Sembiante

Indie Intl. June 2001
"Opens your Heart"-Cruising Music!

Product Description
Light World Records: A new label,for a new world.

Sembiante

Sembiante,Sembiante

Average customer rating: A MUST BUY!!! Great music, Excellent Value! This truly is essential!

The Essential Hyperion (Label Highlight Compilation) Henry Purcell , Charles Villiers Stanford , Sheppard, John , Haydn, Joseph , Satie, Erik , Schumann, Robert , and Shostakovich, Dmitri Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music Sextets | Chamber Music | Classical | Styles | Music All Works by Arne | Arne, Thomas Augustin | ( A ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Boccherini | Boccherini, Luigi | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Busoni | Busoni, Ferruccio | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Bruckner | Bruckner, Anton | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Corelli | Corelli, Arcangelo | ( C ) | Featured Composers, A-Z | Classical | Styles | Music General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Franz Joseph 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Tracks:

1. Concerto For Two Trumpets, 1687: Allegro
2. Abdelazer: Rondeau
3. Who Can From Joy Refrain?: A Prince Of Glorious Race
4. The Morning: The Glitt'ring Sun
5. The Ephesian Matron, Or The Widow's Tears: Vaudeville
6. Magnificat In G
7. Libera Nos
8. Cantigas de amigo: My Love's Coming Home
9. My Lady, You Do Great Wrong
10. Locus iste
11. Symphony No 14 In A: Tempo di Minuetto
12. Symphony No 94 In G (The 'Surprise' Symphony): Finale
13. Gymnopedie No. 1: Gymnopedie No. 1 (Orchestrated By Debussy)
14. Liederkreis op. 39: Waldesgesprach
15. Album Leaf In Waltz Form
16. Prelude And Fugue In A, Op. 87, No. 7
17. Phil The Fluter's Ball
18. Piano Concerto In C Sharp Minor, Op. 30: Allegro
19. O salutaris hostia
20. Da quel sembiante, D. 688, No. 3
21. Sonata In G Minor, Op. 5, No. 5: Vivace
22. Clarinet Quartet No 1 In E Flat, Op. 2: Rondo
23. String Sextet In A, Op. 48: Furiant
24. Sherzo In A minor, Op. 81, No. 2
25. Come You, Mary, Op. 21, No. 2
26. Chorale Prelude 'Nun freut euch, lieben Christen g' mein'
27. Deus in adiutorium
28. Sortie In E Flat

Customer Reviews:

A MUST BUY!!!.......2001-03-03

If I had to choose one CD to spend a month locked in isolation with, this would be the one. Its varied but it flows well together. It's restive and soothing. The quality is beyond excellent!!! At the price, anyone is a fool not to own it, and give it lavishly as gifts. Its gorgeous, lush and fabulous! Everyone that hears it in our home, falls in love with it!

Great music, Excellent Value!.......2000-07-26

Rarely can one buy so much good music for so little. This compilation features almost 80 minutes of high quality music.

This truly is essential!.......1999-10-23

What a brilliant idea from one of our leading record companies! On this disc, they have assembled a programme of highlights from their vast collection of choral, vocal, orchestral, and solo instrumental music that is very satisfying. As with most CDs of this sort, it is a case of some tracks not appealing as much as others- I for instance am a lover of choral music so the gorgeous renditions of Stanford's "Magnificat" by St. Paul's Cathedral Choir or John Sheppard's divine motet "Libera Nos" by the Sixteen are obvious preferences of mine. However, whether you seek dyed-in-the-wool orchestral classics as Haydn's "Surprise" Symphony, less familiar works performed by period artists (such as "'E irei Madr'a Vigo" by ancient Spanish composer Martin Codax), or snippets of breathtaking instrumental solos (such as the rousing performance of Lefebure-Wely's "Sortie in E flat" which is sadly only an excerpt), this disc is bound to have something on it for you. And all of it is finely recorded.

Average customer rating: Better of two collections of songs in Italian. Intimate Italian Recital By Cecilia Recommended to Bartoli fans Enjoyable album . . . . great musicians

Cecilia Bartoli - The Impatient Lover (Italian Songs by Beethoven, Schubert, Mozart, Haydn) Ludwig van Beethoven , Cecilia Bartoli , and András Schiff Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | 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 Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | 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 | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Bartoli, Cecilia | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music All Works Featuring Bartoli | Bartoli, Cecilia | A to B | Featured Performers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Bartoli, Cecilia | Divas | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Cecilia Bartoli - Chant d'amour (Mélodies française) / Myung-Whung Chung Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini) Cecilia Bartoli - Mozart Arias Cecilia Bartoli - Gluck Italian Arias ~ Dreams & Fables Cecilia Bartoli - Rossini Heroines ASIN: B000004221 Release Date: 1993-10-12

Tracks:

1. La partenza, Wo0 124: Ecco quel fiero istante!
2. L'amante impaziente I, op. 82 no. 3: Che fa il mio bene?
3. L'amante impaziente II, Op. 82 No. 4: Che fa il mio bene?
4. Liebes-Klage, Op. 82 No. 2: T'intendo, si, mio cor
5. Hoffnung, Op. 82, No. 1: Dimmi, ben mio
6. In questa tomba oscura, Wo0 133
7. Ridente la calma, K152
8. Vedi quanto adoro
9. Se dall'Etra
10. lo vuo cantar di Cadmo
11. La pastorella
12. Non t'accostar all'urna
13. Guarda, che bianca luna
14. Da quel sembiante appresi
15. Mio ben ricordati
16. Pensa, che questo istante
17. Mi battle 'l cor!
18. Arianna a Naxos

Customer Reviews:

Better of two collections of songs in Italian........2006-06-15

'The Impatient Lover' sung by Cecilia Bartoli is a collection of 18th and 19th century songs in Italian which were written by the predominantly German composers, Beethoven, Mozart, Schubert, and Hayden. Oddly, this is very seriously a better, or at least a more enjoyable collection, to my ear, than the 'If you Love Me' collection of Italian songs written by Italians, including Scarlatti, Caldera, and Vivaldi. And, neither collection of Italian songs is as interesting as Mme. Bartoli's collection of French love songs, 'Chant D'Amore'. All are done on London, but with three different accompaniests. I think the French material is just better than the Italian.

