Giorni [Import]

1. Volere Volare

2. Qualcosa Di Me

3. L'astronauta

4. Eleonora Non Si Innamora

5. Cigno Macigno

6. Lascia Stare I Cantanti

7. Siamo Noi

8. Volere Volare

9. Sono Mica Fuori

10. Il Coccodrillo Vegetariano

11. Rita

12. Dimenticata

Giorni,Straga,Sony,World Music

Average customer rating: Magnificent Stunning Whitman's Sampler of Vivaldi Vocal Magic A Treasure Trove of Vivaldi Opera Arias and Ensembles

Vivaldi Edition: Operas Manufacturer: Opus 111 ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music $9.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Vivaldi, Antonio | ( V ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Vivaldi Edition: Arie d'Opera Vivaldi Edition: Juditha Triumphans Vivaldi: Bajazet [Includes Bonus DVD] Sandrine Piau - Handel Opera Seria Vivaldi: Griselda ASIN: B00022LDI4 Release Date: 2004-08-17

Customer Reviews:

Magnificent.......2006-09-09

This audio CD is the perfect vehicle to drive anyone crazy about Vivaldi operas. All arias seemed to have been carefully selected across many opera albums from Naive's Vivaldi Edition to entice the listener to hear those works. Magdalena Kozena astounds brilliantly with two arias from Juditha Triumphans "Veni, me sequere fidu" and "Agitata infido flatu". In "Agitata" Kozena perfects two long legatos and tops them with a climatic trill. In "Veni", she hypnotizes with a cadenza evocative of a dove's sinusoidal singing. The Naive label should do well in producing another similar CD now that it has recorded additional Vivaldi Operas to draw from.

Stunning Whitman's Sampler of Vivaldi Vocal Magic.......2005-04-06

This is as strong a sampler of Vivaldi's operas as one can get without purchasing entire opera recordings. Highlights from four have been selected here, each recorded in complete form on the Naïve label. They are "Orlando finto pazzo", "La verità in cimento", "Juditha triumphans" and "L'Olimpiade". What the producers have chosen here is the true cream of the crop, a roster of superb, top-of-the-class performances from nearly a dozen world-class singers.

Rising countertenor Philippe Jaroussky starts the program off with an almost religious-sounding lament as Zelim from "La verità in cimento", which he sings in a strikingly ethereal manner. But the women rule the roost in this recording. Mezzo-soprano Magdalena Kožena makes clear why she is moving quickly to the major leagues by singing two magnificent arias from "Juditha triumphans", "Veni, veni, me sequere fida", caressed by a clarinet-like instrument called a chalumeau, and "Agitata infio flatu", where she captures the sweeping fury of her character with stunning flourish. Contralto Sara Mingardo is another stand-out with her double-dip, full-throated voice dodging the aggressive strings on Licida's aria from "L'Olimpiade", "Gemo in un punto e fremo," and expertly riding the dramatic playing of Ensemble Matheus on Melindo's aria from "La verità in cimento", "Mivui trader, lo so". If not quite in the league of Kožena and Mingardo, soprano Roberta Invernizzi and contralto Sonia Prina acquit themselves admirably with an aria each and especially when they perform the striking duetto of Megacle and Aristea from "L'Olimpiade", "Ne'giorni tuoi felici". There is also an impressive quintetto from "La verità in cimento", "Anima mia, mio ben", which for maximum dramatic impact emphasizes the disparate voices of Jaroussky, Mingardo, tenor Anthony Rolfe Johnson, mezzo-soprano Guillemette Laurens and contralto Nathalie Stutzmann. The disc ends appropriately with a beautiful choral piece, "O quam vaga, venusta, o quam decora" from "Juditha triumphans" with the Coro Giovanile dell'Accademia Nazionale di Santa Cecilia, led by soprano Marina Comparato.

Rarely has a compilation disc sounded so seamless and without the additional burden of carrying different story contexts. Aurally it sounds like one consolidated piece, and credit needs to go to music directors Alessandro De Marchi, Rinaldo Alessandrini and Jean-Christophe Spinosi, who conducted the originally presented operas. Strongly recommended especially for neophytes to Vivaldi's operas like myself.

A Treasure Trove of Vivaldi Opera Arias and Ensembles.......2004-10-02

The National Bibliotheque in Turin, Italy is the repository for uncounted manuscripts by Antonio Vivaldi (1678-1741) and includes more than twenty opera scores, many of which have not seen productions since the 18th century. The Opus 111 record label is industriously releasing performances, about one a season, of these gems and their intention is to record all these scores, plus many arias and ensembles that have become separated from their complete works. This CD is a compilation of music from four of those works - 'La verità in cimento,' 'Juditha triumphans,' 'L'Olimpiade,' and 'Orlando finto pazzo,' all of which have already been recorded as complete operatic performances. The producers of this set have selected some of the choicest morsels for those music-lovers who would not otherwise obtain all four complete sets. The musicians involved - a different group for each opera - are among the most honored among singers and instrumentalists currently performing baroque works. The instrumental groups include the Academia Montis Regalis conducted by Alessandro de Marchi, Concerto Italiano conducted by Rinaldo Alessandrini, and Ensemble Matheus conducted by Jean-Christophe Spinosi. Singers include such standouts as sopranos Marina Comparato, Gemma Bertagnoli, and Roberta Invernizzi, mezzos Magdalena Kozena and Guillemette Laurens, contraltos Sara Mingardo, Nathalie Stutzmann and Sonia Prini, countertenor Philippe Jaroussky, tenor Anthony Rolfe Johnson, and basso Sergio Foresti--an outstanding collection of talented performers.

It would be impossible to comment about all sixteen selections here, but I would want to single out Magdalena Kozena's delectable performance of 'Veni, me sequere fida' from 'Juditha triumphans,' with the luscious solo contribution of an unnamed player of the chalumeau (an ancestor of the modern clarinet). [By the way, 'Juditha triumphans' is actually a dramatic oratorio, but it has sometimes been staged as an opera.] Also outstanding is the dramatic 'Gemo in un punto e fremo' from 'L'Olimpiade,' sung by one of today's stellar contraltos, Sara Mingardo.

Finally, I could not end this note without commenting on the fabulous quintet from 'La verità in cimento' entitled 'Anima mia, mio ben.' There is no question that Vivaldi must have been working with both musically and dramatically superb singers for whom he wrote this. This performance, featuring Rolfe Johnson, Laurens, Stutzmann, Jaroussky and Mingardo, is moving. And it is followed by a simply stunning performance, by Sara Mingardo, of Melindo's aria, 'Mi vuoi tradir, lo so' from the same opera. Mingardo's coloratura is absolutely spot on. (Think of Marilyn Horne and you'll have an idea of what this young Italian contralto sounds like.)

I strongly suspect this release will have value for those who want to dip their toes into the Vivaldian operatic waters. Every single selection is well-done, and it certainly gives an idea of Vivaldi's theatrical output, something that we've tended to neglect in favor of his sacred and instrumental music up to now.

Strongly recommended.

