| 1. I Grandi Cacciatori |
| 2. Il Marinaio |
| 3. La Discesa E Poi Il Mare |
| 4. L'amore E La Spina |
| 5. Rabbia Liberta Fantasia |
| 6. Questa Notte C'e |
| 7. La Donna Cannibale |
| 8. Lupo |
| 9. Ho Capito Che Ti Amo |
| 10. Uomini |
Editorial Reviews
Product Description
C.G.D.
We hear Mozart, Schubert, Rossini, and more, sung with the voice of a angel on one hand, and with power and majesty on the other. She interprets with skill and finesse, and her knowledge of the music helps to inform her performances.
For anyone who's been wanting an introduction to opera, or to Cecilia Bartoli, buying this CD is a great way to start.
"Voi che sapete" from Mozart's "Le Nozze di Figaro" is richly sung. She displays a lush mezzo voice. This aria is smoothly sung; a very nice version. Her sumptuous voice interprets this piece nicely. A very satisfying version.
From "Don Giovanni," we have "Batti batti, o bel Masetto." Her rich voice does justice to this piece. There is also a nice characterization in play. Poignantly sung.
Rossini's "Belta Crudele" is smoothly sung; her rich voice does well by this piece. An effecting version. She notes of Rossini that he is "a composer to whom I feel particularly close, and in whose coloratura writing I have found a new and different expressive mode."
She takes a crack at Rossini's "Bel raggio lusinghier," normally sung by sopranos. And this does not disappoint. This work, sung by a mezzo, provides an interesting interpretation. She demonstrates agility in her technique; she shows good ornamentation. There is even a decent trill in this work, something that some current coloratura sopranos would long to equal, from my listening.
The final cut on the CD is from Rossini's "La Cenerentola," "Nacqui all'affano. . .Non piu mesta." Very well done. Her coloratura technique is rock solid. A trill during this cut would fill many sopranos with envy. She clearly shows a good coloratura sensibility. This is great stuff!
This is a good introduction to the range of skills possessed by Bartoli. A nice CD indeed.
I am not an experienced music or voice critic, but to my ear, compared to the likes of Anne Sophie Von Otter and Renee Fleming, Mme. Bartoli is a pleasantly different take on the operatic genre. She is not quite as powerful as Maria Callas, but then, who is?
compilation enjoyable.
I love bartoli's rendition of sussana's "deh vieni non tardar" which is normally sung by sopranos.
the other mozart arias, the rossini arias and the songs
for voice and piano are also very good.
I can't stand bartoli's rendition of "naqui allaffanno...non piu mesta". she sings it in such an exaggerate manner, in "non piu mesta" she sounds like a strangled parrot!
Those tracks are: "The Good, The Bad and The Ugly", "A Fistful of DOllars", "For a Few Dollars More", and "Two Mules for Sister Sara". "In The Line Of Fire' also appeared on that CD, performed electronically by Mark Ayres.
The next bunch of tracks is from Silva Screen's 1996 compilation, "Cinema Paradise: The Classic Film Music of Ennio Morricone", which included the majority of tracks here such as the extensive The Mission Suite, The Untouchables, Casulaties of War, Once Upon a Time In America, 1900, Chi Mai, Marco Polo, Once Upon a Time In The West (two tracks), Cinema Paradise, and The Good the Bad and the Ugly - Ecstacy of Gold, mostly being conducted by Paul Bateman, with Nic Raine doing some of the conducting duties as well.
Hamlet is from Silva's 1997 "Cinema's Classic Romances" compilation, while "The Thing" is from Silva's 2001 "Essential John Carpenter".
A Fistful of Dynamite - Duck You Sucker is from 2002's Way Out West: Essential Western Film Music Collection Volume Two.
The remaing tracks were newly recorded in 2004 for this release:
Days of Heaven, Exorcist II, Guns for San Sebastian, Moses the Lawgiver, My Name is Nobody, The Five Man Army, The Red Tent, The Men From Shiloh and The Sicilian Clan.
Highly recommended.
Ennio Morricone was born in Rome on October 11, 1928...attended the Santa Cecilia Conservatory...worked in various jazz bands, later a staff arranger and composer...an orchestrator in the '50s...scored films in the early '60s, then the WESTERNS and his name became a household word in the film industry ~ a new kind of western was on the horizon and Morricone was commissioned to score "A FISTFUL OF DOLLARS" [1964] for Sergio Leone featuring Clint Eastwood, spaghetti westerns were born ~ next "FOR A FEW DOLLARS MORE" [1965] ~ and a bigger budget film "THE GOOD, THE BAD AND THE UGLY" [1966], again featuring Clint Eastwood, Lee Van Cleef and a third Eli Wallach whose performance was magical to watch on the big screen ~ violence and revenge gives Morricone an opportunity to feature electric guitars, flutes and jew's harp blending with a non lyrical chorus mixed with brass, strings, percussion with full orchestration that simply took your breath away...example is "ONCE UPON A TIME IN THE WEST" [1968], featuring Henry Fonda, Claudia Cardinale, Jason Robards and our hero Charles Bronson the mysterious harmonica player, director Sergio Leone's tribute to the American Western, pulled out all the stops ~ the Western was just a small part of Maestro Morricone's career, in the next paragraph take a gander of just what our icon of film music accomplished.