Intimate Italian Recital By Cecilia.......2004-06-09

This disc offers a recital of Italian songs set to music by Beethoven, Mozart, Schubert and Haydn. Beethoven and Schubert may come as a surprise to the listener here in regard to Italian repertoire, but Mozart and Haydn had already set Italian texts to music. Actually Beethoven and Schubert are each featured here with several songs, Mozart is represented by 'Ridente La Calma' and Haydn with the poignant cantata 'Árianna a Naxos'. These songs are mostly set to music on texts by Pietro Metastasio, which deal with such universal themes as love, grief, death and loss.

The four composers and their songs are with Cecilia Bartoli in attentive, careful and tender hands. Her musical integrity clearly shines through on this disc. She is in glorious voice as she took me with her through all the emotions which are distilled here, going from lightness in several of these songs to the fierceness and poignancy of Arianna in Haydn's cantata. Bringing out every shade and nuance for this listener (as these songs also allow her to display the dark depths of her voice). Andras Schiff lends her a sparkling and wonderful support on piano. Singer and musician are very much in harmony here with each other.

The booklet contains information about the composers and their songs and also the texts of the songs with translations in English, French and German . I do not have a particular favourite among the songs of Cecilia's intimate Italian recital. This is all in all an excellent disc.

by stardustraven

Recommended to Bartoli fans.......2000-10-30

This really is, as Gramophone says, a satisfying recital. In fact, it is really quite compelling, perfect for evening contemplation. Bartoli's voice sounds great, as always, and this recital demonstrates an advance in her artistry over previous efforts. Schiff plays a Bosendorfer, which sounds a bit like a fortepiano, not at all inappropriate for this repertoire of classical era composers. I enjoy its slightly woody timbre. I guess if I had any criticism, it is of Bartoli's somewhat strenuous, aspirated expression. It would be nice to hear her sing more simply and straightforwardly.

Enjoyable album . . . . great musicians.......2000-05-10

This album includes a number of rare pieces in the Italian repertoire. Written by standard composers (Haydn, Shubert, Beethoven, and Mozart), they accompany the Italian words of Pietro Metastasio, a prominent poet in the early to mid-1700's. Metastasio's poetry was used until the mid 1840's as lyrics to classical songs. These texts are archetypes of the 'opera seria' libretto in both form and content. So some might find this album peculiar, particularly since you are most likely not used to hearing Italian words with Shubert melodies. Don't be timid! Bartoli's voice is incredible, and free from many of the terrible habits that have characterized her lately (swallowed low notes, breathy pianissimo sound, etc). She sounds rich and expressive, and as always, her interpretive techniques are top-of-the-line. The Mozart "Ridente la calma" will especially warm your heart.

Average customer rating: "The" Voice! Pavarotti Arias Achingly, Heartwrenchingly, Beautiful Luciano at his best this is a wondeful recording

Luciano Pavarotti - Donizetti Arias ~ Una furtiva lagrima Gaetano Donizetti , Richard Bonynge , Sir Edward Downes , Leone Magiera , Luciano Pavarotti , Nicolai Ghiaurov , Eric Garrett , Ambrosian Singers , and Roger Soyer Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music All Works Featuring Luciano Pavarotti | Pavarotti, Luciano | ( P ) | Featured Performers, A-Z | Classical | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: The Very Best of Nicolai Gedda Here's to the Ladies Arias Arias by Verdi and Donizetti Amore: Romantic Italian Love Songs ASIN: B000009OUA Release Date: 1998-08-11

Tracks:

1. Ah! mes amis ... Pour mon ame: La Fille du regiment
2. Pour me rapprocher de Marie: La Fille du regiment
3. Quanto e bella: L'elisir d'amore Romani
4. Una Furtiva Lagrima: L'elisir d'amore
5. Una vergine, un'angel di Dio: La favorita Royer, Vaez
6. Si, che un solo accento: La favorita
7. Favorita del re! ... Spirto gentil: La favorita
8. Inosservato, penetrava ... Angelo casto e bel: Duca d'Alba Scribe
9. Deserto in terra: Don Sebastiano
10. Com'e gentil: Don Pasquale
11. Ah! rimiro il bel sembiante: Maria Stuarda
12. Tombe degli avi miei: Lucia di Lammermoor
13. Tu che a Dio spiegasti l'ali: Lucia di Lammermoor

Amazon.com essential recording

This CD contains arias recorded by Pavarotti between 1967 and 1975, and it would not be an overstatement to say that it is probably the most beautiful CD by a tenor ever released. This was Pavarotti in his early prime--indeed, a couple of the arias are first bloom. It covers music from eight Donizetti operas, from the almost startlingly virtuosic "Ah! mes amis..." (La Fille du Régiment), with its nine perfectly placed high Cs, through the ever popular "Una furtiva lagrima" (L'Elisir d'Amore) and three stunners from La favorita to Edgardo's final scene from Lucia and more. But the two priceless pieces of music here are from the little-known Il Duca d'Alba and Don Sebastiano, two arias of such exquisite beauty that were they the only things Donizetti had ever composed--or the only extant singing by Pavarotti--both would still be considered great. This is a treasure trove. Grab it. --Robert Levine

Customer Reviews:

"The" Voice!.......2007-02-15

If ever a human voice sung fom heaven, Luciano Pavarotti in this album is that voice.
He is reported to have said that Juan Diego Florez has taken over from him the 'King of high Cs' title.
Well, to me at least, that is an overtly over-statement, even if coming from Pavarotti himself.
Juan happened to possess a voice that could sing high passages with ease. Of course, he sings it well, too.
Even so, any one that have heard Pavarotti in his 'Regiment' aria "Ah! mes" would agree that it is entirely different from Juan's version. Not that Juan does not sing the notes beautifully. Rather, it appears to be that Pavarotti's timbre is more 'grounded' or 'earthy', thereby throwing the 9 High Cs to greater 'relief' (or contrast) than does Juan.
I agree that this recording captures Pavarotti in his younger and even more beautiful voice than his more mature works.
Everyone should own this CD as a real tribute to Luciano.

Pavarotti Arias .......2006-06-26

This is a very high quality recording made by the greatest tenor of our time, singing arias we all know and love.