TT=63:20

Scott Morrison

Average customer rating: misguiding He missed the point A (perhaps too) romantic approach to some old favorites Adequate Highly Recommended

In My Heart - 17th and 18th Italian Songs Manufacturer: RCA ProductGroup: Music Binding: Audio CD Caldara, Antonio | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Giordani, Giuseppe | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Benedetto Marcello | Marcello, Benedetto | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Paisiello | Paisiello, Giovanni | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Alessandro Scarlatti | Scarlatti, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Vocal & Song | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Vocal & Song | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music | Cantatas | Romances Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Mexico | International | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs The Soul of Italy Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini Ramón Vargas - L'amour, l'amour / Viotti Ramon Vargas - Canzoni (Neapolitan Songs and other Italian Classical songs) ASIN: B00006JO9L Release Date: 2002-10-14

Tracks:

1. Amarilla, mia bella
2. Vittoria, mio core!
3. O cessate di piagarmi
4. Gil sole dal Gange
5. Toglietemi la vita ancor
6. Pur dicesti, o bocca bella
7. Sebben, crudele
8. Come raggio di sol
9. Per la gloria d'adorarvi
10. Il mio bel foco; Quella fiamma
11. Teco, si, vengo anch'io
12. Nina
13. O del mio dolce ardor
14. Nel cor piu non mi sento
15. Plaisir d'amour
16. Caro mio ben

Amazon.com

Those who prefer 17th- and 18th-century music performed in a "historically correct" manner may balk, but these "old songs and arias" ("arie antiche") are beautifully presented and sung. It's not that Ramón Vargas approaches them in a verismo style or that he overexclaims them. Rather, he sings with ardor, generous portamento, and a Romantic, cushioned voice filled with vibrato and expression. At the same time, Vargas embellishes the vocal line in very much the style popular and proper 200 and 300 years ago, and these embellishments are attractive and in excellent taste. But the voice is the thing, and it's gorgeous and beautifully used. The opening, earliest song (for instance) is sung sweetly and softly from start to finish--it's hard to recall the last time one heard such sustained elegant, gentle vocalism from a major tenor. Vargas never overstates his case, and by refusing to do so, sells us these brief, lovely items one at a time. Another winner from this unique tenor. --Robert Levine

Customer Reviews:

misguiding.......2007-04-09

Those who love Mr Vargas' singing will probably be satisfied.
His voice is beautiful and this repertoire is most apt to show it to advantage. His technique is good (some problems with pianos), his agility commendable.

Those instead looking for an adequate rendering of old arias will find this compilation lacking: he chose (as declared in the booklet) to ignore philologicas and stylistical issues, singing them beautifully but also romantically, as late Donizetti or early Verdi. Problem is that this, to educated ears, sounds incredibly wrong, nearly inaudible.

A pity: with more attention to style this could have been a useful compilation for singing students too. Such as it is, it is only good for Mr Vargas' fans.

He missed the point.......2005-11-12

I am sorry I bought this album. I did not listen to the sound bytes first...my bad! Vargas croons his way through music that has been orchestated out of all recognition. It sounds syrupy and sentimental, not intensely emotional. The Carissimi is a joke! The Scarlatti is painful to hear. There are too many fine performances of 17th & 18th century music out there for this to pass muster. For example, if you want to hear Bononcini as he should be sung, listen to Martin Oro or Gerard Lesne. My recommendation is a most emphatic "NO".

A (perhaps too) romantic approach to some old favorites.......2003-11-27

Ramon Vargas is probably the most elegant and classy tenor singing today. If I may be forgiven an ethnic cliche, the Mexican singer's voice reminds me of dulce del leche ice cream - rich, sweet, and smooth as caramel. Having sung both on stage and on records a wide operatic repertory ranging from bel canto to French works to Puccini and Verdi, Vargas now turns his efforts to this album of arie antiche entitled (rather unimaginatively, I think) `Nel Mio Cuore' - In My Heart. Nearly all lovers of classical vocal music are familiar with the songs represented on this disc; many singers have recorded them and just about everybody who has ever had a voice lesson has studied at least some of them. The defining feature of these songs - which is why they are used by voice students - is that while it is easy to learn the basics of singing them, it takes true expertise to handle all their technical challenges and to bring out all their nuances. If some misguided performance practice decisions make the CD a less than total success, Vargas' vocal beauty, excellent technique and total commitment make this a mostly very enjoyable listen.

As Vargas says in his brief comments, he wants to sing this music in a more 'romantic', (i.e. unrestrained and overtly emotional) manner than many other performers do, to bring a 21st century sensibility to mostly 17th and 18th century music. Vargas as a child was a soloist in the choir of the Basilica Guadalupe of Mexico City, and it was standard procedure there to sing sacred music from this and earlier periods that way. While this approach to the actual singing works very well, I am not entirely happy with the decision to use a small 'salon' orchestra instead of the usual piano or harpsichord, and I suspect many will agree with me on this. I don't object to orchestral arrangements on principle - the arrangements of the arie antiche recorded by Richard Tucker on the superb CD 'The Soul of Italy' work very well, particularly the delightful 'Gia sole del Gange'. On this disc, however, few of the arrangements (by Sascha Goetzel and Joseph Turrin) really enhance the music or make it more interesting, and sometimes they just get in the way. Perhaps in an actual salon or concert setting, this wouldn't be as big a problem. In general, the best arrangements are the most quiet and unobtrusive ones, such as 'Nina' or 'Plaisir d'amour', allowing Vargas to sing softly and tenderly instead of just ardently. The major exception to this is actually the best track on the disc, `Sebben crudele', where the music helps Vargas' anguish and pain reach appropriately operatic proportions. Gluck's `O del mio dolce ardor', an actual opera selection often sung with orchestra, also responds well to this treatment. For most of the other selections, however, it might be helpful to play individual selections or a few at a time instead of the entire album at once, and I wouldn't advise playing it at much more than medium volume.

The good news, though, is that Vargas sings this music with real passion, warmth, and style. The arrangements may require him to sing the music more loudly than many singers do but he never forces or shouts - his heart may be on his sleeve, but is sincere and never vulgar. He pays close attention to the meaning of the words and is musically sensitive and expressive. His Italian diction is excellent, although his French could be a bit crisper. His long experience with bel canto operas makes runs and articulated grace notes easy for him, and he inserts some lovely decorations. The musicians, led by pianist Katherine Chu, do an excellent job with what they are given, and Vargas should actually have been credited as their conductor. I note particularly the beautiful wind playing in 'Teco, si, vengo anch'io'.

In addition to Vargas' comments, there are also notes on the music and full texts and translations. However, I thought the tone of the notes was just a bit too defensive of the more 'modern' approach. All the musicians are listed by name, a nice touch.

The sheer beauty of Vargas' voice, his enthusiasm and his sincerity should set aside most objections to the performance decisions made here. However, I would definitely recommend a more 'traditional' piano-or-harpsichord-accompanied set of this music alongside this if you don't already have one. Cecilia Bartoli's 'Se Tu M'Ami' is essential, and I would also suggest that if you are interested in hearing the music sung by a tenor, you should listen to Alfredo Kraus, especially since many opera lovers consider Vargas to be an heir to this late great Spaniard. Also, Vargas' 'Canzoni' album, from a live concert in Mexico City, shows how wonderful his voice sounds with piano in Italian and Mexican songs - including 'Gia sole del gange' sung in much the same way it is here. It's at super-budget price, too. Still, `Nel Mio Cuore' will give admirers of this lovely tenor the opportunity to wallow in a wonderful voice and experience the heart of an artist.

Adequate.......2003-05-20

Lovely music, but somehow I find it not very involving. Listen to it some, if possible and see if it really is what you are looking for.

Highly Recommended.......2003-03-10

Every beginning classical singer works on these arias that Vargas chose for this album, so naturally, they are often heard and almost always abused. Vargas makes them music again. Absolutely stunning work. He is the real thing - voice, brains and musicality. This combination is sadly lacking in many of todays top operatic stars.

Average customer rating:

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Average customer rating: Get It While You Can Essential edition for opera lovers

The Complete Recordings, 1902-1920 (Box Set) Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General | Boito, Arrigo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Fauré, Gabriel | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Flotow | Flotow, Friedrich von | ( F ) | Featured Composers, A-Z | Classical | Styles | Music General | Franck, César | ( F ) | Featured Composers, A-Z | Classical | Styles | Music Godard, Benjamin | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Goldmark | Goldmark, Karl | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Lully | Lully, Jean-Baptiste | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rubinstein | Rubinstein, Anton | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Szulc, Josef Zygmunt | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Caruso, Enrico | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Adam, Adolphe-Charles | A to B | Featured Composers, A-Z | 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 Ladino | 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 Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Similar Items: Bach: Cantatas, Vol. 22 Caruso 2000 The Complete Caruso Wagner: Götterdämmerung Classic Puccini Recordings ASIN: B00030B92K Release Date: 2004-11-23

Album Description

The Complete Caruso: Volumes 1 - 12

The Italian tenor Enrico Caruso holds a unique place in musical history, as the first operatic singer whose recordings sold in millions, and who created an international reputation on the strength of these. Caruso's robust tone and musical sincerity made him both an ideal stage and recording artist, whose voice the primitive acoustic recording technology of the early twentieth century was able to reproduce with startling fidelity. The Naxos Historical Caruso edition constitutes the complete cycle of all Caruso's recordings issued in chronological order. In addition, the transfers have been immaculately undertaken by top sound engineer Ward Marston, unrivalled for his knowledge of the specialized world of acoustic opera recordings, and his rare ability to retrieve all of the music lying in the grooves of the original recordings. Naxos Historical's incredible price (12 CD'S FOR THE PRICE OF 10) puts this unique legacy of great singing within the reach of all music-lovers. This! complete cycle of recordings represents a major document in the history of sound recording, and one which no collector and enthusiast of great singing will wish to be without. "There is no series of vocal records that have a greater documentary value, that meant more to the development of the phonograph record, or that are as consistently capable of providing pleasure to lovers of great singing. ...One of the most significant recording industry events of the decade." Fanfare

Customer Reviews:

Get It While You Can.......2006-10-13

This may not be easy to get in the USA for very long.....don't miss it.