Our composer didn't stop there as "ONCE UPON A TIME IN AMERICA" [1984], featuring Robert De Niro, James Woods and Elizabeth McGovern, another Sergio Leone film..."THE MISSION" [1986], featuring Robert De Niro, Jeremy Irons and Aldan Quinn, is probably one of Morricone's crowning scores receiving an Academy Award nomination, very haunting and classical genre in substance..."THE UNTOUCHABLES" [1987], featuring Kevin Costner, Sean Connery and Robert De Niro during the Al Capone '30s crime organization, Morricone conjures a powerful and dynamic arrangement of his unmistakable theme..."CINEMA PARADISO" [1988], featuring Phillippe Noiret, Antonella Attili and Pupella Maggio from director Giuseppe Tomatore as he recalls his early childhood, the score immediately captures your heart, so tender and compelling as Morricone can only deliver.
City of Prague Philharmonic Orchestra featuring conductors Kenneth Alwyn, Paul Bateman, James Fitzpatrick, Nic Raine, Derek Wadsworth ~ Crouch End Festival Chorus featuring Choir Master David Temple ~ vocals performed by Charlotte Kinder, Marie Kopecka and Jill Washington ~ guitar, percussion and keyboards performed by Gareth Williams ~ all in all did a magnicent job in bringing the music of a composer who wrote for over 250 films, receiving recognition from the industry and fans which was long over-due ~ his work is in constant demand, scoring as many as over a half dozen films as year.
This collection contains an overlay of each cue in Morricone's distinctive style of legendary scoring ~ the man who made this possible, a tremendous asset to every project he undertakes is James Fitzpatrick [producer of the album] ~ symphonic suites with full orchestra fullfilling the "film-score-buffs" cravings for more of the same, just the way we like 'em!
Total Time: 2-CD-Set ~ Silva America 1165 ~ (10/05/2004)
This recording features the younger (1998), lighter voice in the appropriately lighter repertoire and the intelligence coupled with sheer beauty of sound is here. Though his voice has darkened and is much more full now, these bel canto arias are still splendid. The technique is sound, the line is pure, and the bloom at the top promises that he would become the lyric tenor he has become in 2004.
Marcelo Alvarez started here with the right works at the right time in his career. They are here to savour - sort of a hint of what he has become - a treasureable, exciting and intelligent singer. Grady Harp, December 2004
My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.
In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.
Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).
Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.
Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.
Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.
Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
Devia's gifts are unique among any generation of singers and to cut the long story short, I regard her as the finest lyric coloratura I've heard. Canonici is a simpler singer but this is often the case with tenors. He is rarely spectacular but his sense of style, clean cut singing and handsome voice have made me appreciate him tremendously. So far, my favourite Devia/Canonici performance is their live Amsterdam Beatrice di Tenda but this studio Linda finds them in great form too and it's a must have.
Devia would make her Linda even more exciting in later years (the '97 live performances are unbelievable) but I also like this more reserved studio portrayal. I don't regard much of Linda's music very interesting and this is the reason I've avoided recordings of this work but Devia fascinates me and I now listen to this opera more and more and actually quite like it. As for the famous o Luce, it becomes not only playful but exciting! The other roles are quite meaty and therefore good singers are needed. Apart from Canonici whom I prefer to Kraus and Valetti cause of his warmer sound, I wasn't much impressed by the others who nevertheless sing well.
Though not the perfect Linda recording due to the rather bland secondary casting, I still find this the best Linda recording on the market. Serafin's 50s recording has his very fine conducting and perhaps a bit more character from some of the cast (Cappecchi especially) but Stella's rather hard-toned Linda who's made me stay away from this opera until now, is an acquired taste. Gruberova also offers a lovely and impressive account of the title role but I like Devia's balsamic vinegar voice even more.
C.G.D.
Uomini,Ornella Vanoni,WEA,Chamber Music,Italian,Italy,World Music
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Cecilia Bartoli - A Portrait
Wolfgang Amadeus Mozart , Gioachino Rossini , Giulio Caccini , Guiseppe Giordani , Alessandro Parisotti , Ion Marin , Christopher Hogwood , Riccardo Chailly , György Fischer , Lesley Schatzberger , Cecilia Bartoli , and The Academy of Ancient Music Manufacturer: Decca ProductGroup: Music Binding: Audio CD  Giordani, Giuseppe
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ASIN: B000004288 Release Date: 1995-09-19 |
Tracks:
- La Clemenza di Tito: Parto, parto, ma tu ben mio
- Cosi fan tutte: Temerari!...Come scoglio
- Cosi fan tutte: In uomini, in soldati
- Le nozze di Figaro: Voi che sapete
- Le nozze di Figaro: Giunse alfin il momento...Deh vieni
- Don Giovanni: Batti, batti, o bel Masetto
- Ch'io mi scordi di te?
- Se tu m'ami
- Caro mio ben
- Amarilli
- D528: La pastorella
- D510: Vedi quanto adoro ancora ingrato!
- Belta crudele
- Semiramide: Bel raggio lusinghier
- Maometto II: Giusto ciel, in tal periglio
- La Cenerentola: Nacqui all'affanno... Non pita
Customer Reviews:
The Incomparable Bartoli Offers Great Interpreting.......2007-04-11
We hear Mozart, Schubert, Rossini, and more, sung with the voice of a angel on one hand, and with power and majesty on the other. She interprets with skill and finesse, and her knowledge of the music helps to inform her performances.
For anyone who's been wanting an introduction to opera, or to Cecilia Bartoli, buying this CD is a great way to start.
Very good singing!.......2007-03-21
"Voi che sapete" from Mozart's "Le Nozze di Figaro" is richly sung. She displays a lush mezzo voice. This aria is smoothly sung; a very nice version. Her sumptuous voice interprets this piece nicely. A very satisfying version.
