly and touchingly sung, showing some nice characterization. The cabaletta is smoothly and agilely sung the first time through. Her voice sounds quite sweet in the slower parts of this segment. The repeat features nice ornamentation, including a good trill here and there. Her repeat is not as florid as some, but it is nonetheless nicely done. The final high note is hit dead on.

Finally, from Verdi's "La Traviata," "E strano". . ."Sempre libera." This has been well sung by many who came before her, such as Renata Scotto and Anna Moffo from decades ago. Her singing seems to represent a nice characterization of the doomed Violetta. The early parts are well sung and expressive. "Sempre libera," of course, picks up the pace. And so does Jo. She handles the demands of this music well. She, once more, manifests considerable vocal agility. The repeat is fine, with some nice runs and a final high note well done.

In short, this is a good representation of the work of Sumi Jo. For what it's worth, in my estimation, she rates very high among the current crop of coloratura sopranos, alongside Natalie Dessay, for instance. With singers such as these, the current generation of coloratura sopranos ranks well against their historical predecessors.

Nice Collection, Pure Voice. Slightly Weak High Notes.......2003-04-09

I don't want to say more about her since she is too famours to introduce. I just bought two of her cds recently, which I had big expection for her.

Undoubtly, she has beautiful voice and wonderful coloratura style, I was amazed by the flexiblity in her voice. However I was slightly disappointed by the weakness in her high notes. It seems that she never has strong high notes, and those high notes can't last as long as Dilber's or Organasova's.

Sorry to say this to the pretty Sumi.

Angels sings like this..........2002-06-18

This is, without doubt, the most beautiful bel canto recital disc since Dame Joan's Art of the Prima Donna. Sumi Jo is without equal in this repertoire today. Her interpretations are immaculately rendered and her technique (just incredible) is beyond reproach.

This disc is worth ever penny because it contains the best Elvira ever recorded. Sumi's angelic (albeit small) voice floating above a chamber orchestra creates one of the most intimate operatic portraits of Elvira in recent history. Callas gave us penetrating pyscholgical insights into Elvira, Dame Joan gave us vocal fireworks, but Sumi Jo IS Elvira. She's simply exquisite.

This is a tribute to Bel Canto.......2002-01-06

This record is realy a Tribute to Bel Canto.
When we talk about bel canto, we have to refer Sutherland. Dame Joan had (has) the most beautiful voice I've ever heard. The range of her voice is incredible and I have to desagree with the reviewer that says that Sutherland lower range was heavy. It was strong, not heavy. With that voice range she could do any kind of reportoire.

Now, let's talk about Sumi Jo. Miss Jo is realy a coloratura Soprano and in bel canto she is the best we have now. All the high notes are very clean and she has no difficulties to reach them. Qui la voce sua soave is very good, I even prefer this interpretation over Sutherland's.

Well, she is not Sutherland, but she is with no doubt a Tribute to Bel Canto.

Another Sutherland, yet even better..........2000-12-28

As I have explained in another review I wrote of Sumi Jo's music, she has become one of my favorite sopranos. I started out with Dame Joan Sutherland, La Stupenda herself in her recital disk "The Art of the Prima Donna." A fantastic CD. And I must say that it has been hard to find other sopranos that could do as well as Dame Joan in such traditional bel canto repertoire. You know how it is, once you hear one version, it's hard to find another that is better. And although some of the arias on this CD are different than you find on Sutherland's, they are just as great, if not better. What one finds with Sumi is a gorgeous voice, clear and pure throughout(not mushy and heavier as Sutherland had in her lower range... Ahhh!! I can't believe I admitted it... I hate to put Sutherland down), and the enunciation is never a problem. So what is there to complain about?... Nothing really, except maybe if her top note wasn't a high F, and instead a C above high C, and then I wouldn't like Natalie Dessay just for her high notes(she has a high A flat I believe). But a high F is more than enough for any bel canto piece as Sutherland showed us throughout her career(I just love high notes, the higher the better).