Essential edition for opera lovers.......2005-02-01

This set gives you the opportunity to follow the entire recording career of one of the greatest singers in Operatic History. Enrico Caruso was the first superstar of the 20th century -- and this without the benefit of mass media. His person and his records were his greatest publicity.

The set begins with Caruso's Italian made recordings. They show a great raw talent. The artistry is lacking with many sobs, over acting and mistaken cues. The 1902 and 1903 clearly show a tenor with a lot to learn. But learn it he did. His 1904 sessions show a mature artist on par with any heard since. His voice matures before your very ears and by 1910, you wonder if you will ever listen to any other tenor the same way again.

The engineering used for this set is wonderful. There is no attempt at all to use the soundstream process of computer sound enhancement as heard on the RCA issued sets. These are near perfect mint conditioned discs copied by engineer extraordinary Ward Marston. They sound like natural 78s, they way Caruso himself must have heard the playbacks at the (RCA) Victor studios.

Also included are outtakes and extra takes. There is a "Celeste Aida" from 1908, complete with a broken high note, previously released by RCA in a 1973 set commemorating the tenor's centenary birthday. But there are new treasures here as well, including extra takes of two of Caruso's greatest recordings, the Italian song "L'Alba separa dalla l'uce ombra" and an aria from Rubinestine's Nerone. Listening to them, one wonders what Caruso could have possible thought inadquate in those long lost altenative takes.

Finally, there is the simple joy of hearing so many things so well sung. Caruso was the pinnacle of the tenor art. He can be compared to no other single tenor since ... he has the brilliant ring of Bjorling, the passion of Gigli, the beauty of Gedda, the youthful enthusiasm of Lanza, the warm tonal quality of Tucker, the pure strength of Corelli, the charasma of Pavarotti and the artestry of Domingo.

Whether you are an opera fan, a voice fan or just a music lover. This set is worth every penny.

Todd Kosovich

Average customer rating: The contemporary, expressive style Simply Beautiful

I Giorni Manufacturer: EMI Int'l ProductGroup: Music Binding: Audio CD General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | International | Styles | Music General | New Age | Styles | Music World Dance | Dance & DJ | Styles | Music General | Easy Listening | Pop | Styles | Music International | Imports | Stores | Music Similar Items: Le Onde Echoes: The Einaudi Collection Eden Roc Una Mattina Divenire ASIN: B000071WEV Release Date: 2002-11-18

Tracks:

1. I Giorni/Melodia Africana 1
2. I Giorni/I Due Fiumi
3. I Giorni/In un'altra Vita
4. I Giorni/Melodia Africana 2
5. I Giorni/Stella del Mattino
6. I Giorni/I Giorni
7. I Giorni/Samba
8. I Giorni/Melodia Africana 3
9. I Giorni/La Nascita Delle Cose Segrete
10. I Giorni/Quel Che Resta
11. I Giorni/Inizio
12. I Giorni/Limbo
13. I Giorni/Bella Notte
14. I Giorni/Canzone Africana 4

Album Description

2001 release from the world renowned symphonic composer. The inspiration for Ludovico Einaudi's 'I Giorni' was a 12th-century folk song from Mali about a hippopotamus who was cherished by the residents of a nearby village but killed by a hunter. 'The song,' writes Einaudi in his succinct liner note, 'is sung as a lament for the death of a king or a great person or for the loss of a loved one.' The result is a tender & introspective set of 14 piano pieces. This work was written after hearing the kora playing of Toumani Diabate whilst traveling in Mali. Recorded in 24-bit/96 kHz. Ricordi.

Customer Reviews:

The contemporary, expressive style.......2006-04-12

Ludovico is a quintessential example of a proponent of the neo-classical style of music, the natural development of late romantic efforts of Erik Satie and his peers. Ludovico's music is often musically fairly simplistic and technically not difficult in many cases, but this is by no means a comment on his talent. For me as an appreciator of this genre the true beauty of his work lies in the vivid self expression and freedom that the player is allowed. I am quite an unskilled pianist, but in playing his work i find a quite unique form of personal expression that is only possible in such free-flowing, emotional music. Many people would describe this music as ambient, but personally I find it to be engaging to the emotions. The warmth and clear love of playing present in his style serves to make the album beautiful from an artistic point of view, and his graceful treatment of the piano I welcome over many of the more brash works of artists such as Chopin or Satie.
As for the comparison with Nyman, This is certainly valid. Nyman also evokes the emotions marvellously is some of his pieces; I particularly recommend 'The Scent of Love' and 'The Beach' which is a variation on a similar theme arranged as a concerto. Nyman, however, I find to be less consistent, because his interests in jazz music have clearly influenced him and this is not to my personal taste. Anyone who is a fan of saxophone and piano concertos should clearly look to Nyman's 'Where the Bee Dances' before considering Einaudi's work.
On the other hand, any fan of raw happiness and contentment expressed through the symbiosis of artist with instrument should definetly listen to this album. If you subsequently find that you like it, I would also recommend Eden Roc as it shows Einaudi in his progressive stage, as he experiments with different techniques and instruments, and therefore provides an interesting change from his typical style.

Simply Beautiful.......2004-04-09

I heard the title song 'I Giorni' on the radio and thought it was excellent so I looked up the CD on the internet and after listening to a few clips, decided I would buy it.
It really is a wonderful CD with beautiful pieces that have really encouraged me to look into classical music more.
The flowing melodies are very relaxing and not dissimilar to Nyman's 'The Piano', so if you like this style of music, I would highly recommend buying it.

Average customer rating: Was there ever a more exciting night at Salzburg? Must We Forget Leontyne Price? An old friend returns, yet again A minority opinion on this famous Trovatore A riveting live performance

Verdi: Il Trovatore Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Mascagni - Cavalleria rusticana / de Los Angeles · Corelli · Santini ~ Leoncavallo - Pagliacci / Corelli · Gobbi · Amara · von Matacic Guiseppe Verdi: Aida Puccini: Turandot La Tebaldi Puccini: Tosca ASIN: B0000012WQ Release Date: 2005-09-13

Tracks:

1. Part I, Scene 1: 1. Intro: 'All' Erta! All' Erta!' - Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
2. Part I, Scene 1: Racconto: 'Di Due Figli Vivea Padre Beato...Abbietta Zingara'/'Sull'orlo Dei Tetti' - Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
3. Part I, Scene 2: 2. Scena E Cavatina: 'Che Piu T'arresti?' - Laurence Dutoit/Leontyne Price
4. Part I, Scene 2: 2. Scene E Cavatina: 'Tacea La Notte Placida...Di Tale Amor' - Leontyne Price/Laurence Dutoit
5. Part I, Scene 2: 3. Scena, Romanza E Terzetto: 'Tace La Notte!' - Ettore Bastianini
6. Part I, Scene 2: 3. Scena, Romanza E Terzetto: 'Deserto Sulla Terra' - Franco Corelli/Ettore Bastianini/Leontyne Price
7. Part II, Scene 1: 4. Chor Di Zingari E Canzone: 'Vedi! Le Fosche Notturne Spoglie' - Chor Der Wiener Staatsoper/Roberto Benaglio
8. Part II, Scene 1: 4. Chor Di Zingari E Canzone: 'Stride La Vampa!' - Giulietta Simionato/Chor Der Weiner Staatsoper/Roberto Benaglio/Franco Corelli/Rudolf Zimmer
9. Part II, Scene 1: 5. Scena E Racconto: 'Soli Or Siam!'/'Condotta Ell'era In Ceppi' - Franco Corelli/Giulietta Simionato
10. Part II, Scene 1: 6. Scena E Duetto: 'Non Son Tuo Figlio?...Mal Reggendo All'aspro Assalto' - Franco Corelli/Giulietta Simionato
11. Part II, Scene 1: 6. Scena E Duetto: 'L'usato Messo Ruiz M'invia!' - Franco Corelli/Giulietta Simionato/Kurt Equiluz
12. Part II, Scene 2: 7. Scena Ed Aria: 'Tutto E Deserto' - Ettore Bastianini/Nicola Zaccaria
13. Part II, Scene 2: 7. Scena Ed Aria: 'Il Balen Del Suo Sorriso' - Ettore Bastianini
14. Part II, Scene 2: 7. Scena Ed Aria: 'Qual Suono! Oh Ciel!' - Ettore Bastianini/Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
15. Part II, Scene 2: 8. Finale II: 'Ah! Se L'error T'ingombra'/'Perche Piangete?' - Leontyne Price/Laurence Dutoit/Ettore Bastianini/Chor Der Wiener Staatsoper/Roberto Benaglio
16. Part II, Scene 2: 8. Finale II: 'E Deggio, E Posso Crederlo?' - Leontyne Price/Ettore Bastianini/Franco Corelli/Nicola Zaccaria/Laurence Dutoit...

Tracks:

1. Part III, Scene 1: 9. Chor D'Introduzione: 'Or Co' Dadi...Squilli, Echeggi La Tromba Guerriera' - Chor Der Wiener Staatsoper/Roberto Benaglio/Nicola Zaccaria
2. Part III, Scene 1: 10. Scena E Terzetto: 'In Braccio Al Mio Rival!' - Ettore Bastianini/Nicola Zaccaria/Giulietta Simionato/Chor Der Wiener Staatsoper/Roberto Benaglio
3. Part III, Scene 1: 10. Scena E Terzetto: 'Giorni Poveri Vivea' - Giulietta Simioinato/Nicola Zaccaria/Ettore Bastianini/Chor Der Wiener Staatsoper/Roberto Benaglio
4. Part III, Scene 2: 11. Scene Ed Aria: 'Quale D'armi Fragor Poc'anzi Intesi?' - Leontyne Price/Franco Corelli
5. Part III, Scene 2: 11. Scene Ed Aria: 'Ah! Si, Ben Mio' - Franco Corelli
6. Part III, Scene 2: 11. Scene Ed Aria: 'L'onda De' Suoni Mistici' - Leontyne Price/Franco Corelli/Siegfried Rudolf Frese
7. Part III, Scene 2: 11. Scene Ed Aria: 'Di Quella Pira' - Franco Corelli/Siegfried Rudolf Frese/Chor Der Wiener Staatsoper/Roberto Benaglio
8. Part IV, Scene 1: 12. Scena, Aria E Miserere: 'Siam Giunti; Ecco La Torre' - Siegfried Rudolf Frese/Leontyne Price
9. Part IV, Scene 1: 12. Scena, Aria E Miserere: 'D'amor Sull'ali Rosee' - Leontyne Price
10. Part IV, Scene 1: 12. Scena, Aria E Miserere: 'Miserere'/'Ah! Che La Morte Ognora' - Chor Der Wiener Staatsoper/Roberto Benaglio/Leontyne Price/Franco Corelli
11. Part IV, Scene 1: 13. Scena A Duetto: 'Udiste? Come Albeggi' - Ettore Bastianini/Leontyne Price
12. Part IV, Scene 1: 13. Scena A Duetto: 'Vivra! Contende Il Giubilo' - Leontyne Price/Ettore Bastianini
13. Part IV, Scene 2: 14. Finale Ultimo: 'Madre, Non Dormi?' - Franco Corelli/Giulietta Simionato
14. Part IV, Scene 2: 14. Finale Ultimo: 'Si, La Stanchezza M'opprime, O Figlio'/'Ai Nostri Monti' - Giulietta Simionato/Franco Corelli
15. Part IV, Scene 2: 14. Finale Ultimo: 'Che! Non M'inganna Quel Fioco Lume?...Ha Quest'infame L'amor.. - Franco Corelli/Leontyne Price/Giulietta Simionato
16. Part IV, Scene 2: 14. Finale Ultimo: 'Ti Scosta!'/'Non Respingermi' - Franco Corelli/Leontyne Price/Ettore Bastianini/Giulietta Simionato

Customer Reviews:

Was there ever a more exciting night at Salzburg?.......2006-11-26

Herbert von Karajan was a conductor who made a specialty out of Il Trovatore, and that influence can be seen directly in his handling of the score with De Sabata's orchestra six years earlier. Here, with six years trailing that magnificent recording, we find Karajan in demented form, carressing Verdi's score with passion, pathos, lyricism, and beauty, and driving the Vienna forces with that unique verve which made his Verdi so unique. I believe this is the best recording of Il Trovatore, despite the recording flaws, and with the magnificent cast, it is not easy to see why Deutsche Grammophon coerced the Austrian Broadcasting company to give them the master tapes of this performance. Everything in this performance--the cast, conductor, chorus, and the orchestra--all worked to make this broadcast special, albeit the less-than-ideal sound.

This recording brought Leontyne Price's Leonora to the Salzburg stage, a contribution that was in many ways the ideal combination of vocal beauty, drama, and Verdian sensitivity. Although Price is a lesser Leonora than Maria Callas, she performs very well on this recording, revealing much of Leonora's distress and pathos over Manrico's predicaments. I have never heard a more beautiful Tacea la notte or D'Amor sull'Rosee sung in all the Trovatores I've heard, and she adds a few high notes of her own in bits of the score. A wonderful performance. It was no doubt that Karajan would say that he got goosebumps when he heard her sing.

Corelli is Manrico. He may not have the beautiful legato of Carlo Bergonzi or the smooth discipline of Placido Domingo, but what a Manrico! You could hear a true gyspy in this performer, and he sings with such macho verve that it would be no doubt that Leonora would fall in love with this one tenor. A performance to keep for the ages!

Simionato is Azucena. With Stignani, Cossotto, and Barbieri, Simionato joined these great mezzos in the tier of Azucenas who make this role the center of the opera. She is perhaps the most insightful and powerful mezzo to take the role, and the runs simply pose no problems for her. She is the definitive Azucena, along with today's Dolora Zajick.

Ettore Bastianini is di Luna. Need I say more about this Verdian baritone except that he is excellent in every sense of the word? Bravo!

With Karajan on the podium in demented form, and a cast that matches his pacing word for word, this is probably my Trovatore of choice.

Must We Forget Leontyne Price?.......2006-01-08

I can appreciate all of the reviews given. I wish not so much to review the album of which I have 5 different recordings, but rather to sing the praises of the reviewers that at least acknowledged Leontyne Price. To those who took the time to focus on her performance, justice is finally meted out.

I cannot believe the reviewers who went on and on about Corelli, and the Azucena, and conveiently mentioned Miss Price only in passing or in many cases not at all.

But so much for reviews and reviewers. I can never forget what a teacher of organ, Zubin Mehta's brother, once said to me. Those who can, do. Those who cannot teach, and those with even lesser gifts review those to which they cannot hold a candle.

Thanks to all those reviewers who gave Miss Price the dignity that she deserves. I think history will eventually bear witness to the exceptional gifts of this artist. And to those in question, please read the reviews of Paul Hume circa 1960 from a Washington, DC newspaper, regarding Leontyne Price. He was a reviewer that was the exception.

An old friend returns, yet again.......2005-10-05

This is an old and familiar live performance which has been kicking around in sundry Lp and CD versions for quite awhile. The cast list tells virtually all that anyone needs to know about the thing: Price, Corelli, Bastianini, Simionato, not to mention the Wiener Philharmoniker conducted by Karajan.