From "Don Giovanni," we have "Batti batti, o bel Masetto." Her rich voice does justice to this piece. There is also a nice characterization in play. Poignantly sung.
Rossini's "Belta Crudele" is smoothly sung; her rich voice does well by this piece. An effecting version. She notes of Rossini that he is "a composer to whom I feel particularly close, and in whose coloratura writing I have found a new and different expressive mode."
She takes a crack at Rossini's "Bel raggio lusinghier," normally sung by sopranos. And this does not disappoint. This work, sung by a mezzo, provides an interesting interpretation. She demonstrates agility in her technique; she shows good ornamentation. There is even a decent trill in this work, something that some current coloratura sopranos would long to equal, from my listening.
The final cut on the CD is from Rossini's "La Cenerentola," "Nacqui all'affano. . .Non piu mesta." Very well done. Her coloratura technique is rock solid. A trill during this cut would fill many sopranos with envy. She clearly shows a good coloratura sensibility. This is great stuff!
This is a good introduction to the range of skills possessed by Bartoli. A nice CD indeed.
Worthy Introduction to Mme. Bartoli.......2006-06-18
I am not an experienced music or voice critic, but to my ear, compared to the likes of Anne Sophie Von Otter and Renee Fleming, Mme. Bartoli is a pleasantly different take on the operatic genre. She is not quite as powerful as Maria Callas, but then, who is?
beautiful singing except for the last aria.......2004-12-12
compilation enjoyable.
I love bartoli's rendition of sussana's "deh vieni non tardar" which is normally sung by sopranos.
the other mozart arias, the rossini arias and the songs
for voice and piano are also very good.
I can't stand bartoli's rendition of "naqui allaffanno...non piu mesta". she sings it in such an exaggerate manner, in "non piu mesta" she sounds like a strangled parrot!
A fun compilation of arias and songs!.......2000-05-22
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Once Upon a Time: The Essential Ennio Morricone
Manufacturer: Silva America ProductGroup: Music Binding: Audio CD Italy
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ASIN: B0002V4YTU Release Date: 2004-10-05 |
Tracks:
- Once Upon A Time In The West: Man With The Harmonica
- A Fistful Of Dollars
- For A Few Dollars More
- Days Of Heaven: The Harvest
- The Five Man Army
- Once Upon A Time In The West: Jill's Theme
- The Men From Shiloh
- Guns For San Sebastian: Overture
- Two Mules For Sister Sara
- A Fistful Of Dynamite: Duck, You Sucker
- My Name Is Nobody
- The Good, The Bad And The Ugly: Main Theme
- The Good, The Bad And The Ugly: The Ecstasy Of Gold
- Cinema Paradiso
- Once Upon A Time In America: Deborah's Theme
Tracks:
- The Untouchables: Main Theme
- The Red Tent
- The Sicilian Clan
- Exorcist & The Heretic: Regan's Theme
- Moses The Lawgiver
- In The Line Of Fire
- The Thing
- Le Professionnel: Chi Mai
- Hamlet
- 1900: Romanza
- Casualties Of War: Elegy For Brown
- Marco Polo
- The Mission
- Gabriel's Oboe
- Ave Maria (Guarini)
- On Earth As It Is In Heaven
- Epilogue: The Falls
Customer Reviews:
Excellence!.......2007-04-22
Those tracks are: "The Good, The Bad and The Ugly", "A Fistful of DOllars", "For a Few Dollars More", and "Two Mules for Sister Sara". "In The Line Of Fire' also appeared on that CD, performed electronically by Mark Ayres.
The next bunch of tracks is from Silva Screen's 1996 compilation, "Cinema Paradise: The Classic Film Music of Ennio Morricone", which included the majority of tracks here such as the extensive The Mission Suite, The Untouchables, Casulaties of War, Once Upon a Time In America, 1900, Chi Mai, Marco Polo, Once Upon a Time In The West (two tracks), Cinema Paradise, and The Good the Bad and the Ugly - Ecstacy of Gold, mostly being conducted by Paul Bateman, with Nic Raine doing some of the conducting duties as well.
Hamlet is from Silva's 1997 "Cinema's Classic Romances" compilation, while "The Thing" is from Silva's 2001 "Essential John Carpenter".
A Fistful of Dynamite - Duck You Sucker is from 2002's Way Out West: Essential Western Film Music Collection Volume Two.
The remaing tracks were newly recorded in 2004 for this release:
Days of Heaven, Exorcist II, Guns for San Sebastian, Moses the Lawgiver, My Name is Nobody, The Five Man Army, The Red Tent, The Men From Shiloh and The Sicilian Clan.
Highly recommended.
"his domain of film scoring is legendary ~ Ennio Morricone".......2004-10-07
Ennio Morricone was born in Rome on October 11, 1928...attended the Santa Cecilia Conservatory...worked in various jazz bands, later a staff arranger and composer...an orchestrator in the '50s...scored films in the early '60s, then the WESTERNS and his name became a household word in the film industry ~ a new kind of western was on the horizon and Morricone was commissioned to score "A FISTFUL OF DOLLARS" [1964] for Sergio Leone featuring Clint Eastwood, spaghetti westerns were born ~ next "FOR A FEW DOLLARS MORE" [1965] ~ and a bigger budget film "THE GOOD, THE BAD AND THE UGLY" [1966], again featuring Clint Eastwood, Lee Van Cleef and a third Eli Wallach whose performance was magical to watch on the big screen ~ violence and revenge gives Morricone an opportunity to feature electric guitars, flutes and jew's harp blending with a non lyrical chorus mixed with brass, strings, percussion with full orchestration that simply took your breath away...example is "ONCE UPON A TIME IN THE WEST" [1968], featuring Henry Fonda, Claudia Cardinale, Jason Robards and our hero Charles Bronson the mysterious harmonica player, director Sergio Leone's tribute to the American Western, pulled out all the stops ~ the Western was just a small part of Maestro Morricone's career, in the next paragraph take a gander of just what our icon of film music accomplished.