Achingly, Heartwrenchingly, Beautiful.......2004-03-13

Pavarotti is arguably the most gifted and accomplished operatic tenor of the twentieth century. While other contemporary tenors may be stylistically flawless and a joy to listen to, Pavarotti is in a class by himself. He drifts effortlessly from the low, lyrical passages to soaring high notes which have a tendency to sound strained when anyone but Pavarotti (and of course, the incredible Mario Lanza) attempts them.
As many of the reviews mention, this IS Pavarotti in his prime, and this is most apparant in his flawless command of the stratospheric high C's. He's not known as "The King of the High C's" for nothing! In addition, unlike many opera compilations that trundle out the most overplayed snipits from the most well known works, Una Furtiva Lagrima gives us some of the greatest arias from one of opera's most talented composers, Donizetti. This album is a celebration not only of Pavarotti's brilliance, but Donizetti's as well. For an introduction to opera, this album is great. For an introduction to Donizetti, this album is excellent. And for a showcase of the power and range of one of opera's greats, this album is fantastic!

Luciano at his best.......2003-01-22

I can only repeat what has been said above. Pavarotti singing Donizetti in his prime years - outstanding. His voice is pure gold and suits perfectly for Donizetti. Especially the arias from Il Duca d'alba and Don Sebastiano are wonderful.

this is a wondeful recording.......2002-05-09

all I can do is echo the Amazon reviewer. This is if not the most beautiful recording ever made by a tenor at least one of the most beautiful. Pavarotti's voice and musicianship are outstanding. This is just a wonderful CD for anyone interested in Donizetti, in Pavarotti, or in great singing. At the price, it's a bargain.

Average customer rating: The first complete opera to have survived in a fine recording Complete opera at mid-price

Peri - Euridice / Banditelli · Fagotto · Cecchetti · Zambon · Foresti · Bertini · Benvenuti · Zanasi · Ensemble Arpeggio · de Caro Sergio Foresti , Rossana Bertini , Monica Benvenuti , Furio Zanasi , and Paolo Da Col Manufacturer: Arts Music ProductGroup: Music Binding: Audio CD 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 Similar Items: Cavalieri: Rappresentatione di Anima, et di Corpo Caccini: Le Nuove Musiche [Germany] Cavalli - La Calisto / Bayo, Lippi, Keenlyside, Pushee, Ragon, Concerto Vocale, Jacobs Dvorak: Kate and the Devil (Cert a Kácal) Tchaikovsky - Pique Dame / Gergiev, Grigorian, Leiferkus, Kirov Opera ASIN: B000005AQ4 Release Date: 1996-06-18

Tracks:

1. Prologue: Io, Che D'alti Sospir Vaga E Di Pianti - Gloria Banditelli
2. Scene I: Ninfe, Ch'i Bein Crin D'oro - Sergio Foresti/Mario Cecchetti
3. Scene I: Vaghe Ninfre Amorose - Monica Benvenuti
4. Scene I: Donne, Ch'a' Miei Diletti - Gloria Banditelli
5. Scene I: Credi, Ninfa Gentile - Mario Cecchetti
6. Scene I: In Mille Guise E Mille - Gloria Banditelli
7. Scene I: Al Canto, Al Ballo All'ombra, Al Prato Adorno - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
8. Scene II: Antri, Ch'a' Miei Lamenti - Gian Paolo Fagotto
9. Scene II: Sia Pur Lodato Il Ciel, Lodato Amore - Giuseppe Zambon
10. Scene II: Tirsi Viene In Scena Sonando La Presente Zinfonia - Paolo Da Col
11. Scene II: Deh Come Ogni Bifolco, Ogni Pastore - Giuseppe Zambon
12. Scene II: Lassa! Che Di Spavento E Di Pietate - Rossana Bertini
13. Scene II: Per Quel Vago Boschetto - Rossana Bertini
14. Scene II: Non Piango E Non Sospiro - Gian Paolo Fagotto
15. Scene II: Ahi! Mort'invid'e Ria - Giuseppe Zambon
16. Scene II: Sconsolati Desir, Gioie Fugaci - Mario Cecchetti
17. Scene II: Cruda Morte, Hai! Pur Potesti - Monica Benvenuti
18. Scene III: Se Fato Invido E Rio - Giuseppe Zambon
19. Scene III: Con Frettoloso Passo - Giuseppe Zambon
20. Scene III: Io Che Pensato Havea Di Starmi Ascoso - Giuseppe Zambon
21. Scene III: Se De' Boschi I Verdi Onori - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
22. Scene III: Poi Che Dal Bel Sereno - Mario Cecchetti

Tracks:

1. Scene IV: Scorto Da Immortal Guida - Monica Benvenuti
2. Scene IV: L'oscuro Varc'onde Siam Giunti A Queste - Monica Benvenuti
3. Scene IV: Funeste Piagge, Ombrosi Orridi Campi - Gian Paolo Fagotto
4. Scene IV: Ond'e Cotanto Ardire - Furio Zanasi
5. Scene IV: Dhe, Se La Bella Diva - Gian Paolo Fagotto
6. Scene IV: Dentro L'infernal Porte - Furio Zanasi
7. Scene IV: O Re, Nel Cui Sembiante - Gloria Banditelli
8. Scene IV: A Si Soavi Preghi - Gian Paolo Fagotto
9. Scene IV: Sovra L'eccelse Stelle - Sergio Foresti
10. Scene IV: Trionfi Oggi Pieta Ne' Campi Inferni - Furio Zanasi
11. Scene IV: Poi Che Gl'eterni Imperi - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
12. Scene V: Gia Del Bel Carro Ardente - Giuseppe Zambon
13. Scene V: Voi, Che Si Ratt'il Volo - Mario Cecchetti
14. Scene V: Quand'al Tempio N'andaste, Io Mi Pensai - Mario Cecchetti
15. Scene V: Chi Puo Del Cielo Annoverar Le Stelle - Mario Cecchetti
16. Scene V: Gioite Al Canto Mio, Selve Frondose - Gian Paolo Fagotto
17. Scene V: Quella, Quella Son'io Per Cui Piangeste - Gloria Banditelli
18. Scene V: Modi Or Soavi Or Mesti - Gian Paolo Fagotto
19. Scene V: Felice Semideo, Ben Degna Prole - Mario Cecchetti
20. Scene V: Ritornello Strumentale - Ens Arpeggio/Roberto De Caro
21. Scene V: Biond'arcer, Che D'alto Monte - Gloria Banditelli

Customer Reviews:

The first complete opera to have survived in a fine recording.......2005-11-01

Opera grew out of the court festivals of late sixteenth century Italy. The nobles were quite interested in all the arts and employed skilled painters, sculptors, poets, and musicians. There was also a great deal of interest in reviving all things Greek because they were seen as the ideal model for all things intellectual. Reviving Greek music involved a great deal of conjecture and imagination because only a few fragments of their music survive and it is by no means agreed upon, even to this day, what they actually mean. One of the groups of Florentine intellectuals surrounded a Count Bardi, which he called the Camerata. They wrote letters to each other, so we have some idea of their thoughts about what it was they were trying to do.