I gather this version is in considerably improved sound. Well and good, for some versions have sounded--with the best of good will--pretty awful.

I am giving this only four stars because of Price. Yes, I know that at the time this recording was made she was still a keen and willing performer, not yet immobilized in her diva-hood. Nevertheless, I am simply not willing to give her the benefit of a doubt because I had the misfortune to see her in two live performances, once in "Ballo in maschera" and once in "Il trovatore." One of those two performances was the worst I have ever seen on stage and the other was the second worst--only I am not quite sure which was which. In both cases, she mooched around the stage, ignoring all others, softly crooning to herself until her big solo numbers, then she marched down to the footlights at center stage, faced forward and sang like an angel. That done, and having exhausted the cheers of the audience, she mooched back into the opera, loftily ignoring all others until the final curtain. But forget all that as sour grapes on my part, the fact remains that I can name a half-dozen sopranos easily available on CD who offer Leonoras equal to or better than this one from Price, starting with Bianca Scacciati, way back in 1930.

The previous Amazon reviewer downgraded this recording because of the presence of Corelli, calling him "a ludicrously vulgar Manrico." I do not object to that. Everyone has a right to his or her opinion. I must point out, however, that Manrico is a ludicrously vulgar part in a gloriously, marvelously, ludicrously vulgar opera. (And also this: computers have a wonderful thing called a spell-checker. Use it!)

A minority opinion on this famous Trovatore.......2005-10-05

This must have been a great night at the opera, and thanks to the official Radio Austria tapes, one can hear it in easonable mono sound. the glory of the evening was Leontyne Price, who had already earned herself a half-hour ovation as Leonora when she debuted at the Met. Thanks to the close mike placement, you can hear her quite clearly without distortion, and Karajan does an exemplary job from the pit. Simiantato is also a excellent Azucena, avoiding the out-of-control histrionics usually inflicted on this part and actually singing the notes.

But the good news stops there. The Conte di Luna of Bastianini, well past his vocal prime, is full of hollow tones and hokey overplaying. Corelli was a shameless primo tenore who had no patience for phrasing and no intelligence for much else besides singing as loud as he could and turning his handsome profile to best advantage. He is a ludicrously vulgar Manrico, second only to Tucker, who unfortunately paired with Price on her first Trovatore in 1959 for RCA.

Given all that, I think it's worthwhile to buy the cheapest version of this Trovatore that you can find--I have the super-bargain set from Opera d'Oro--so that you can revel in Price's singing and skip very quickly past Corelli's. The recent reawakening of enthusiasm for this crude singer is beyond me.

A riveting live performance.......2005-04-04

Corelli is quite overwhelming. He is in truly brilliant voice, and sings with great feeling and brio. The duos are all dead-on, and the aria Ah si, ben mio is sung with a longing and melancholia that are quite memorable. Reminds me of Pertile at his best, though Franco, of course, had basically a much finer voice.

As usual, rhythm is the weakest element in Corelli's performance, but Herbert von Karajan, master of rubato, stays with him almost preternaturally, providing a cushion of musical continuity that is like a masterclass in opera conducting. The aria thus becomes an unusual marriage of Italian feeling and Austrian grandeur: quite a performance! (And how the Vienna Philharmonic breathe with von K !!)

The Pira is the one instance when HvK decides not to accomodate: he wants to go very fast, martial style. Franco wants to go considerably slower, and the two are never once together, except in the first High C, which seems to last forever. In the choral/orchestral coda, Karajan forges ahead, as if to say: "I'll show you!". But, at such speed, chorus and orchestra fall apart (the very loud trumpets and percussion end up in different counties!) and then Franco comes in for the kill with a second High C that has to be heard to be believed!! It does last forever! Live!

Part of Corelli's rhythmic issues have to do with von Karajan's love for many different and contrasting speeds. This is absolutely idiomatic in an opera like Trovatore, but not every singer can keep up with that.

One who sure can is Giulietta Simionato, the Azucena. Whatever von K throws her way, she can handle: she is like a mad dog. Every syllable, every word, every phrase is "burnt in" with a volcanic power and a supreme self-assurance that I have not heard in any other Azucena. No matter how slow a waltz-rhythm, she never runs out of breath or steam. If fast, she eats it up. Loud? She is like Vesuvius. Soft? Just listen to the ending of the Condotta ell' era in ceppi, when she seems to be humming from inside her skull, as in a vision.

My favourite moment is the finale of the first scene of act III. Giorni poveri vivea. K sets a slow, weary movement to the initial arioso for Azucena, which Simionato handles with a dark, mournful colour and seemingly endless supplies of breath. Then K goes as fast as the wind into the stretta, and old Giulietta digs into it like a starved greyhound, taking, but of course, all the high options. Brava, diva! Karajan had found his match.

Average customer rating: Tuccissima! A Recognition of a Great Interpretation! Excellent An Excellent Il Trovatore Our Amazing Stars in Moscow

Verdi: Il Trovatore Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Giordano: Andrea Chénier Verdi: Il Trovatore Verdi: La Traviata Wagner: Tannhauser - Bayreuther Festspiele/Giuseppe Sinopoli ASIN: B000000UO0 Release Date: 1997-09-16

Tracks:

1. Act 1 Scene 1: All'erta, All'erta - Ivo Vinco
2. Act 1 Scene 1: Di Due Figli Vivea Padrea Beato - Ivo Vinco
3. Act 1 Scene 1: Abbietta Zingara - Ivo Vinco
4. Act 1 Scene 1: Brevi E Tristi Giorni Visse - Ivo Vinco
5. Act 1 Scene 1: Sull'orlo Dei Tetti - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
6. Act 1 Scene 2: Che Piu T'arresti? - Mirella Fiorentini
7. Act 1 Scene 2: Tacea La Notte Placida - Gabriella Tucci
8. Act 1 Scene 2: Quanto Narrasti Di Turbamento - Mirella Fiorentini
9. Act 1 Scene 2: Di Tale Amor - Gabriella Tucci
10. Act 1 Scene 2: Tace La Notte! - Piero Cappuccilli
11. Act 1 Scene 2: Il Trovator!... Deserto Sulla Terra - Piero Cappuccilli/Carlo Bergonzi
12. Act 1 Scene 2: Anima Mia! (Che Far?... Piu Dell'usato E Tarda L'ora - Gabriella Tucci/Piero Cappuccilli/Carlo Bergonzi
13. Act 1 Scene 2: De Gelosa Amor Sprezzato - Piero Cappuccilli/Gabriella Tucci/Carlo Bergonzi
14. Act 2 Scene 1: Vedi Le Fosche Notturne Spoglie - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
15. Act 2 Scene 1: Stride La Vampa - Ciulietta Simionato
16. Act 2 Scene 1: Mesta E La Tua Canzon! - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
17. Act 2 Scene 1: Coli Or Siamo - Carlo Bergonzi
18. Act 2 Scene 1: Condotta All'era In Ceppi - Ciulietta Simionato
19. Act 2 Scene 1: Non Son Tuo Figlio? - Carlo Bergonzi
20. Act 2 Scene 1: Mal Reggendo All'aspro Assalto - Carlo Bergonzi/Giulietta Simionato
21. Act 2 Scene 1: L'usato Messo Ruiz Invia! - Carlo Bergonzi
22. Act 2 Scene 1: Perigliarti Ancor Languente - Giulietta Simionato/Carlo Bergonzi
23. Act 2 Scene 2: Tutto E Deserto - Piero Cappuccilli
24. Act 2 Scene 2: Il Balen Del Suo Sorriso - Piero Cappuccilli
25. Act 2 Scene 2: Qual Suono!... Oh Ciel! - Piero Cappuccilli
26. Act 2 Scene 2: Per Me Ora Fatale - Piero Cappuccilli
27. Act 2 Scene 2: Ah! Se L'error T'ingombra - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
28. Act 2 Scene 2: Perche Piangete? - Gabriella Tucci
29. Act 2 Scene 2: E Deggio... E Posso Crederlo? - Gabriella Tucci/Tutti

Tracks:

1. Act 3: Or Co' Dadi, Ma Fra Poco - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
2. Act 3: In Braccio Al Mio Rival! - Piero Cappuccilli
3. Act 3: Ciorni Poveri Vivea - Giulietta Simionato
4. Act 3: Deh! Rallentate, O Barbari - Giulietta Simionato/Ivo Vinco/Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni
5. Act 3: Quale D'armi Fragor - Gabriella Tucci
6. Act 3: Ah Si, Ben Mio - Carlo Bergonzi
7. Act 3: L'onda De' Suoni Mistici - Gabriella Tucci/Carlo Bergonzi
8. Act 3: De Quella Pira - Carlo Bergonzi
9. Act 4: Siam Giunti, Ecco La Torre - Piero De Palma
10. Act 4: D'amor Sull'ali Rosee - Gabriella Tucci
11. Act 4: Miserere D'un ALma Gia Vicina - Orch E Coro Del Teatro Alla Scala Di Milano/Gianandrea Gavazzeni/Gabriella Tucci/Carlo Bergonzi
12. Act 4: Udiste? Come Albeggi - Piero Cappuccilli
13. Act 4: Mira, D'acerbe Lagrime - Gabriella Tucci/Piero Cappuccilli
14. Act 4: Conte!...Ne Basti! - Gabriella Tucci/Piero Cappuccilli
15. Act 4: Colui Vivra!-Vivra!...Contende Il Giubilo - Piero Cappuccilli/Gabriella Tucci
16. Act 4: Madre? Non Dormi? - Carlo Bergonzi
17. Act 4: Si, La Stanchezza M'opprime, O Figlio - Giulietta Simionato
18. Act 4: Ai Nostri Monti Ritorneremo - Giulietta Simionato/Carlo Bergonzi
19. Act 4: Ciel! Non M'inganna! - Carlo Bergonzi
20. Act 4: Parlar NOn Vuoi? - Carlo Bergonzi
21. Act 4: Ti Scosta! - Carlo Bergonzi
22. Prima Che D'altri Vivere - Gabriella Tucci/Carlo Bergonzi/Giulietta Simionato/Piero Cappuccilli

Amazon.com

Here is a live performance from Moscow, with the La Scala forces, taped in 1964. Gabriella Tucci, a fine singer who was only lacking the individual timbre needed for stardom, is an excellent Leonora, and Carlo Bergonzi is among the most elegant and stirring Manricos on disc. Giulietta Simionato, nearing the end of her career, sings with great passion as the crazy Azucena, and Piero Cappuccilli delivers a big Count de Luna. Gianandrea Gavazzeni, an old hand obviously trying to impress those cold-war Russkies, pulls out all the stops, along with his cast. This one is near the top of the list. --Robert Levine

Customer Reviews:

Tuccissima! A Recognition of a Great Interpretation!.......2005-03-02

La Mia Tuccissima! Gabriella Tucci IS Leonora. Only with her do I feel the hectic torture that this woman endures, the pain of not knowing, the agony of love gone astray, the confusion of complex feelings and the joy of the brief happy yet fleeting moments. Tucci portrays the kind of mercurial agony that all the characters, except perhaps Azucena whose suffering is life long, experience. She accomplishes this through superb vocalism (that is very much on a par with any Verdi soprano) and emotional insight. Never is she too intense, haughty, or too flighty. There is perfect balance and in this way she surpasses other interpretations. For example, the closing phrase of "D'amor sull'ali rosee" the final cadenza is on the word "le pene" (pain)which Verdi wrote in an awkward shifting up and down motion descending, which suggests a kind of mental collapse. Tucci gives it an amazing speed and tortured quality which causes the audience to gasp. Other sopranos slow it down and apply portamenti and so on....lovely?....perhaps yes!....dramatically effective....not really! Tucci understands that Leonora is slightly touched......a little crazy.

As for her voice, it is very distinctive. It seems to possess extreme qualities simultaneously ice cold/hot metal .....hard to explain. Her style is excellent and her heart is warm!

This is a great Trovatore overall! I have heard many live recordings and few sopranos drive audiences to the point of frenzy that Tucci does! Thats all that matters in the end!

Excellent.......2004-12-05

Firstly, for a live recording, I have to say the sound it top notch! This is really a wonderful recording, and it does reflect the practices of the times (the Cabaletta after the famous Miseria for Leonora is cut, which was a common practice at the time, yet, a stupid one to me, for if the soprano can sing the coloratura's of the first act, she would have no worries in this aria, for it is far easier). What I find sad is that these great singers recorded so little together. Each recorded some on their own, and with other singers, but they work so well together. Tucci sings a wonderful Leonora, and she actually has a very beautiful trill. Some say her voice just wasn't individual enough to make her a star. I find her voice very individual, and I find I have no trouble instantly identifying her when I hear her sing, however, she does remind one of Stella a great deal. Bergonzi has always been a favorite Manrico, but not the only tenor I enjoy in the part (I love Corelli, Domingo, Di Stephano, del Monaco, and each for very unique reasons). He brings a very lyric quality to the role, one of a young lover, even if in the super dramatic moments there are others who really do a more compelling job. Cappuccilli is his "not-at-all-subltle" self (I don't think he ever sang a role without reminding you of a bull in a china shop, but no matter how loud and large he was in voice, it works here beautifully). However he works well with the other principles. Then there is the famous Simionato, and I have to say my most favorite Azucena ever. I wish she recorded the role with the high C that it contains, for she did sing it that way on occasion (but not often, as she really stuck more to performing practices of the day), yet, at this stage in her career, I am sure that note was beyond her. I think this is one of the only times (excepting a newer recording out with Pavarotti containing the Azucena of Verrot, and she is nearly her 70's when she made that recording) we actually hear the singer portraying the role who is close to the age of the role (we make that comment sometimes in regard to sopranos who are at last young enough to match the age of the heroine they are portraying, but we seldom think of it in terms of being old enough to reflect the age of the person they are portraying). Personally, no matter the actual shortcomings of Simionato in this role, I really think being the correct age for the gypsy mother only adds to the reality of the part. We are hearing an old wornout person who deeply reflects the distructive forces of a life filled with hate. Simionato's age works for her making this portayal very real, and very authentic to that sort of a person. It is very true that there are moments one is forced to listen to some real struggling to get out the music, but again, I don't see that as a draw back at all. It only makes her suffering all the more real, the pains of life actually gulping away her ability to speak. This is an electric Trovatore, and sadly, we NEVER see that in the theater today. The singers either have voices far too small for the roles, or are too intent on sounding pretty, and all the drama is lost.

An Excellent Il Trovatore.......2004-11-28

This recording of Il Trovatore is underappreciated. It features an all-star cast with an excellent conductor. Carlo Bergonzi is one of the best Manricos alive. He sings with dramatic intensity, which is relevant in his "Infida!" in Act I. Bergonzi's finest moment in the opera is his High Cs at the end of "Di quella pira." Gabriella Tucci is an under recorded opera star. Her Leonora is one of the best around today. Her vocal beauty is apparent in "Tacea la notte," and "Di tale amor." Piero Cappuccilli is one of my favorite baritones, so his presence on this CD influenced me to purchase it. His powerful baritone voice is perfect for Count di Luna. His "Il balen" is absoutely wonderful. Giulietta Simionato is THE Azucena. Her "Stride la vampa" is great, and her best moment. She sounds just like a crazy gypsy mother seeking revenge on the Count. The supporting singers ae also great. Ivo Vinco is a commanding Ferrando. Piero de Palma is one of my favorite "supporting singers", and is excellent as Ruiz. Conductor Gianandrea Gavazzeni is a superb conductor, and pulls out everything he has to impress the Moscow audience.

Our Amazing Stars in Moscow.......1999-09-11

This recording is set in Moscow as La Scala's opera tour. For the names of the singers you may choice this set without any hesitation. Of couse, all the singers are pretty good. Although Simionato is already old, she sings still exactly. And Tucci is in her pick. She's cool! Cappuccilli is normal. But our Bergonzi is not so good at that time and "Di quella pira"is downed in a half-note. The reaction of Moscow's audience is very passionate. But remastering isn't a little satisfying. But I'd like to tell you, only if you love this opera, to buy this set.