Our composer didn't stop there as "ONCE UPON A TIME IN AMERICA" [1984], featuring Robert De Niro, James Woods and Elizabeth McGovern, another Sergio Leone film..."THE MISSION" [1986], featuring Robert De Niro, Jeremy Irons and Aldan Quinn, is probably one of Morricone's crowning scores receiving an Academy Award nomination, very haunting and classical genre in substance..."THE UNTOUCHABLES" [1987], featuring Kevin Costner, Sean Connery and Robert De Niro during the Al Capone '30s crime organization, Morricone conjures a powerful and dynamic arrangement of his unmistakable theme..."CINEMA PARADISO" [1988], featuring Phillippe Noiret, Antonella Attili and Pupella Maggio from director Giuseppe Tomatore as he recalls his early childhood, the score immediately captures your heart, so tender and compelling as Morricone can only deliver.
City of Prague Philharmonic Orchestra featuring conductors Kenneth Alwyn, Paul Bateman, James Fitzpatrick, Nic Raine, Derek Wadsworth ~ Crouch End Festival Chorus featuring Choir Master David Temple ~ vocals performed by Charlotte Kinder, Marie Kopecka and Jill Washington ~ guitar, percussion and keyboards performed by Gareth Williams ~ all in all did a magnicent job in bringing the music of a composer who wrote for over 250 films, receiving recognition from the industry and fans which was long over-due ~ his work is in constant demand, scoring as many as over a half dozen films as year.
This collection contains an overlay of each cue in Morricone's distinctive style of legendary scoring ~ the man who made this possible, a tremendous asset to every project he undertakes is James Fitzpatrick [producer of the album] ~ symphonic suites with full orchestra fullfilling the "film-score-buffs" cravings for more of the same, just the way we like 'em!
Total Time: 2-CD-Set ~ Silva America 1165 ~ (10/05/2004)
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Cecilia Bartoli - Mozart Portraits
Wolfgang Amadeus Mozart , Cecilia Bartoli , György Fischer , Vienna Chamber Orchestra , and Ingomar Raimer Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B00000423X Release Date: 1994-09-13 |
Tracks:
- Cosi fan tutte: Temerari! ... Come scoglio
- Cosi fan tutte: Ei parte ... Per pieta, ben mio
- Cosi fan tutte: In uomini, in soldati
- Le nozze di Figaro: E Susanna non vien! ... Dove sono i bei momenti
- Le nozze di Figaro: Giunsi alfin il momento .... Al desio
- Don Giovanni: Batti, batti, o bel Masetto
- Don Giovanni: In quali eccessi ... Mi tradi quell'alma ingrata
- Davidde penitente, K469: Lungi le cure ingrate
- Exsultate, jubilate
Amazon.com essential recording
Bartoli, in her musical journey defying all stereotypes, paints multi- dimensional vocal portraits of these Mozart characters. From the most delicate pianissimo to the grandest forte, this superb recording leaves you breathless. While others struggle with Come Scoglio's vocal gymnastics and Dove Sono's challenging legato, Bartoli uses her dark timbre, impeccable coloratura and passionate phrasing to create a kaleidoscope of luscious, wildly exciting sound. The fire of Mozart, the "romantic" composer, is brought to life. Occasional breathiness employed for dramatic purposes serves only to seduce the listener even more. Other selections including Exsultate jubilate, Davidde penitente, and selections from Don Giovanni are merely terrific. --Barbara Eisner BayerCustomer Reviews:
A Truly Great Mozart Recital.......2003-05-24
Stars fell on Italy..........2002-08-14
However, I don't think she's perfect. Yet. This recording is, however. The orchestra has just the right timbre to complement the richness of her voice. And it is a rich voice. In fact, my main complaint is that I think she has outgrown Mozart's Susanna. Her voice is perfect for the Countess, and the rendition here of E Susanna non vien! is utterly charming and believable, with just the right touch of pathos.
The other aria that bothered me was the Batti, batti, o bel Masetto. She just sings it beautifully, of course, but it deserves more con fuoco at the beginning (she is, after all, begging to be beaten!) and more espansivo at the end, possibly with a touch of arrogance. Callas sang it that way once.
I prefer Kathleen Battle's Alleluia because she's more precise. Bartolli sings it "scorrevole." It's easy for her, as easy as a mother will sing a lullabye to a child. To me, this prayer needs vocal fireworks -- like an explosion of faith and gratitude. Bertolli can do it, she just chooses not to. That's why I can't fault her for it. After all, she made the album, it's her choice.
In all I really love this album and I love her voice. How wonderful it must be to have the ability to open your mouth and have such musical richness issue forth. The pleasure alone has to be worth all the work and effort it takes to make it that way.