Now that I've settled with my love of the voice... the recording itself is to be talked about. Bel raggio lusinghier from Rossini's Semiramide is the first track. A different interpretation than Sutherland, but gorgeous. All throughout this recording, Sumi Jo shows us just how effortless her coloratura is, and this track especially conveys this. As for Sumi Jo's lyrical skills, the perfect track for that is track 5, "O quante volte" from Bellini's "I Capuleti e I Montecchi." What a gorgeous Juliette she is! And if only the previous reviewer knew I was going to see Sumi this coming February in this exact role. I know I can't wait, and I'm sure Ms. Jo will not disappoint. Anyways, this entire recording, each and every song is wonderful. And the Violetta aria from Verdi's "La Traviata" is a nice end to the CD, summing up just how great Sumi Jo is. To those who say bel canto has withered away lately, they should hear this disk. Sumi Jo would convert them right away. And could there be no better praise than the fact that Sutherland's husband Maestro Richard Bonynge has worked with Sumi Jo... Afterall, his wife was practically the Queen of Bel Canto. It's obvious that Bonynge has found his new reigning queen. We could be in for a real treat in the coming years!!!

This is bel canto at its finest. Enjoy

Tracks:

Giulio Cesare: Act III, Aria: 'Da Tempeste Il Legno Infranto' - Gundula Janowitz
Giulio Cesare: Act I, Aria: 'Svegliatevi Nel Core' - Tatiana Troyano
Die Zauberflote: Aria: 'O Zittere Nicht' - Arleen Auger
Le Nozze Di Figaro: Act II, Arietta: 'Voi Che Sapete' - Tatiana Troyanos
Le Nozze Di Figaro: Act IV, Recitative And Aria: 'Giunse Alfin Il Momento'/'Deh Vieni, Non Tardar' - Arleen Auger
Le Nozze Di Figaro: Act III, Recitative And Aria: 'E Susanna Non Vien'/'Dove Son' - Gundala Janowitz
Arabella: 'Aber Der Richtige, Wenn's Einen Gibt' - Gundula Janowitz/Arleen Auger
Ariadne Auf Naxos: Final Prologue: 'Sein Wir Wieder Gut' - Tatiana Troyanos
Ariadne Auf Naxos: 'Grossmachtige Prinzessin' - Arleen Auger
Vier Letzte Lieder: 'Fruhling' - Gundula Janowitz
Vier Letzte Lieder: 'Im Abendrot' - Gundula Janowitz

Tracks:

Der Rosenkavalier: Trio: 'Marie Theres'!/'Hab' Mir's Gelobt' - Gundula Janowitz/Tatiana Troyanos/Arleen Auger
Der Rosenkavalier: Duet: 'Ist Ein Traum, Kann Nicht Wirklich Sein' - Arleen Auger/Tatiana Troyanos
Die Entfuhrung Aus Dem Serail: Act III, Aria: 'Ich Baue Ganz Auf Deine Starke' - Nicolai Gedda
Die Entfuhrung Aus Dem Serail: Act I, Aria: 'Ach Ich Liebte, War So Glucklich' - Arleen Auger
Die Entfuhrung Aus Dem Serail: Act III, Recitative And Duet: 'Welch Ein Geschick' - Arleen Auger/Nicolai Gedda
Capriccio: Scene 4, Sonnet: 'Kein Andres, Das Mir So Im Herzen Loht' - Nicolai Gedda
Ariadne Auf Naxos: 'Grossmachtige Prinzessin' - Arleen Auger
Les Pecheurs De Perles: Act III, Scene: 'Oh! Ciel, Quel Trouble!' - Nicolai Gedda
Lakme: Act II: 'Ou Va La Jeune Indoue' - Arleen Auger
Benvenuto Cellini: Tableau 4, Scene 8: 'Seul Pour Lutter, Seul Avec Mon Courage' - Nicolai Gedda

Customer Reviews:

Sheer Delight!.......1999-05-20

Three great artists in their prime, in ravishing live performances. What a treat! Janowtiz's Handel is less than exciting, and why Arleen Auger sings Zerbinetta's aria TWICE is beyond me, but those quibbles aside, these generously filled discs are a sheer delight

Average customer rating:

Beverly Sills: The Legend
A must for all opera lovers!
This is the favorite of all my opera recordings.

The Art of Beverly Sills

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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The Very Best of Beverly Sills
Art of Beverly
Beverly Sills

ASIN: B000002S40
Release Date: 1992-09-29

Customer Reviews:

Beverly Sills: The Legend.......2003-12-05

The Art Of Beverly Sills are cd recordings that come in two volumes. If I'm not mistaken, this is Volume 2. Beverly Sills was a red-haired American opera diva who took the world by storm in the 60's and 70's. The singing sensation and phenomenon that was Beverly Sills is still talked about to this day. Her LP recordings have been digitally remastered like new and available on most music stores' classical music/opera section. They are also available right here at Amazon.com. Beverly's performances in "The Ballad Of Baby Jane Doe", "Julius Caesar" "La Fille Du Regiment" "Lucia Di Lammermoor" Donizetti's Tudor Queen Trilogy, Manon, Thais, Don Pasquale, La Traviata and many others.