They called what they did the "New Music" or the "Second Practice" and music students learn to call this style monody (solo voice with simple accompaniment). It caused quite a furor among those who were proponents of the older style of counterpoint. One of those who opposed Monteverdi was a fellow named Artusi. Every music student reads his articles against those composers with "smoke in their heads". And of course, Artusi always comes out on the wrong side of history and made to look the fool. However, the art of these composers was shocking and their free use of dissonance compared to the rules of Zarlino and the practice of Palestrina, Ockeghem, Josquin, and others is jarring. However, we have a hard time hearing the difference in these musical styles unless you pay close attention and develop some familiarity with what the argument was all about.

Some of these Second Practice composers came to believe that the Greeks sang their plays from beginning to end. This is almost certainly not true, but the point was they believed it. Composers such as Caccini, Peri, and Monteverdi developed a style of solo singing they felt captured this idea and called it the "stile rappresentativo" (the representative style). It is this recitative style that Caccini and Peri used in developing their art. When you listen to Peri's "Euridice" you will notice that most of it is a very expressive version of what we would call recitative - the almost spoken parts between the arias - and that the aria as even Monteverdi developed it a few years later is almost nonexistent. If you understand that they were trying to recapture the Greek storytelling that they believe was a sung style, this makes a great deal of sense.

In fact, this kind of work was not called "opera" until the mid-seventeenth century (opera simply means "work" as in a work of art). Before that term came into general use, the composers referred to their works as musical fables or music dramas. However, our referring to all of it as opera makes sense given the genealogy of the art form.

Peri's "Euridice" is the first surviving opera we have in complete form. His "Dafne" came first, but is now lost. Caccini was a court rival and was working on his own version of "Euridice" and at the first performance there was apparently a mix of the two composer's works. But the nod is given to Peri and Caccini published his own version, but he completed his version later. It is interesting the Monteverdi also did a version of this myth, but called his "Orfeo".

This is a beautiful recording of this work. It is important to know that even though the complete opera in printed form survives, there is a great deal that is not in the score. A great deal of scholarship and artistic sensitivity has to go into recreating a version of this opera that both succeeds musically and has some claim of authenticity to Peri's intentions for performance.

You will also note the vocal style has nothing to do with Verdi or Wagner. This was for a much smaller hall with only a few hundred of the nobility present. And while it was first performed for a wedding festival and did not please those for whom it was written, it began a four hundred year development of an art form that millions adore and consider to be one of mankind's great achievements. I am one of them.

Enjoy! There is a very helpful booklet with these disks to help you understand the history and the libretto is provided in English and Italian.

Complete opera at mid-price.......1999-03-18

As Peri's Dafne of 1598 is largely lost this work of 1600 counts as "the first ever opera" (CD Box). With Gloria Banditelli as Euridice obviously this is a subtantial release for lovers of early opera.

Recorded in Bologna in 1992. Full libretto and English translation. Total time 101'40.

Average customer rating: Dessay Shows How It's Done HIgh Gs?!? Super-human Singing! Okay, but not spectacular The best Mozart recital you'll hear!

Mozart Heroines; Natalie Dessay Natalie Dessay , Wolfgang Amadeus Mozart , Louis Langrée , and Orchestra of the Age of Enlightenment Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances German | Languages | Opera & Vocal | Styles | Music Similar Items: Natalie Dessay - French Opera Arias Natalie Dessay - Vocalise The Miracle of the Voice Natalie Dessay ~ Delirio (Handel Italian Cantatas) Natalie Dessay - French Opera Arias ASIN: B000050G2M Release Date: 2001-01-09

Tracks:

1. Die Zauberflote, K.620: Akt II: Arie Der Holle Rache
2. Die Zauberflote, K.620: Akt II. Arie: Ach, Ich Fuhl's
3. Lucio Silla, K.135: Atto II. Recitativo: Vanne, T'affreta...
4. Lucio Silla, K.135: Atto II. Aria: Ah Se Il Crudel Periglio
5. Zaide (Das Serail), K.344: Akt I. Arie: Ruhe Sanft, Mein Holdes Leben
6. Zaide (Das Serail), K.344: Akt II. Arie: Tiger! Wetze Nur Die Klauen
7. Ascanio In Alba, K.111: Dal Tuo Gentil Sembiante
8. Die Entfuhrung Aus Dem Serail, K.384: Akt II. Rezitativ: Welcher Wechsel...
9. Die Entfuhrung Aus Dem Serail, K.384: Akt II. Arie: Traurigkeit Ward Mir Zum Lose
10. Die Entfuhrung Aus Dem Serail, K.384: Akt II. Arie: Martern Aller Arten
11. Idomeneo, Re Di Creta, K.366: Atto III. Recitativo: Solitudini Amiche...
12. Idomeneo, Re Di Creta, K.366: Atto III. Aria: Zeffiretti Lunsinghieri
13. Die Zauberflote, K.620: Akt I. Arie: O Zittre Nicht, Mein Lieber Sohn!

Amazon.com

On previous releases, Natalie Dessay has established herself as perhaps the leading coloratura soprano of the day. Consider, for example, her artistry on the 1998 Lakmé. From the sensational fireworks heard in The Magic Flute's "Queen of the Night" arias that open and close this stimulating disc, her venture into the Mozart repertory is a resounding success. Dessay's elaborate embellishments in the arias from some of Mozart's little-known earlier works are as breathtaking--the high-flying aria from Ascanio in Alba leaves one begging for more. But roles like Pamina in The Magic Flute and Kostanze in The Abduction from the Seraglio are more properly the province of lyric sopranos, and often one feels the need for a voice with more expansive depth. Dessay nicely captures the tenderness in her affecting "Ach, ich fühl" lines, but Kostanze's "Martern aller Arten" would benefit from a juicier mid- and lower range. But the coloratura arias alone are worth hearing for their thrilling vocalism. --Dan Davis

Customer Reviews:

Dessay Shows How It's Done.......2007-03-23

Any musician will tell you that Mozart is difficult. The central difficulty with Mozart is that it must sound effortless. It must float, like gossamer. There is always a clear forward momentum, even in the slower, lyrical passages. The challenge is that technical difficulties abound in Mozart's music. These difficulties extend beyond the obviously difficult 16th notes and high notes. There are also ensemble challenges, both in terms of rythm and relative pitches. The singer must tune to sometimes fickle instruments, such as flute or oboe. Thus, it takes a lot of confidence and even more game to release a compilation CD of just Mozart arias. Dessay has the confidence and game to release such a CD.