The Best "Exultate, Jubilate".......2002-05-10
I haven't listened closely to the rest of the disc, but from what I have, it is just as well done as the "Exultate, Jubilate" (especially the Countess's "Dove Sono" and Despina's humorous "In Uomini, in Soldati"). As one reviewer pointed out, this recital would have made Mozart proud - I heartily agree.
bravo bartoli!.......2001-10-21
Mozart would have been proud.......2001-02-05
![Mozart - Così fan tutte / Cuberli, Bartoli, Rodgers, Streit, Furlanetto, Tomlinson, Berlin Phil., Barenboim [highlights]](http://ec1.images-amazon.com/images/I/21R5W5BN3CL.jpg)
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Mozart - Così fan tutte / Cuberli, Bartoli, Rodgers, Streit, Furlanetto, Tomlinson, Berlin Phil., Barenboim [highlights]
Wolfgang Amadeus Mozart , Berlin Philharmoniker , Daniel Barenboim , Cecilia Bartoli , Kurt Streit , Lella Cuberli , Ferruccio Furlanetto , Joan Rodgers , and John Tomlinson Manufacturer: Erato ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B000005ECD Release Date: 1994-06-07 |
Tracks:
- Cosi fan tutte: Overture
- Cosi fan tutte: Act I - Scene 6: No. 10 Terzettino 'Soace sia il vento' (Fiordligi, Dorabella, Don Alfonso)
- Cosi fan tutte: Act I - Scene 9: No.11 Aria 'Smanie implacabili' (Dorabella)
- Cosi fan tutte: Act I - Scene 9: No. 12 Aria 'In uomini, in soldato' (Despina)
- Cosi fan tutte: Act I - Scene 11: No.14 Aria ' Come scoglio immoto resta' (Fiordiligi)
- Cosi fan tutte: Act I - Scene 12: No.17 Aria 'Un aura amorosa' (Ferrando)
- Cosi fan tutte: Act II - Scene 1: No.19 Aria 'Una donna a quindici anni' (Despina)
- Cosi fan tutte: Act II - Scene 2: No.20 Duetto 'Prendero quel brunettino' (Fiordiligi, Dorabella)
- Cosi fan tutte: Act II - Scene 5: No. 23 Duetto 'Il core vi dono, bell'idolo mio' (Dorabella, Guglielmo)
- Cosi fan tutte: Act II - Scene 7: Recitativo 'Ei parte...' - No.25 Rondo 'Perpieta, ben mio' (Fiordiligi)
- Cosi fan tutte: Act II - Scene 8: No.26 Aria 'Donne mie, la fate a tanti' (Guglielmo)
- Cosi fan tutte: Act II - Scene 9: No.27 Cavatina 'Tradito, schernito' (Ferrando)
- Cosi fan tutte: Act II - Scene 10: No.28 Aria 'E' amore un ladroncello' (Dorabella)
- Cosi fan tutte: Act II -Scene 13: No.30 Andante 'Tutti accusan le donne' (Don Alfonso, Guglielmo)
- Cosi fan tutte: Act II - Scene 15: Finale - Scene 16 - Scene 17 - Scene ultima 'Fate presto, o cari amini; (Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo, Don Alfonso)
Customer Reviews:
The Perfect Sampler.......2006-10-15
Brilliant!.......2005-07-08
More Streit, Please!.......2005-05-20
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Marcelo Álvarez - Bel Canto / Y. Huang, WNO, Rizzi
Gaetano Donizetti , Vincenzo Bellini , Welsh National Opera Orchestra & Chorus , Carlo Rizzi , Marcelo Álvarez , and Ying Huang Manufacturer: Sony ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B00000D9Y1 Release Date: 1998-10-20 |
Tracks:
- Rigoletto: Questa O Quella
- Rigoletto: Ella mi fu rapita!...Parmi veder le lagrime...Possente amor me chiama
- Rigoletto: La danna e mobile
- L'Elisir d'Amore: Una furtiva lagrima
- Il Duca d'Alba: Inosservato penetrava...Angelo casto e bel
- I Puritani: Opening Scene From Act III
- Lucia di Lammermoor: Tombe degli avi miei...Fra poco a me ricovero
- Linda di Chamounix: Linda! si retiro...Se tanto in ira agli unomini
- La Traviata: Lunge da lei... De' miei bollenti spiriti...o mio rimorso
- La Favorita: Favorita de Re!...Spirto gentil
Amazon.com
Though he came to professional singing comparatively late and began to attract the attention of the operatic world only fairly recently, Argentinian tenor Marcelo Alvarez already seems launched on a successful career. On this debut recording of Italian arias, he displays a light, sweet voice; a ringing, easy top; a basically lyrical temperament; and honestly felt, natural expressiveness--only the three familiar arias from Verdi's Rigoletto are a bit fussy and exaggerated. Though the mixed program does not give him much opportunity for sustained characterization, he does match the color and intensity of his voice to the situation. Among the highlights are a beautiful extended scene from Bellini's I puritani with soprano Ying Huang; arias from Donizetti's Linda di Chamonix and La favorita, the latter culminating in a splendid high C; and a lively cabaletta from Verdi's La traviata. The orchestra tends to be too discreet. --Edith EislerCustomer Reviews:
Bravo, Bravo, Bravissimo!.......2005-04-18
Early Marcelo Alvarez Revisited.......2004-12-22
This recording features the younger (1998), lighter voice in the appropriately lighter repertoire and the intelligence coupled with sheer beauty of sound is here. Though his voice has darkened and is much more full now, these bel canto arias are still splendid. The technique is sound, the line is pure, and the bloom at the top promises that he would become the lyric tenor he has become in 2004.