Average customer rating:

Giorni Rubati Manufacturer: Bip_Hop ProductGroup: Music Binding: Audio CD Pop Rock | Pop | Styles | Music Experimental Music | Miscellaneous | Styles | Music ASIN: B000IONG54 Release Date: 2007-07-31

Tracks:

1. To The Red Flag
2. Tagliamento
3. Ricordi Di Miseria
4. Meditazione
5. Ciant Da Li Ciampanis
6. Diario
7. Munifried
8. Tramonto Pi Nero Dell'Alba
9. Pause For Supper
10. Ricerca Di Una Casa
11. Lacrime
12. Stolen Days
13. Trionfo Della Notte

Product Description

In 2004 Italian electronics composer Teho Teardo and New York cellist Erik Friedlander began a trans- Atlantic collaboration, exchanging ideas, creating and remixing each other's contributions. They discovered a rapport that superseded their different backgrounds. The classically trained cellist now Downtown improviser and former electro punk now cutting edge film composer found they shared a drive to create emotionally charged, passionate music. Their first efforts, Munifried, was integral in Teardo's soundtrack for "Lavorare Con Lentezza", a film by Guido Chiesa who loved the track and purchased the rights for his film. Then, in the summer of 2005, Teho visited New York City and brought with him 2 bottles of red wine and an idea for a project: a book of poems by Pier Paolo Pasolini, the Italian director and writer who was murdered in 1975. Friedlander recorded 8 responses to the poems: some were single track cello improvisations, others were more complicated, multi-tracked productions which he sent to Teho in Italy. Teardo recomposed the tracks by mixing layers of elegant electronica, piano, and guitar with the stark acoustic cello. In between scoring projects, touring, and making CD's the two musicians found time to work together on their collaboration. They completed Giorni Rubati in early 2006 and, as a special addition included two live tracks, one from The Knitting Factory in New York, and the other from Prodenone, Italy--taken from a concert celebrating the 30 year anniversary of Pasolini's death.

Average customer rating: What a steal! Good Early Sutherland Concert Fare sensational! Bravissima!

Joan Sutherland: BBC-Recitals 1958, 1960, 1961 Manufacturer: Bella Voce Records ProductGroup: Music Binding: Audio CD All Works by Arne | Arne, Thomas Augustin | ( A ) | Featured Composers, A-Z | Classical | Styles | Music All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Franz Joseph Haydn | Haydn, Franz Joseph | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Liszt | Liszt, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Pergolesi | Pergolesi, Gio Battista | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Spohr | Spohr, Ludwig | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Sutherland, Dame Joan | ( S ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: The Art of Joan Sutherland La Stupenda ~ The Supreme Voice of Joan Sutherland Joan Sutherland: Her Spectacular Pasadena Concert Joan Sutherland: Songs from Mozart, Bellini, Haydn, Handel, Donizetti The Art of the Prima Donna ASIN: B00000DFGW Release Date: 1998-11-01

Tracks:

1. Also Hatt Gott Die Welt Geliebt BWV 68: My Faithful Heart - Joan Sutherland/Andre Navarra
2. Soirees Musicales No.IV: The Orgy - Joan Sutherland/Ernest Lush
3. The Loreley
4. Soirees Musicales No.I: The Promise
5. Soirees Musicales No.VII: The Gondola Ride
6. Soirees Musicales No.VI: The Alpine Shepherdess
7. Regret
8. Le Rossignol
9. Les Filles De Cadix
10. Speak
11. Tre Giorni Son Che Nina
12. Una Cosa Rara: Dolce Mi Parve Un Di
13. Il Fantastico Per La Musica: Che Dici
14. Samson: With Plaintive Note
15. When Daisies Died
16. My Mother Bids Me Bind My Hair
17. She Never Told Her Love
18. Zemira And Azor: Rose Softly Blooming
19. Cherry Ripe
20. Bergerette

Customer Reviews:

What a steal!.......2004-06-23

This recording of Sutherland's earliest records is absolutely brilliant!!! She soars through Arne and Handel as if it were the easiest music ever written. Whether you love Joan Sutherland, great singing or both: BUY THIS!

Good Early Sutherland Concert Fare.......2004-03-27

This CD is 67:52 in length and provides 20 songs and arias from three live BBC radio broadcasts, as follows: 2 from the Dec. 1958 broadcast, 8 from the Dec. 1960 broadcast, and 10 from the Dec. 1961 broadcast. None are well-known operatic arias; none have orchestral accompaniment; all but the first two are accompanied by her husband (and teacher/coach/conductor) Richard Bonynge at the keyboard. (The 1961 broadcast is devoted to eighteenth century music and is accompanied by Bonynge on harpsichord.)

The selections are relatively unconventional and unfamiliar--evidently a point with the concert choices made by Sutherland and Bonynge--which will be welcome and refreshing to many. As the notes point out, "This group is typical of the creative programs Sutherland and Bonynge would present for next 30 years. They created 15 different programs and appeared together 129 times in recital. . . . [They] loved to rediscover music and made a specialty of reintroducing the world to many forgotten bonbons, such as these." Dame Joan is in fresh, youthful voice (her international career began with her Covent Garden Lucia in 1959, and she was 32 to 35 when these recitals were broadcast) and sings handsomely throughout, often displaying an attractive mezzo-like fullness and warmth of tone. But Sutherland opera fans may be somewhat disappointed, not in the singing, but in the material here, which calls for little of the full-throated excitement, dazzling pyrotechnics, and brilliant high notes of her best opera recordings; this is more modest fare, and it is, appropriately, more modestly sung. The sound is decent, clean, eminently listenable monaural, no doubt from airchecks, but has this small annoyance: it is afflicted throughout with a residual level of pre-echo and post-echo that is clearly audible on a high-resolution playback system.

The indispensable Sutherland collections (apart from her complete opera recordings) are The Art of the Prima Donna (2 CDs, all 1960 recordings) and La Stupenda (2 CDs, recordings from 1959 to 1988); these should be owned by anyone interested in Sutherland, coloratura soprano singing, or simply great singing. This recital, while enjoyable, is certainly not of comparable importance. But if you are a Sutherland fan and would like to supplement her meatier operatic endeavors with engagingly sung concert fare from the early years of her international career, this is a good choice.

sensational!.......2000-08-10

this are sensational. what singing, what a voice. A MUST HAVE!

Bravissima!.......1998-11-30

Anyone who question Sutherland as the greatest coloratura soprano of all time should listen to this CD. She sings with complete control in all the arias. I think that Mozart had her in mind for the Constanza aria. Sutherland before 1975 as a dramatic coloratura soprano is simply without peer in this and any other century. A must have!

Average customer rating: A Leonora For All Time The greatest Leonora! Brilliant! The best Leonora forever Beautiful and amazing

Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Callas, Maria | Divas | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Similar Items: Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (2 complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan Puccini: Manon Lescaut (complete opera) with Maria Callas, Giuseppe di Stefano, Tullio Serafin, Chorus & Orchestra of La Scala, Milan ASIN: B000002RY8 Release Date: 1997-08-19

Tracks:

1. Act One, Scene One: All'erta! All'erta! - Coro Del Teatro Alla Scala, Milano
2. Act One, Scene One: Di Due Figli Vivea Padre Beato - Coro Del Teatro Alla Scala, Milano
3. Act One, Scene One: Abbietta Zingara, Fosca Vegliarda! - Coro Del Teatro Alla Scala, Milano
4. Act One, Scene One: Brevi E Tristi Giorni Visse - Coro Del Teatro Alla Scala, Milano
5. Act One, Scene One: Sull'orlo Dei Tetti - Nicola Zaccaria
6. Act One, Scene One: Che Piu T'arresti? - Maria Callas
7. Act One, Scene One: Tacea La Notte Placida - Maria Callas
8. Act One, Scene One: Quanto Narrasti Di Turbamento M'ha Piena L'alma! - Maria Callas
9. Act One, Scene One: Di Tale Amor - Maria Callas
10. Act One, Scene One: Tace La Notte! - Rolando Panerai
11. Act One, Scene One: Il Trovator! Lo Tremo!...Deserto Sulla Terra - Rolando Panerai
12. Act One, Scene One: Anima Mia!...Piu Dell'usato - Coro Del Teatro Alla Scala, Milano
13. Act One, Scene One: Di Geloso Amor Sprezzato - Maria Callas
14. Act Two, Scene One: Vedi! Le Fosche Notturne - Coro Del Teatro Alla Scala, Milano
15. Act Two, Scene One: Stride La Vampa! - Fedora Barbieri
16. Act Two, Scene One: Mesta E La Tua Canzon! - Giuseppe Di Stefano
17. Act Two, Scene One: Soli Or Siami - Coro Del Teatro Alla Scala, Milano
18. Act Two, Scene One: Condotta Ell'era In Ceppi - Coro Del Teatro Alla Scala, Milano
19. Act Two, Scene One: Non Son Tuo Figlio! - Coro Del Teatro Alla Scala, Milano
20. Act Two, Scene One: Mal Reggendo All'aspro Assalto - Giuseppe Di Stefano
21. Act Two, Scene One: L'usato Messo Ruiz Invia!...Mi Vendica! - Renato Ercolani
22. Act Two, Scene One: Perigliarti Ancor Languente - Giuseppe Di Stefano
23. Act Two, Scene Two: Tutto E Deserto - Coro Del Teatro Alla Scala, Milano
24. Act Two, Scene Two: Il Balen Dei Suo Sorriso - Coro Del Teatro Alla Scala, Milano
25. Act Two, Scene Two: Qual Suono! Oh Ciel! - Coro Del Teatro Alla Scala, Milano
26. Act Two, Scene Two: Per Me Ora Fatale - Coro Del Teatro Alla Scala, Milano
27. Act Two, Scene Two: Ah! Se L'error T'ingombra - Rolando Panerai
28. Act Two, Scene Two: Perche Piangete? ... O Dolci Amiche (Leonora, Ines, Conte, Coro) - Maria Callas
29. Act Two, Scene Two: E Deggio Posso Crederlo? - Maria Callas

Tracks:

1. Act Three, Scene One: Or Co' Dadi, Ma Fra Poco - Nicola Zaccaria
2. Act Three, Scene One: In Braccio Al Mio Rival! - Coro Del Teatro Alla Scala, Milano
3. Act Three, Scene One: Giorni Poveri Vivea - Coro Del Teatro Alla Scala, Milano
4. Act Three, Scene One: Deh! Rallentate, O Barbari - Rolando Panerai
5. Act Three, Scene Two: Quale D'armi Fragor - Maria Callas
6. Act Three, Scene Two: Ah Si, Ben Mio, Coll'essere Io Tuo - Giuseppe Di Stefano
7. Act Three, Scene Two: L'onda De Suoni Mistici Pura Discenda Al Cor! - Maria Callas
8. Act Three, Scene Two: Di Quella Pira, L'orrendo Foco - Renato Ercolani
9. Act Four, Scene One: Siam Giunti, Ecco La Torre - Maria Callas
10. Act Four, Scene One: D'amor Sull'ali Rosee - Maria Callas
11. Act Four, Scene One: Miserere... Quel Suon, Quelle Preci - Maria Callas
12. Act Four, Scene One: Di Te, Di Te Scordami Di Te - Maria Callas
13. Act Four, Scene One: Udiste? - Coro Del Teatro Alla Scala, Milano
14. Act Four, Scene One: Mira, D'acerbe Lagrime - Coro Del Teatro Alla Scala, Milano
15. Act Four, Scene One: Conte! ... Ne Basti! - Coro Del Teatro Alla Scala, Milano
16. Act Four, Scene One: Colui Vivra...Vivra! Contende Il Giubilo - Maria Callas
17. Act Four, Scene Two: Madre, Non Dormi? - Coro Del Teatro Alla Scala, Milano
18. Act Four, Scene Two: Si, La Stanchezza Mopprime - Coro Del Teatro Alla Scala, Milano
19. Act Four, Scene Two: Ai Nostri Monti Ritorneremo - Giuseppe Di Stefano
20. Act Four, Scene Two: Che! Non M'inganna - Coro Del Teatro Alla Scala, Milano
21. Act Four, Scene Two: Parlar Non Vuoi?...Ha Quest'infame L'amor Venduto - Coro Del Teatro Alla Scala, Milano
22. Act Four, Scene Two: Ti Scosta! - Maria Callas
23. Act Four, Scene Two: Prima Che D'altri Vivere - Maria Callas

Amazon.com essential recording

Maria Callas's voice was never noted for its sheer beauty, but she was in her best form for this session and she knew exactly what to do with what she had. She might not make the distraught figure of Leonora rationally credible, but she knows more about acting with her voice than anyone this side of Sir John Gielgud. And she puts Leonora's emotions, her vulnerability, her whole-hearted, self-sacrificial love, squarely before the listener. Herbert von Karajan's conducting brings logical coherence to a work not noted for that quality. In short, this is vintage Callas, at the top of her form in some of the greatest music and some of the most intensely emotional situations ever devised for a soprano. Von Karajan--young and not yet burdened with the mannerisms of his later years, is an ideal partner. The other singers, though dwarfed by Callas, provide substantial support. --Joe McLellan

Customer Reviews:

A Leonora For All Time.......2006-04-08

I have always considered the Trovatore Leonora to be one of Callas's very greatest roles. Here , less obscured by her undoubted dramatic gifts, we can enjoy the pure musicality of her singing. The timbre is perfect for Leonora - dark, plangent & (apart form at the very top of her register)surpassingly beautiful. The role displays her perfect legato, incredible breath control & accurate coloratura. She also has a wonderful understanding of just how to phrase a Verdian cadenza, quite different from anything she would do in Bellini or Donizetti. You only have to hear her first few phrases to know that this Leonora is an aristocrat. Leontyne Price is undoubtedly another great Leonora, and she too has a voice perfectly suited to the role, but occasionally she mars the vocal line with unmusical cadenzas, appearing more interested in laying out her voice for admiring display, where Callas is more intent on letting us hear Verdi. The rest of the cast is just about as perfect as was possible at the time & a good deal better than anything we could manage today. True, Di Stefano lacks the requisite weight, but he sings with such face, it is readily forgiven. His "Di quella pira" may not have the heroic heft of a Corelli, but he sings "Ah, si ben mio" quite beautifully. Panerai, Barbieri & Zaccaria could hardly be bettered & Karajan was at this time the perfect conductor for the project. He conducts with great style & dash, while at no time apologising for the occasional vulgarities in the score. More modern recordings are uncut & here we have the cuts traditional at the time, but at least we get one verse of Leonora's cabaletta "tu vedrai". The sound has also been remarkably well freshened up in it's present transfer. Unless you really have to have modern stereo digital sound, buy it. And, even if you have another recording, acquire this as well. You won't regret it!

The greatest Leonora!.......2004-07-02

I couldn't agree more with the reviews stating that Callas' Leonora is unsurpassed. Björling called this Leonora "sheer perfection". Unbeatable!

Brilliant!.......2004-06-13

The dream-team Callas-di Stefano comes together once more to record I'll Trovatore! And how beautifully they did it! Herbert von Karajan's conducting is supreme, Callas sings the definite Leonora, di Stefano sounds passionate and loving as Manrico and Barbieri kicks ass as Azucena. To the guy who said that if Callas had Milanov as a rival she'd fall on her face, Callas and Milanov performed at the same time! So there! The best Trovatore ever!

The best Leonora forever.......2004-05-16

Period! Di Stefano sounds surprisingly on fire as the ill-fated Manrico, Barbieri COMMANDS as Azucena and Panerei is a fabulous di Luna. Von Karajan conducts mastefully. Not the only Trovatore but one of the very best!

Beautiful and amazing.......2004-04-04

This Trovatore has been called a landmark by critics and fans alike. Callas in in exquisite form, di Stefano sounds passionate, ardent and luscious and Panerei is a surprisingly fierce di Luna. Von Karajan conducts this PERFECTLY. Buy this and marvel at a vocal wonder!

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