Dessay leads off with guns a-blazin' by singing "Der Holle Rache" from "The Magic Flute". This is a punishing aria with high F's and coloratura passages that most women can't sing at all. I agree with some of the reviews that noticed some minor intonation issues, but there are more criteria by which to judge this performance than the 3 or 4 pitchy notes. Her intention is very strong, and it could be her intensity that causes her to lose some support. Her support is extraordinary in the coloratura passages. Natalie follows these fireworks with Pamina's famous aria, the poignant "Ach ich fuls". Some have said that Natalie's voice is too light for Pamina. This may be true in our age of obsessive pigeon-holing of voices, but she sings it beautifully. Natalie returns to the Queen of the Night character by closing this CD with "O zittre nicht, mein lieber Sohn!". It is very well done.

I really enjoyed some of the lesser known arias on this CD. The arias from "Zaide" were gorgeous, and the aria from "Ascanio in Alba" was vintage Mozart.

Perhaps the best arias on the CD were from "Abduction from the Seraglio", "Welcher Wechsel..Traurigkeit" and "Martern aller Arten".

Natalie collaborates with the sensitive Orchestra of the Age of Enlightenment under Louis Langree. This is a great pick for her small voice. In addition, the sound engineering is perfect, and a real tribute to the staff of Virgin Classics. All told, this is a wonderful collection that will give you over an hour of beautiful Mozart arias that are well sung and played.

Highly recommended.

HIgh Gs?!?.......2006-10-14

Yes, there is one, very short, in the aria from "Lucio Silla". I expected more from the way some reviewers described this cd. Alas, I have perfect pitch - those Gs (yes, as mentioned above, there is a pretty short one) are, of course, Fs. No problem! Just not quite as high as some think. Obviously, not many singers have as fabulous an f''' as Miss Dessay. This really is an excellent recording, though I prefer the timbre and technique of the young Gruberova - her Mozart concert arias are heavenly.

Super-human Singing!.......2006-06-12

I hadn't ever heard of Natalie Dessay before I bought this CD, and I've been a fan of hers ever since. She has got one, if not the highest ranges of our time.As easy as her high notes sound, you wouldn't think she is singing high at all. The way she floats those High C's and High D's is just amazing. Especially at the end of "Ah se il crudel periglio", where she belts out a full throated High F that sends chills down your spine. And I would even venture to say that she equals, if not exceeds, Joan Sutherland (whom I also love) in coloratura ability. All her runs are spot on. On top of all that she has perfect legato. This CD is a showcase of one who has been blessed with incredible, almost super natural singing abilities. I would definitely buy it.

Okay, but not spectacular.......2006-01-29

I'm trying to understand her appeal. Yes, her high notes are INCREDIBLE but so are Mady Mesple's and Sumi Jo's and Lily Pon's and Joan Sutherland's and...well you get the picture. It IS nice to have a sample of Mozart'a lesser known arias and after listening to this cd 3 years after I bought it at the urging of my voice teacher I would probably rate this at 3 stars instead of two but I still don't like her middle range and there is no low range. Doesn't exsist. I just can't worship her like my own personally savior like my teacher thinks I should. I just don't see the perfection that others do. And she may be an incredibly gifted actress on the stage which I would not know as I have not seen her but her interepertation of every song leaves me cold. She sounds almost robotic in some places. And I simply hate her "revenge aria" from Mozart's Magic Flute. So many people have just done it so much better.

The best Mozart recital you'll hear!.......2005-06-12

I bought this CD around four years ago and it has been heard in my house and garden many, many times. I have never been less than delighted and moved by Natalie Dessay's performances of these arias.
The selection of arias is excellent - we are presented with a very agreeable collection of familiar and less familiar arias from the major and minor operas (if you consider any of Mozart's operas "minor" - I do not!).

Natalie Dessay sings with HIP sensibilities and her orchestra, The Orchestra of the Age of Enlightenment, is one of the world's greatest period instrument bands.

Listen to "Ah se il crudel periglio" from Lucio Silla and "Marten aller Arten" from Die Entführung aus dem Serail and you will be hooked. She also sings the more tender arias like "Ach, Ich fühl's" from Zauberflöte and the famous "Ruhe sanft, mein holdes Leben" from Zaide with great pathos and style, too. The timbre of mademoiselle Dessay's voice is very attractive and she knows how to introduce just enough "edge" into her voice when necessary. We hear singing that is stylish, intelligent, characterful, dynamic and deeply moving on this CD.

I do not normally have much time for aria compilation CDs, but this one is totally good.


Please ignore any of the negative reviews of this CD. This is modern Mozart sung by a singer who really "knows her stuff" when it comes to 18th century music, accompanied by an orchestra that specialises in this music.


I can listen to this CD at any time of the day or night and it always puts me into a good mood. What more can I say?!

Average customer rating: Lucia Popp Popp's Ambitious Song Recital

Recital Covent Garden 1975 Antonin Dvorak , Hugo Wolf , Franz Schubert , Lucia Popp , and Georg Fischer Manufacturer: Gala ProductGroup: Music Binding: Audio CD General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolf | Wolf, Hugo | ( W ) | Featured Composers, A-Z | 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 General | Classical | Styles | Music General | 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 ASIN: B000009Q8R Release Date: 2000-06-06

Tracks:

1. Five Evening Songs: Visions Of Heaven I Foundly Paint
2. Five Evening Songs: This I Would Ask Each Tiny Bird
3. Five Evening Songs: Like A Limetree Am I
4. Five Evening Songs: All Ye That Labour, Come To Me
5. Five Evening Songs: All Through The Night A Bird Will Sing
6. Horike-Lieder: Nimmersattle Liebe
7. Horike-Lieder: Bei Einter Trauung
8. Horike-Lieder: Verborgenheit
9. Horike-Lieder: Im Fruhling
10. Horike-Lieder: Agnes
11. Horike-Lieder: Mausfallenspruchlein
12. Non T'accostar All'urna
13. Mio Ben Ricordati
14. Da Quel Sembiante Appresi - Lucia Popp L
15. Der Alpenjager
16. Der Blinde Knage
17. Lachen Und Weinen
18. Die Junge Nonne
19. Klage An Der Mond
20. Lied Der Anna Lyle
21. Ganymed
22. An Die Musik

Customer Reviews:

Lucia Popp.......2005-09-22

To hear the achingly tender voice of the late, great soprano Lucia Popp in live recital brought tears to my eyes and made me all the more mindful of what a tragic loss her death was. As always, her instrument is perfect and the interpretation of the material is elegant. This recital was done when she was in her mid thirties; her (then) husband, the conductor Georg Fischer, accompanies her on piano.