In this compilation album, we find Beverly Sills taking on Verdi arias from "Vespers" and "Ernani". As always, the amazing coloratura that made Beverly Sills so famous is present in the singing, even if Sills is past her prime and closer to the decline of her voice. The best studio recordings and live recordings that find Beverly Sills in her best form are "Ballad Of Baby Doe" "Giulio Cesare" "La Fille Du Regiment" "Manon" "Lucia" and the Donizetti Tudor Queens- Anna Bolena, Maria Stuarda and Roberto Devereux. It was after singing these often precarious opera roles that require a heavyweight voice, and after singing such dramatic roles as Lucrezia Borgia and Norma that Beverly Sills voice took a toll. But she knew it was worth it because she went out in a blaze of glory. In addition to Verdi, there are the charming coloratura showcases from Offenbach's "Tales Of Hoffman" Olympia's Doll Song and the lively aria from Donizetti's Don Pasquale. The lyric and restrained beauty of Mozart's Zaide aria is highly exceptional and Beverly sings it to perfection. Also here are an aria from Manon, which was one of Beverly Sills' finest performances as well as the lighter texture of the operetta "Der Opernball". This cd provides a varied and insightful look at the legendary songbird. This is a must have for all fans of Beverly Sills who are constantly looking for rare recorded material. The most rarest material on here is Beverly Sills singing Juliet from Bellini's "I Capuleti e Montechi" (Capulets and Montagues) which is still considered an obscure bel canto opera and neglected in the light of Gounod's "Romeo and Juliet" which far outshone it. Beverly Sills singing Juliet is an opera treasure and Sills attempted to popularize the opera and to make it at least as successful as Gounod's.

A must for all opera lovers!.......2002-02-27

This CD is awesome! Sills has outdone herself and so has EMI, picking some of her finest work with arias from recital discs and complete operas. The opening aria from the Vepres Siciliennes is, in my opinion, the best recording of this terribly difficult bolero. Sills said that she had a very high fever and was hospitalized after recording four Verdi arias (this being one) and that she had no recollection of ever recording them at all!!! She thankfully does not take the high E at the end.

The Massenet gavotte from Manon is splendidly sung, as is the Doll Song from the Tales of Hoffman. Sills may have some off pitch staccatos in the Doll Song, but it sung with such swagger and confidence that one hardly notices!
The Mozart and Strauss are done in long breathed, beautiful phrases and are like silk to the ear.
The Ernani involvami from Ernani is, like the Vepres aria, definitive, at least to my ear. It has rarely if ever been sung so effortlessly with drama and character. The coloratura and high notes are splendidly sung leaving nothing to be desired!
Una voce poco fa from the Barber of Seville is also very fine, though Sills was past her best when she made this recording. She certainly sounds like the caged viper, tossing off coloratura without batting an eyelash. (Check out her earlier live recording of this aria on the Sillsiana disc -WOW!!!!! The very best, ever!). The final excerpt from Don Pasquale is similarly successful. This is late Sills but this recording finds her voice in excellent condition. Her little giggles are wonderfully caught and the vivaciousness of the character is vividly conveyed.
This disc is one of the bibles of opera singing. Get it!

This is the favorite of all my opera recordings........1999-01-03

I was an opera major at the Cincinnati College-Conservatory of Music in the late'60's, when Beverly Sills came to perform at the famous Cincinnati Summer Zoo Opera. She also came to the conservatory to give master classes. I was a dramatic soprano, but knew she was one of the best coloraturas of her day, and knew there would be much to learn from her.

To be honest, when I heard her performance, I recognized that she was very, very good, but "best of all?" I wasn't so sure.

Then, years later, I heard this anthology recording of arias done in her prime and at her very best. Wow, this is flat-out the best singing I have ever heard.

I have given this recording to so many people I can't count. I wish it would be reissued.