Marcelo Alvarez started here with the right works at the right time in his career. They are here to savour - sort of a hint of what he has become - a treasureable, exciting and intelligent singer. Grady Harp, December 2004
A great voice used well........2002-08-28
What is it with the numbers?.......2002-01-23
A VERY POWERFUL VOICE; A NEW STAR IS ON THE RISE.......2000-09-27
I am not an opera lover, but I do share the enjoyment of the music. I have purchased, in the past the 3 tenors. I have no idea what the music is about or what they are saying in the music, but there is something about it I can not describe; most people say its the passion in their voices. I purchase this CD on a whim and I was very surprise at the crispness of the voice and the range Marcelo has. I listened to this CD for 3 hours on a business trip that I was drivng too. I will tell you, I am not a lover of this art, but maybe soon; and I would truly not recommend something I do not like. So trust me on this, for the lovers of the art, get this one, and for those who are not opera lovers listen to Alvarez for the first time. I plan to get Marcelo Alvarez sings Gardel next. I expect this star to rise in stardom.
Now that enough. Check out my book reviews next.
See Ya !
Tripp
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Mozart: Così Fan Tutte
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B000BL98ME Release Date: 2006-01-10 |
Tracks:
- Sinfonia/Overture - Philharmonia Orchestra & Chorus
- La Mia Dorabella Capace Non E - Rolando Panerai
- Cessate Di Scherzar - Rolando Panerai
- E La Fede Delle Femmine - Rolando Panerai
- Scioccherie Di Poeti! - Rolando Panerai
- Una Bella Serenata - Rolando Panerai
- Ah, Guarda, Sorella - Elisabeth Schwarzkopf
- Mi Par Che Stamattina - Elisabeth Schwarzkopf
- Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Sesto Bruscantini
- Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf
- Sento, Oddio, che Questo Piede - Various Artists
- O Cielo, Questo E Il Tamburo Funesto - Various Artists
- Bella Vita Militar! - Philharmonia Orchestra & Chorus
- Non V'e Piu Tempo - Various Artists
- Muoio D'affano!...Di Scrivermi Ogni Giorno - Various Artists
- Oh, Di, come Veloce Se Ne Va Quella Barca! - Elisabeth Schwarzkopf
- Soave Sia Il Vento - Elisabeth Schwarzkopf
- Quante Smorfie...Quante Buffonerie! - Sesto Bruscantini
- Che Vita Maledetta - Elisabeth Schwarzkopf
- Ah, Scostati!...Smanie Implacabili Che M'agitate - Nan Merriman
- Signora Dorabella, Signora Fiordiligi - Elisabeth Schwarzkopf
- In Uomini, In Soldati Sperare Fedelta? - Lisa Otto
- Despinetta!...Chi Batte? - Lisa Otto
- Alla Bella Despinetta - Various Artists
- Oh, Ciel! Mirate: Uomini In Cosa Nostra - Various Artists
- Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
- Ah, Non Partite! - Various Artists
- Non Siate Ritrosi - Rolando Panerai
- E Voi Ridete? - Rolando Panerai
- E Avete Ancora Coraggio Di Fiatar? - Rolando Panerai
- un'aura Amorosa Del Nostro Tesoro - Leopold Simoneau
- E Come Credi Che L'affar Finira? - Lisa Otto
Tracks:
- Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf
- Si Mora, Si, Si Mora - Various Artists
- Eccovi Il Medico - Various Artists
- Dove Son? Che Loco E Questo? - Various Artists
- Dammi Un Bacio, O Mio Tesoro - Various Artists
- Andate La, Che Siete Due Bizzarre Ragazze! - Elisabeth Schwarzkopf
- Una Donna A Quindici Anni - Lisa Otto
- Sorella, Cosa Dici? - Elisabeth Schwarzkopf
- Prendero Quel Brunettino - Elisabeth Schwarzkopf
- Secondate, Aurette Amiche - Rolando Panerai
- Cos'e Tal Mascherata? - Various Artists
- La Mano A Me Date - Various Artists
- Oh, che Bella Giornata! - Various Artists
- Il Core Vi Dono - Rolando Panerai
- Ei Parte...Senti...Ah No! - Elisabeth Schwarzkopf
- Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
- Amico, Abbiamo Vinto! - Leopold Simoneau
- Donne Mie, La Fate A Tanti A Tanti - Rolando Panerai
- In Qual Fiero Contrasto - Leopold Simoneau
- Tradito, Schernito - Leopold Simoneau
- Bravo, Questa E Costanza - Rolando Panerai
Tracks:
- Ora Vedo Che Siete Una Donna Di Garbo - Elisabeth Schwarzkopf
- E Amore Un Ladroncello - Nan Merriman
- Come Tutto Congiura - Elisabeth Schwarzkopf
- Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf
- Ah, Poveretto Me, Cosa Ho Veduto! - Rolando Panerai
- Tutti Accusan Le Donne - Rolando Panerai
- Vittoria Padroncini! - Various Artists
- Fate Presto, O Cari Amici - Lisa Otto
- Benedetti I Doppi Coniugi - Various Artists
- E Nel Tuo, Nel Mio Bicchiero - Various Artists
- Bella Vita Militar! - Various Artists
- Bella Vita Militar! - Various Artists
- Sani E Salvi Agli Amplessi Amorosi - Various Artists
- No, Signor, Non E Un Notaio - Various Artists
- Ah, Signor, Son Rea Di Morte - Various Artists
- A Voi S'inchina, Bella Damina - Various Artists
- Fortunato L'uom Che Prende - Various Artists
Customer Reviews:
Una de la mejores interpretaciones en CD del Cosi fan tutte.......2006-11-16
Overrated, but decent.......2006-03-29
My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.