Popp's Ambitious Song Recital.......1999-09-13

Lucia Popp was one of the world's premier lieder performers. This recital from 1975 shows her extraordinary musical intelligence along with a maddening tendency to sing material not really suited for her voice. The Dvorak, in particular, is ill-suited for such a small instrument. The Schubert is much more appropriate, even Die Junge Nonne, which she sings with lyrical intensity. Her Schubert Hyperion set, recorded a year before her untimely death, shows her artistic powers in a more glowing and autumnal context.

Average customer rating: A. Scarlatti: Cantata per la Notte di Natale ~ Alessandro Carmignani

A. Scarlatti: Cantata per la Notte di Natale Manufacturer: Opus 111 ProductGroup: Music Binding: Audio CD All Works by Corelli | Corelli, Arcangelo | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Alessandro Scarlatti | Scarlatti, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Concerto Grossi | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Concerto Italiano | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Holiday Music | Compilations | Miscellaneous | Styles | Music General Christmas | Holiday | Miscellaneous | Styles | Music Opera & Vocal | Holiday | Miscellaneous | Styles | Music General Christmas | Holiday Music | Special Features | Music Opera & Vocal | Holiday Music | Special Features | Music Similar Items: Frescobaldi: Arie Musicali Book 2, 1630 Domenico Scarlatti: Stabat Mater a 10 voci ASIN: B000005W4T Release Date: 1996-12-17

Customer Reviews:

A. Scarlatti: Cantata per la Notte di Natale ~ Alessandro Carmignani.......2005-08-02

A. Scarlatti: Cantata per la Notte di Natale is a tremendous compoisition that truly touches the soul and ones spirit. The lyrics are sublime and the spiritual content is wonderfull and being devout Protestant I love it. The cover art is so nice of the virgin holding the new born Jesus and her devotion and tenderness towards the child is astounding. The book-let is very well done and the font is nice and easy on the eye and the short essay on the piece in question is well written.

Average customer rating: Royal cat fight (II) Give and take from Caballe's earlier Stuarda Extremely good!

Gaetano Donizetti - Maria Stuarda Gaetano Donizetti Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | 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: Donizetti - Lucrezia Borgia / Caballé · Vanzo · Paskalis · Perlea ASIN: B00005OC5V Release Date: 2001-11-06

Tracks:

1. Act One: Qui Si Attenda
2. Act One: Si, Vuol Di Francia... Ah, Quando All'ara
3. Act One: Ah, Dal Ciel Discenda
4. Act One: Ah, Rimiro Il Bel Sembiante
5. Act One: Sei Tu Confuso?
6. Act One: Era D'amor L'immagine
7. Act Two: Allenta Il Pie', Regina
8. Act Two: Oh Nube! Che Lieve
9. Act Two: Non M'inganna La Gioia?
10. Act Two: Da Tutti Abbandonata
11. Act Two: Qual Loco E Questo?
12. Act Two: E Sempre La Stessa
13. Act Two: Morta Al Mondo
14. Act Two: Figlia Impura Di Bolena

Tracks:

1. Act Three: E Pensi? E Tardi?
2. Act Three: Quella Vita A Me Funesta
3. Act Three: Deh! Per Pieta Sospendi
4. Act Three: La Perfida Insultarmi
5. Act Three: Quando Di Luce Rosea
6. Act Three: Un'altra Colpa
7. Act Three: Vedeste? Vedemmo
8. Act Three: Anna...
9. Act Three: Deh! Tu Di Un Umile
10. Act Three: Di Un Cor Che More
11. Act Three: Ah! Se Un Giorno

Customer Reviews:

Royal cat fight (II).......2006-01-11

Source: Live recording made in Paris on March 26, 1972.

Sound: Pretty good 1970s live mono. The French audience is generally well-disciplined, except for one or two spectacularly ill-timed and unwelcome coughs. At appropriate places, their applause and cheers are pleasingly enthusiastic.

Format: Disk 1, Act I, tracks 1-6; Act II, tracks 7-14. Disk 2, Act III, tracks 1-11.

Cast: Elisabetta, Regina d'Inghliterra - Michele Vilma Menendez; Maria Stuarda, Regina di Scozia - Montserrat Caballe; Roberto, Conte di Leicester - Jose Carreras; Lord Guglielmo Cecil - Enrique Serra; Anna Kennedy - Ruth Bezinian; Giorgio Talbot - Maurizio Mazzieri. Conductor: Nello Santi with the Lyric Orchestra and Chorus of the ORTF.

Documentation: No libretto. Track list does not show timings or identify singers. Short synopses of the history of the opera and its plot. (The cover portrait shows an attractive, if stolid young woman. She is painted in a magnificently rendered gown that is both provincial and out-of-fashion. The lady is not Mary, Queen of Scots, but a member of the previous generation, Anne of Cleves. She had married Henry VIII, survived both the marriage and the man, and by a remarkable piece of Parliamentary double-think became in English law both a princess of England and Henry VIII's "sister." Contemporary references to Anne insist on her lack of beauty, while Mary's contemporaries regarded her as gorgeous. Oddly, all the portraits show Anne to be quite good-looking and Mary to be rather plain.)

This is a historical opera that in good Nineteenth Century style, rides roughshod over mere, dreary factual verisimilitude. It is based on a play by Schiller, that same bright spark who perpetrated a play in which Joan of Arc dies heroically after a final success on the battlefield (set very effectively to music by Verdi as "Giovanna d'Arco.")