Tracks:

Madama Butterfly, Un Bel Di Vedremo
Carmen, Lamour Est Un Oiseau Rebelle (Habanera)
La Wally, Ebben Ne Andro Lontana
Il Barbiere Di Siviglia, Una Voce Poco Fa
Norma, Casta Diva
Samson Et Dalila, Mon Coeur Souvre A Ta Voix
Rigoletto, Caro Nome
Verdi La Traviata, Sempre Libera
Romeo Et Juliette, Je Veux Vivre Dans Ce Reve
Puccini: La Boheme
Don Giovanni
Cavalleria Rusticana
La Gioconda
Puccini: Gianna Schicchi
Puccini: Turandot
Puccini: Tosca

Tracks:

Divinites Du Styx
Les Tringles Des Sistres Tintaient
Surta E La Notte
In Quelle Trine Morbido
Ritorna Vincitor
Jai Perdu Mon Eurydice
Bolero: Merce Dilette Amiche
Depuis Le Jour
Donde Lieta Usci
Ah, Pour Ce Soir
Teneste La Promessa
O Don Fatale
Printemps Qui Commence
Compagne Teneri Appena
Ecco: Respiro Appena
Spargi Damaro Pianto

Tracks:

La Mamma Morta - Andrea Chenier
O Nume Tutelar - La Vestale
Je Ne Suis Que Faiblesse - Manon
Oh, Sara La Piu Bella....Tu, Tu Amore? - Giuseppe Di Stefano (Tenor)
Pres Des Remparts De Seville (Seguedille) Acte I - Carmen
Dunque Io Son Atto - Barbiere Di Siviglia
Dov' E L'indiana Bruna? - Lakme
Qui Radames Verra!...O Patria Mia - Aida
O Soave Fanciulla - La Boheme
Signore, Ascolta! - Turandor
Qual Fiamma Avea Nel Guardo...Hui! - Pagliacci
D'amor Sull' Ali Rosee - Trovatore
Vagliatemi Bene, Un Bene Piccolino - Madama Beutterfly
Ombra Leggiera - Dinorah

Tracks:

Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview
Interview

Amazon.com

In case there was a moment in your life when your suspected that Maria Callas was not a driving force in opera in the last half of this century, pick up this set. Apparently unable to give a dull performance, here we get Callas in La Divina as Rossini's flirty Rosina; Verdi's emotion-torn Aida; Catalani's unbelievably sad Wally (a classic performance, by which all others are measured); Bellini's Norma (ditto); Puccini's lovely, youthful Lauretta in Gianni Schicchi; the same composer's frigid, furious Turandot as well as his confused, desparate Manon Lescaut; Verdi's Loenoras--each noble; Meyerbeer's ditzy Dinorah and Delibes's loco Lakme (in some fabulous, high-flying coloratura singing); and at least a dozen more roles. While it's true that her control over her voice varies--the French coloratura arias, from Gounod and Thomas operas, can be pretty acidic--there's never an uninterested reading, never a once-over read-through. You'll get to know the characters as well as their music by hearing Callas as each heroine--indeed, this collection is like a who's who in opera. No music lover should be without it. --Robert Levine

Customer Reviews:

Mesmerizing set. La Divina's gift to the world........2006-07-30

I have listened to this 4-cd set numerous times and each occasion yields an abundant harvest. Maria Callas, one of my favorites, thrills, exalts, and saddens the listener to no end. You don't have to be a classical music fan to enjoy and be moved by this music. I cannot find words to substantially explain the beauty and meaning of this set.

Thank you La Divina.

Breathtaking!.......2006-06-11

I am no expert, I just love music. I bought this set in order to get an overview of what Callas offers, boy did I get more than I bargained for. There are many wonderful sopranos, I won't say this one or that one is better... its like good wine, what you choose to drink depends on your mood. Sutherland is purity, Bartoli is sheer joy, Callas is darkness. For me she is the Schubert of the voice and she can make me weep, that is her power, pure and simple.

Callas is Still Opera's Queen.......2005-01-25

With the apparent genius embedded in Callas' singing, it is no wonder that decades after her death, her voice will still echo within the chambers of our living rooms. Her great sense of the bel canto style, combined with the empassioned soul she juxtaposed into her performances, along with her amazing control over the three hundred (acclaimed conductor Nicola Rescigno said this) voices she had, are undeniably the reason why such a controversial singer survived the passing of time with a legion of fans still eager to submit to her amazing and passionate singing. She had the ability to chop a singular, monotonic-sounding instrument to convert it into a million shades of human emotion--something that no great singer was able to do today. She was the divine goddess of opera, able to command any listener to watch and listen to her declaim her roles. It was because of this that she was called "La Divina", and then many years later as "The Voice of the Century". But what defines a Voice of the Century, you might ask? It is the ability to live the life of a character all the while singing the lines, the melodies, the trills, and the embellishments required to bring a certain degree of drama into the role. Meaning there was no need for overornamentation, or such and so. Being the Voix du Secle didn't mean that you could sing coloratura roles so efficiently. If that were so, then Lily Pons would have been the Voice of the Century. Callas did so much more than that. She breathed life into opera, and turned it into the most illustrious and the most highly celebrated of all arts. No other singer can claim to have done that, no matter how amazing the range, how great the tonal quality whatsoever. Only Callas deserves such a title...and she truly was La Divina and The Voice of the Century.