In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.
Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).
Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.
Which classic Cosi to buy--Karajan or Bohm?.......2006-03-20
Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.
Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.
Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.
AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE.......2006-01-30
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.
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Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B00006IU7V Release Date: 2003-03-11 |
Album Details
These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (FiordiligCustomer Reviews:
Refreshing and Surprising!.......2006-11-24
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
Best ever!!.......2004-01-12
I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.
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La Bellissima: The Debut Recordings
Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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Moffo, Anna
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Similar Items:
ASIN: B000002S1P Release Date: 1990-06-01 |
Tracks:
- La Boheme: Quando m'en vo' (Musetta's Waltz Song) - Anna Moffo/Rolando Panerai/Carlo Badioli/Maria Callas/Giuseppe di Stefano/Manuel Spatafora...
- Le Nozze di Figaro: Voi che sapete
- Le Nozze di Figaro: Non so piu
- Don Giovanni: Vedrai, carino
- Die Zauberflote: Ach, ich fuhl's
- Cosi fan tutte: In uomini, in soldati
- Exsultate, jubilate, K.165: Allelujah
- Lucia di Lammermoor: Il dolce suono... Ardon gl'incensi (Mad Scene)
- Il Barbiere di Siviglia: Una voce poco fa
- I Puritani: Qui la voce... Vien, diletto
- La Sonnambula: Ah! non credea mirarti... Ah! non giunge
- Rigoletto: Gualtier Malde... Caro nome
- La Traviata: E strano... Ah, fors' e lui... Sempre libera
Customer Reviews:
Truly Bellissima.......2003-07-25
Anna Moffo's voice is heaven sent!!!!!!.......1998-11-26
![Mozart: Così fan tutte / Mackerras [Highlights]](http://ec1.images-amazon.com/images/I/21EFN1XYCRL.jpg)
Average customer rating:
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Mozart: Così fan tutte / Mackerras [Highlights]
Wolfgang Amadeus Mozart , Edinburgh Festival Chorus , Scottish Chamber Orchestra , Sir Charles Mackerras , Felicity Lott , Marie McLaughlin , Nuccia Focile , Jerry Hadley , Gilles Cachemaille , and Alessandro Corbelli Manufacturer: Telarc ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
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Similar Items:
ASIN: B000003D12 Release Date: 1995-01-24 |
Tracks:
- Ouvertura
- Terzetto 'La Mia Dorabella Capace Non E'
- Duetto: 'Ah, Guarda, Sorella'
- Aria: 'Vorrei Dir'
- Quintetto: 'Sento, Oddio Che Questo Piede'
- Coro: 'Bella Vita Militar!'
- Quintetto (Con Coro) 'Di Scrivermi Ogni Giorno'
- Terzettino: 'Soave Sia Il Vento'
- Aria: 'Smanie Implacabili'
- Aria: 'In Uomini, In Soldati'
- Aria: 'Come Scoglio Immoto Resta'
- Aria: 'Non Siate Ritrosi'
- Terzetto: 'E Voi Ridete'
- Aria: 'Un'aura Amorosa'
- Aria: 'Una Donna A Quindici Anni'
- Quartetto: 'La Mano A Me Date'
- Duetto: 'Il Core Vi Dono, Bell'idolo Mio
- Aria: 'Ah, Lo Veggio: Quell'anima Bella'
- Rondo: 'Per Pieta, Ben Mio, Perdona'
- Aria: 'Donne Mie, La Fate A Tanti'
- Cavatina: 'Tradito, Schernito'
- Aria: 'E Amore Un Ladroncello'
- Duetto: 'Fra Gli Amplessi'
- Aria: 'Tutti Accusan Le Donne'
Customer Reviews:
Needs better singers.......2000-10-15
Average customer rating: 
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Donizetti: Linda di Chamounix
Manufacturer: Arts Music ProductGroup: Music Binding: Audio CD All Works by Donizetti
| Donizetti, Gaetano
| ( D )
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ASIN: B000006BZE Release Date: 1996-06-18 |
Tracks:
- Linda di Chamounix: Sinsonia
- Linda di Chamounix: Atto Primo: La Partenza - Coro d'Introduzione, Scena e Romanza - Presti! Al Tempio! (Antonio, Maddalena, Marchese)
- Linda di Chamounix: Atto Primo: La Partenza - Coro d'Introduzione, Scena e Romanza - Ambo Nati Questa Valle... (Antonio, Maddalena)
- Linda di Chamounix: Atto Primo: La Partenza - Scena e cavatina - Viva! Viva!... Quai Grida? Eccelenza! (Antonio, Maddalena, Marchesee, Intendente, Coro)
- Linda di Chamounix: Atto Primo: La Partenza - Scena e cavatina - Oh! Gia In Collera Non Sono (Antonio, Maddalena, Marchesee, Intendente, Coro)
- Linda di Chamounix: Atto Primo: La Partenza - Recitatiivo e Cavatina - Ah! Tardai Troppo (Linda)
- Linda di Chamounix: Atto Primo: La Partenza - Recitatiivo e Cavatina - O Luce Di Quest'anima (Linda)
- Linda di Chamounix: Atto Primo: La Partenza - Scena, Romanza e Ballata - Qui Pria Della Partenza (Linda, Pierotto, Coro)
- Linda di Chamounix: Atto Primo: La Partenza - Scena, Romanza e Ballata - Per Sua Madre Ando Una Figlia (Pierotto, Linda, Coro)
- Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Non So Quella Canzone (Linda, Carlo)
- Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Da Quel Di Che T'incontrai (Carlo, Linda)
- Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - A Consolarmi Affrettisi (Carlo, Linda)
- Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Qui Buon Antonio, Qui Soli (Prefetto, Antonio)
- Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Quella Pieta Si Provvida (Prefetto, Antonio)
- Linda di Chamounix: Atto Primo: La Partenza - Scena e Duetto - Esultiam La Tua Potenza (Antonio, Prefetto)
- Linda di Chamounix: Atto Primo: La Partenza - Finale Primo - Corro A Dispor La Moglie (Antonio, Linda, Prefetto, Maddalena, Pierotto)
- Linda di Chamounix: Atto Primo: La Partenza - Finale Primo - Miei Figli, Tetro Sovrasta Il Vento (Prefetto, Antonio, Linda, Pierotto, Coro, Maddalena))
Tracks:
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Gia scorsero tre mesi... (Linda, Pierotto)
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Al bel destin che attendevi... (Pierotto, Linda)
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Come calma e conforta... (Linda, Marchese)
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Io vi dico che partiate!... (Linda, Marchese)
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Andate! Andate!... (Linda, Marchese)
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Romanza - Linda! Si ritiro. (Carlo)
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Romanza - Se tanto in ira agli uomini... (Carlo)
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Carlo!... Ah!... Il mio cor... (Carlo, Linda)
- Linda di Chamounix: Atto Secondo: Parigi - Scena e Duetto - Ah!... Dimmi... dimmi, io t'amo... (Carlo, Linda)
- Linda di Chamounix: Atto Secondo: Parigi - Finale Secondo - Per quannnto io penero!... (Linda, Antonio)
- Linda di Chamounix: Atto Secondo: Parigi - Finale Secondo - lo vi lasciom permettete... (Antonio, Linda, Pierotto)
Tracks:
- Linda di Chamounix: Atto Terzo: Il Ritorno - Coro d'Introduzione e Brindisi - Sentili... Eccoli... Eviva! Eviva!
- Linda di Chamounix: Atto Terzo: Il Ritorno - Scena e Duetto - Tutta La Valle E In Giubilo (Prefetto, Carlo)
- Linda di Chamounix: Atto Terzo: Il Ritorno - Scena e Duetto - Ciel, Che Dite? Linda E Morta! (Carlo, Prefetto)
- Linda di Chamounix: Atto Terzo: Il Ritorno - Scena de Aria buffa - Eccoci Ancora Qui... (Marchese)
- Linda di Chamounix: Atto Terzo: Il Ritorno - Scena de Aria buffa - Ella E Un Giglio Di Puro Candore... (Marchese)
- Linda di Chamounix: Atto Terzo: Il Ritorno - Preludio
- Linda di Chamounix: Atto Terzo: Il Ritorno - Scenna ed Aria - Ed Ecco In Qual Maniera... (Pierotto, Linda, Prefetto, Carlo, Marchese, Antonio, Maddalena)
- Linda di Chamounix: Atto Terzo: Il Ritorno - Scenna ed Aria - E La Voce Che Primiera... (Carlo, Linda, Pierotto, Antonio, Maddalena, Marchese, Prefetto)
- Linda di Chamounix: Atto Terzo: Il Ritorno - Preghiera - Quintetto a voci sole - Compi Q Ciel... La Nostra Speme... (Pierotto, Prefetto, Carlo, Antonio, Marchese)
- Linda di Chamounix: Atto Terzo: Il Ritorno - Scena e Duetto finale - Un Sospiro... Si Rinviene... (Linda, Maddalena, Pierotto, Antonio, Marchese, Prefetto, Carlo)
- Linda di Chamounix: Atto Terzo: Il Ritorno - Scena e Duetto finale - Carlo, Ah! Dimmi Ch'io Non Sogno... (Linda, Carlo, Pierotto, Antonio, Marchese, Prefetto, Maddalena))
Customer Reviews:
Devia and Canonici rock! .......2005-08-03
Devia's gifts are unique among any generation of singers and to cut the long story short, I regard her as the finest lyric coloratura I've heard. Canonici is a simpler singer but this is often the case with tenors. He is rarely spectacular but his sense of style, clean cut singing and handsome voice have made me appreciate him tremendously. So far, my favourite Devia/Canonici performance is their live Amsterdam Beatrice di Tenda but this studio Linda finds them in great form too and it's a must have.
Devia would make her Linda even more exciting in later years (the '97 live performances are unbelievable) but I also like this more reserved studio portrayal. I don't regard much of Linda's music very interesting and this is the reason I've avoided recordings of this work but Devia fascinates me and I now listen to this opera more and more and actually quite like it. As for the famous o Luce, it becomes not only playful but exciting! The other roles are quite meaty and therefore good singers are needed. Apart from Canonici whom I prefer to Kraus and Valetti cause of his warmer sound, I wasn't much impressed by the others who nevertheless sing well.
Though not the perfect Linda recording due to the rather bland secondary casting, I still find this the best Linda recording on the market. Serafin's 50s recording has his very fine conducting and perhaps a bit more character from some of the cast (Cappecchi especially) but Stella's rather hard-toned Linda who's made me stay away from this opera until now, is an acquired taste. Gruberova also offers a lovely and impressive account of the title role but I like Devia's balsamic vinegar voice even more.
I love it.......2004-05-13
A must-have.......2002-02-22
Good recording of an average work.......2000-12-30
Mariella Devia MUST be heard!.......1999-02-05
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