The heart of the play, occupying Act II of the opera, is an extended scene in which the two queens meet and trade insults while Lord Leicester, the true and loyal lover of the Queen of Scots, looks on ineffectually. It hardly needs to be said that all this is what we here in the Frozen North call pure bumph. Dramatic potential notwithstanding, there is not a shred of evidence that such a meeting ever took place. Considering Queen Bess' habitual avoidance of irretrievable decisions, even to the point of refusing to name a successor, it is probable that such a meeting was never even given serious consideration.

And Leicester as the true lover of Mary Stuart? Not a chance! Leicester, although not highest in feudal rank, was the premiere nobleman in Elizabeth's glittering court. He was a true denizen of the Renaissance, a complex mixture of ability, self-interest, chivalry and deviousness. It is true that there had been some plans on the part of Elizabeth to advance him, willy-nilly, to serve as a consort to Mary when she still ruled in Scotland. The Queen eventually sent an Anglo-Scottish noble named Darnley instead. Young Darnley married Mary Stuart, fathered James VI of Scotland (who would eventually become James I of England), jealously slew a favorite of the Queen of Scots and, in return, got himself gorily slaughtered--just another ordinary Renaissance career. Leicester, throughout, had his eyes on a higher thing, the hand of Queen Elizabeth, herself. He never achieved it, but his maneuverings may--or may not--have included the murder of his inconvenient wife along the way.

Turning from history to opera, I believe that I can safely say that I hold a minority view when I state that I prefer the comedies of Donizetti to his dramas. As Donizetti's dramas go, however, his 1835 "Maria Stuarda" is top notch, and outshone only by the evergreen "Lucia," also from 1835. "Maria Stuarda" is a two-prima donna extravaganza centered on a knock-down, drag-out, hissing, screaming cat fight between two historic Queens. Honestly, except for a little mud wrestling, what more could anyone want?

The star of this recording is unquestionably Montserrat Caballe. Opera fans, by their very nature, are prone to nitpick and draw ultra-fine distinctions, to give wholly undue weight to stunt-singing, to trifling trills and interpolated notes flying high above the staff. It is perfectly proper that they should do so, but the detailed analysis (i.e., fault finding) should not obscure the plain fact that Caballe's Maria offers abundant riches of big-time, full-voiced, down-and-dirty, diva singing seldom matched by anyone, anywhere, at any time. Caballe is strongly seconded by Carreras, who gives the audience all that they want and more.

Caballe and Carreras are in good voice and are captured in good sound in a good opera. These two performers offer singing of such power and beauty that there really isn't any logical rating to give the recording other than five stars.

Having said that, as an opera fan, myself, I shall now nitpick. This performance is very good, but it remains some steps away from perfection. Brilliant as Montserrat Caballe was, she was always a bit too much of a lady to seize onto the ultimate in characterization. The two queens should work themselves into a frenzy of mutual loathing. Maria sneers at the daughter of Anne Boleyn, calling her "vil bastarda." I can recall restaurants in which waitresses--ahem--wait staff have asked me whether I wanted a cup of coffee with more hostility than Caballe's Maria hurls at Elisabetta.

José Carreras is a good tenor--a fabulously good tenor--but I always want to shake him and say, "Don't do that!" How I wish I could be his voice coach just long enough to tell him to relax a little. Just look at any video of Carreras. Every muscle in his upper body is tense and his throat is held in absolute rigidity. As he became older, his notes would often come to a too-abrupt close because of that rigidity. Carreras seems to have viewed singing as a job of work to faced manfully and seriously. I have no objection to a good work-ethic, but I hear little or no joy in the man's singing, only an earnestness that shades perilously toward ponderousness.

Elisabetta, the English Queen, was portrayed by Michele Vilma Menendez. Ms. Menendez was all right in her way, not bad at all, as a matter of fact--but she was clearly not in the class of her two stellar colleagues. Their quite extraordinary abilities made her, I think, sound worse to some reviewers than she really was.

All that aside, this is a fine recording at a bargain price. Every fan should have it.

Give and take from Caballe's earlier Stuarda.......2005-08-08

Caballe's '71 Maria Stuarda (the first Stuarda available by opera d'oro) is my main standard of comparison for this '72 performance. The grand lady is still in good voice despite a couple of awkward high notes (hardly noticeable though). Her portrait of the sad queen is more seductive and a bit self-indulgent this time whereas at La Scala she sounded more innocent and the characterisation came across as more spontaneous. In Paris she is more exciting however. I find both performances good so don't hesitate to listen to either. Shame she didn't do Bolena at this stage of her career.

What we miss on this recording is a good Elisabetta. Michele Vilma gulps, wobbles and messes up the fioritura throughout the performance. With all these problems there's hardly any room for drama (or more for that matter). I wish Cossotto had considered this part. She would have been an excellent competition for Verrett's very impressive performance at La Scala.

We've lost a great Elisabetta but at least gained a luxurious Roberto. This Roberto sounds less congenial than Roberto Devereux for the young Carreras but his most handsome voice compensates for any strains. And as always with this tenor, his phrasing is perfect. Mazzieri is a fine, less famous bass who sings with style and stands out from the rest of the cast.

I found maestro Santi more interesting than Cillario at La Scala but then again, the sound of the Scala performance is inferior to this Paris one (which is very good) so I might have missed some of Cillario's details. Cheap recording, cheap booklet as usual.

Extremely good!.......2005-03-17

If you want to buy a Maria Stuarda recording, buy one with Caballe. I really don't understand why it is so underrated. People seam to like only Sills' interpretation, ignoring her way-too-light voice. Opera isn't all E-flats and other high notes. Caballe's only problem is that she can't produce a trill.(But she sang some almost, if not completely authentic trills in L'altra Notte In Fondo Al Mare, which can be found in the Caballe Great Opera Divas Disc.) And I think we can forgive this, regarding all the other qualities. Such refinement, purity, phrasing, pianissimos... Her high notes sound too strident ant caustic to some, but this is very subjective. They are not like the high notes that are generally considered to be beautiful, but in the right context they blend spectacularly: something between singing and screaming, hysteric, and in the same time pure.(High E-flat on the 1979 Stuarda performance on Munich) Some say "...when she gets excited, the result is wild and ugly..." Pity on them. There are different kinds of drama. It is not forbidden to like Callas and Caballe in the same time. Just listen to her "Figlia Impura Di Bolena" and feel the tension!