I am also a big fan of Joan Sutherland. I just don't find it right for her to be tackling overly dramatic roles such as Norma, which her middle voices couldn't support. The middle voice is required for Bellini, you know. Joan Sutherland has a perfect vocal technique, but let me let you in on something divulged to me by an authority in music: Joan Sutherland never learned to read notes. She had a perfect sense of hearing, and it was Andre Previn and not Richard Bonynge who introduced the roles to her. Andre Previn would play a note on the piano, and she would just follow by singing. Surprising isn't it that the most celebrated coloratura of our age never learned to read notes? She has a great voice anyhow, but the only other thing that bothered me is that she didn't put her soul into singing. Although her voice remained in her throat until her 60's, the only reason that happened was because she didn't pour out her soul. Callas' technique, although one of the most attractive ever to have walked this planet (she could very well sing anything and be the character), was damaging to the vocal cords. Pouring your soul into the role has a tendency to scratch your instrument. Still, she was the Divine One, and she truly places first as my favorite soprano of all time.

Grand.......2004-05-21

Why won't this Callas-Hater leave Maria alone? If he hates her so much, why did he listen to all her recordings? I doubt that he did, bashing a perfect recording like Callas' Aida shows he hasn't heard it. Even Callas' enemies were floored by her Mexican performances. This collection is absolutely magnificent. La Divina will always be La Divina and no one comes close!

The divine Callas.......2004-05-08

An awesome collection of the most supreme voice in the world! Brava La Divina!!!!!

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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Maria Callas - At Covent Garden 1962 and 1964

ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Average customer rating:

Prima Voce: Schipa in Song

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Latin Music | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Nimbus Prima Voce: Tito Schipa

ASIN: B0000037KQ
Release Date: 1995-08-08

Tracks:

Son Tutto Duolo
Le Violette
Sento Nel Cor
Nina
Serse: Ombra Mai Fu-Largo
Orfeo Ed Euridice: Che Faro Senza Euridice
O Del Mio Amato Ben
Liebestraum - Tito Schipa/Jose Echantz
La Farfalletta And La Girometta - Tito Schipa/Jose Echantz
Princesita
Emigrantes: Granadinas
La Partida
Alma De Dios: Cancion Hungara
Mi Viejo Amor
A La Orilla De Un Palmar
A Granada: Cancion Andaluza
Guyana: Ay-Ay-Ay
A La Luz De La Luna - Tito Schipa/Emilio De Gogorza
Los Rumberos - Tito Schipa/Emilio De Gogorza
Siete Canciones Populares Espanolas: Jota
En Effeuillant La Marguerite
Aimant La Rose: Le Rossignol

Average customer rating:

The Essential Coloratura Album

The Viennese Nightingale

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Strauss, Saint-Saens / Rita Streich
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ASIN: B0000U1NGU
Release Date: 2004-02-10

Customer Reviews:

The Essential Coloratura Album.......2007-02-16

The artistry of Rita Streich presented in this multi-disc set represents an art that in all likelihood would not return: the Viennese school of coloratura and lyrical singing.
Together with Elisabeth Schwarzkopf, Rita Streich studied voice with Maria Ivogun, a great coloratura soprano of the German-Austro school. Together with her colleague, Streich excelled in the Viennese-style coloratura singing. This album presents her wide range of repertoire from Austro-German to French to Italian opera; from classical opera to romantic Strauss operetta; from lieder to folk songs.
What this album does NOT include is Streich's Russian repertoire, some thing that, owing to her maternal descent, she was most adept at.
Unlike Schwarzkopf, Streich owned a voice that is out-right lyrical. It is even lighter, even more agile, even more silvery, though not as forceful as Schwarzkopf's on demand. Listen to her delightful "Bastien und Bastienne", her Mozart concert arias and enjoy her highly articulated, musically refined delivery. It is the exemplary Viennese singing. Her soubrettes as well as lyrical heroines are nothing short of being superb.
Not being as internationalised a singer as Schwarzkopf, Streich nonetheless was a representative figure of Viennese coloratura singing. Some times I would even feel that her coloratura is even more superior to that of the great dramatic coloratura of the 20th century, Joan Sutherland, again a very much more internationalised singer than Streich.
If you are undergoing voice training, this box set is essential.

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