Average customer rating: One of Great album for Opera Best yet from the 3 Tenors!

The 3 Tenors ~ José Carreras · Luciano Pavarotti · Plácido Domingo Plácido Domingo , Luciano Pavarotti , José Carreras , and Giuseppe Verdi Manufacturer: Goldies Records ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Leoncavallo | Leoncavallo, Ruggiero | ( 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 Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | 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 French | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Vocal Pop | Pop | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music ASIN: B0000086DX Release Date: 1997-04-24

Tracks:

1. Quanto E Bella - Luciano Pavarotti
2. Una Furtiva Lacrima - Luciano Pavarotti
3. A Te O Cara - Luciano Pavarotti
4. Egli S'avanza - Luciano Pavarotti
5. Cuius Aninam - Luciano Pavarotti
6. Oh Fede Negar Pstessi Agl'occhi Miei - Luciano Pavarotti
7. La Donna E Mobie - Luciano Pavarotti
8. Che Gelda Manina - Luciano Pavarotti
9. Nessun Dorma - Luciano Pavarotti
10. La Mia Letizia - Jose Carreras
11. Oh Belle A Questa Misera - Jose Carreras
12. Questa O Quella - Jose Carreras
13. Ella Mi Fu Rapita - Jose Carreras
14. La Donna E Mobile - Jose Carreras
15. Brindisi - Jose Carreras
16. S'avanza Il Conte - Jose Carreras
17. Ma Se M'e Forza Perderti - Jose Carreras
18. Ah Dessa E La - Jose Carreras
19. Ah Rimiro Il Bel Sebiante - Jose Carreras
20. Ideale - Jose Carreras
21. Malia - Jose Carreras
22. L'alba Separa Dalla Luce Lombra - Jose Carreras
23. Merce Diletti Amici - Placido Domingo
24. Se Quel Guerrier Io Fossi...celeste Aida - Placido Domingo
25. Parle Moi De Ma Mere - Placido Domingo
26. La Fleur Que Tu M'avais Jetee - Placido Domingo
27. L'anima Ho Stanca - Placido Domingo
28. Bridnisi - Placido Domingo
29. Recitar...vesti La Giubba - Placido Domingo
30. Ideale - Placido Domingo

Album Description

Import exclusive compilation features one disc apiece for the '3 Tenors', Luciano Pavarotti, Placido Domingo, & Jose Carreras. Goldies. Standard jewel cases housed in a slipcase. 1999.

Album Details

This Box Set is Comprised of Live Recordings of the Three Tenors, Each Performing Separately During the Mid-To Late 1960's & Early 1970's. Luciano Pavarotti Performs Excerpts from Sabat Mater, Turandot, La Boheme & Other Works. Jose Carreras Sings Passages from La Traviata, Rigoletto, I Lombardi & More. Placido Domingo Vociferates Sections from Carmen, Cavalleria Rusticana, Aida & Others.

Customer Reviews:

One of Great album for Opera.......1999-03-21

I can't expressed my felling about how much I love it! The only thing can say is very very great! I listen it more than 100 times in first 3 months after bought.

Best yet from the 3 Tenors!.......1998-08-30

I've been waiting since early July for the CD of this Paris performance. The wait was worth it, and the video is not bad either.

Average customer rating: Another treasure from a much loved, much missed musician

Schubert, Mozart, Dvorak, Mahler, Strauss: Lieder / Lucia Popp Manufacturer: BBC Legends ProductGroup: Music Binding: Audio CD General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | 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 | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Similar Items: The Very Best of Lucia Popp ASIN: B00000K2FA Release Date: 1999-09-21

Tracks:

1. Ridente la calma, K.152 (K.210a)
2. Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, K.520
3. An Chloe, K.524
4. 4 Canzonen, D688: I. Non t'accostar
5. 4 Canzonen, D688: II. Guarda, che bianca luna
6. 4 Canzonen, D688: III. Da quel sembiante appresi
7. 4 Canzonen, D688: IV. Mioben ricordati, se avvien, ch'io mora
8. Dass sie hier gewesen, D775
9. Wonne der Wehmut, D260
10. An Silvia, D891
11. V tak mnohem srdci mrtvo jest, Op.83 No.2
12. Cyprise: Me srdce casto v bolesti
13. Cyprise: O byl to krasmy zlaty sen
14. Rheinlegendchen
15. Ablosung im Sommer
16. Wo die schonen Trompeten blasen
17. Ich ging mit Lust durch einen grunen Wald
18. Wer hat dies Liedlein erdacht?
19. Himmelsboten zu Liebchens Himmelbett, Op.32 No.5
20. Ein Obdach gegen Sturm und Regen, Op.46 No.1
21. Morgen! Op.27 No.4
22. Wiegenliedchen, Op.49 No.3

Amazon.com

This is a recording to enchant both ear and heart. Lucia Popp's voice is bright but warm, pure, perfectly controlled; her intonation is impeccable, her phrasing poised, leisurely, elegant. Though a distinguished opera star, she brings to these songs a wonderful immediacy and simplicity, identifying with mood and character without overdramatizing or exaggerating, and inflects and colors her voice only for expression, never for effect. Her program, recorded live at two different recitals, is varied and imaginative and includes several unfamiliar songs, such as four "Canzonen" by Schubert, sung in Italian, and three songs by Dvorák, two of them from the cycle Cypresses, which he later arranged for string quartet, sung in Czech. Unfortunately, the producers apparently expect the listener to be equally multilingual and provide no texts or translations. However, Popp can put a smile, a tear, tenderness, love, ghostly dread, and ardent ecstasy into her voice, giving it an eloquence beyond words. Her pianists are admirable, though Gage's playing in the Mahler songs is too fussy, and in Strauss's "Morgen!" the violin obbligato is sadly missing. --Edith Eisler

Customer Reviews:

Another treasure from a much loved, much missed musician.......2000-10-08

The world lost a beautifully unique and uniquely beautiful voice when Lucia Popp passed away. Anyone who loves Popp simply must have this CD. She sings Lieder by composers associated with her -- Mozart, Strauss, and Mahler. Yet my favorite tracks are the three Dvorak songs, sung with such pain and intensity. My only reservations of this CD come from the fact that these are live recordings, meaning that there is audience noise (not too much), and (most annoyingly) applause after each set of songs. Also, the pianists are rather distantly balanced. But no matter -- I love this CD all the same, and anyone who loves Popp will also love this CD too.

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