Come Due Soli Racconto [Import]

Product Description
Life Performance from Italo Pop Star featuring his Biggest Hits.

Come Due Soli Racconto,Amedeo Minghi,Import [Generic],Int'l & World Music,Italy,Pop

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

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating: Textbook Trovatore! A Trovatore Encyclopedia and Very Good Indeed! Unexpectedly Marvelous Odd Trovatore

Verdi - Il Trovatore / Frusoni · Longhi · Tschistiakova · Servile · de Grandis · Hungarian SOO · W. Humburg Giuseppe Verdi , Will Humburg , Maurizio Frusoni , Daniela Longhi , Hungarian State Opera Orchestra , Budapest Festival Chorus , Irina Tschistiakova , Roberto Servile , Franco de Grandis , Jozsef Mukk , Zsuzsa Csonka , Sándor Pásztor , and János Tandari Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music ASIN: B0000014B5 Release Date: 1996-01-03

Tracks:

1. All'Erta! All'Erta!
2. Di Due Figli Vivea
3. Sull'Orlo Dei Tetti
4. Che Piu T'Arresti?
5. Tacea La Notte Placida
6. Di Tale Amor Che Dirsi
7. Tace La Notte!
8. Il Trovator! ... Lo Fremo! Deserto Sulla Terra
9. Qual Voce!
10. Di Geloso Amor Sprezzato
11. Vedi, Le Fosche Notturne
12. Stride La Vampa!
13. Mesta E La Tua Canzon!
14. Soli Or Siamo!
15. Candotta El'Era In Ceppi
16. Non Son To Figlio
17. Mal Reggendo All'Aspro Assalto
18. Inoltra Il Pie
19. Perigliarti Ancor Languente
20. Tutto E Deserto!
21. Il Balen Del Suo Sorriso
22. Qual Suono! Oh Ciel!
23. Ah! Se L'Error T'Ingombra
24. Perche Piangete?
25. E Deggio E Posso Crederlo?

Tracks:

1. Or Co'Dadi, Ma Fra Poco
2. Squilli, Eccheggi La Tromba Guerriera
3. In Braccio Al Mio Rival!
4. Giorni Poveri Vivea
5. Ah! Deh! Rallentate, O Barbari
6. Quale D'Armi Fragor
7. Ah! Si, Ben Mio
8. L'Onda De' Suoni Mistici
9. Di Quella Pira
10. Siam Giunti; Ecco La Torre
11. D'Amor Sull'Ali Rosee Vanne
12. Miserere D'Un Alma Gia Vicina
13. Tu Vedrai Che Amore In Terra
14. Udiste? Come Albeggi
15. Mira, Di Acerbe Lagrime
16. Vivra! ... Contende Il Giubilo
17. Madre ... Non Dormi?
18. Si ... La Stanchezza M'Opprime
19. Che! ... Non M'Inganna
20. Parlar Non Vuol?
21. Ti Scosta!
22. Prima ... Che D'Altri ... Vivere

Customer Reviews:

Textbook Trovatore! A Trovatore Encyclopedia and Very Good Indeed!.......2007-01-26

NOTICE****************THIS TROVATORE INCLUDES THE USE OF THE LOST ART OF PORTAMENTO AS FREQUENTLY AS WRITTEN BY VERDI IN THE SCORE - THAT ALONE MAKES IT IMPORTANT**********


It seems that grief, bereavement, depth of pain, sorrow and empathy have left our world, and though a comeback seems very likely, I will not hold my breath. Even on that most dreadful day in New York a few years ago, I saw people standing around - seemingly feeling more privileged to see such devastation than feeling sorrow or praying that a mother's child, a father's boy, a husband's wife, a brother or sister would have peace amidst the loss. That being said, Azucena's attempt at emotional wailing ends up sounding like she just saw the funniest scene from a comedy that she had ever witnessed in her life. Emotional expression requires emotional AND sonic depth; recent culture and vocal pedagogy have robbed us of it. How sad that is.

Otherwise, I can say that this is a good show, as long as you don't want to feel too much. Longhi's Leonora is good and intense, she reminds one of Virginia Zeani as she scales down to pianissimo and soars to the top. Frusoni, a MET tenor has a good top, a forward and low sound - like an old bose speaker. One wishes for more squillo but he satisfies well. The baritone has WONDERFUL Verdi style!!!! Bravo!

The conductor might be the finest Verdian conductor of our times, and is a bright hope for tomorrow!

Unexpectedly Marvelous.......2002-12-02

As a musician who has studied Verdi's operas for decades I am astonished at how fine a recording this bargain Naxos set is. Indeed, I recommend it above all other modern complete sets available. Yes, for pure singing the Bjorling/Milanov RCA set has the edge and the classic Callas has a memorable sense of melodrama. What this set has, though, is a greater sense of Verdian style. Humburg is simply marvelous in how he shapes his phrases, follows seamlessly with the singers' grasp of character, and is superbly sensitive to Verdi's markings. (No, the finale is not a mistake. Verdi intended for Di Luna to have the last word. Humburg has the musical taste to ignore bad tradition and deliver what the composer actually wrote. He does stretch things a tad, but well within the limits of the score. The effect is electrifying.) The singers may not have the plushest of voices on disc, but just listen to how detailed and alert they are with the text and dynamics. Servile is brilliant throughout - a true (and rare) Verdi baritone with an attractive brightness and ring at the top of his voice and no trace of wooly tone. Longhi has the technique to handle the contrasts in Leonora's divergent styles while still creating a feminine and vulnerable character - essential elements that eludes other, more famous singers (Callas excluded). The Azucena, Irina Tschistiakova has a distinct vibrato but knows how to focus her sound to enliven the text. Frusoni's Manrico is not nearly as elegant as Bjorling's (then again, neither is Domingo in his sets) but has a decent enough line to make "Ah si, ben mio" lyrically convincing. Above all his textual pointing is spot on. I will continue to favor the old Cellini RCA set, but I will return again and again to Humburg for textual completeness, modern sound, and keen Verdian style.

Odd Trovatore.......2001-08-27

This Il Trovatore is not great or terrible. It's far from the best, but not really bad. Maurizio Frusoni as Manrico is no Domingo or Corelli, and he sounded very strained at times. His "Di quella pira" was very husky-sounding. Daniel Longhi as Leonora was OK. Nowhere near Callas or Price, she did give an impressive, "Di tale amor" and "Miserere." Irina T. (I can't remember her full last name) was not very good as Azucena, however. A vibrato can be accepted to a point in the role of Azucena, however this was too much- just too much. Her "Stride la vampa" was very weak. Roberto Servile was so-so as di Luna. His "Il balen" was good, but he was a bit lifeless. Humburg was pretty good until the final scene, where he had the orchestra stop playing altogether for, "Egli era tuo fratello!" The smaller parts were impressive, especially the Ferrando, but with a weak Manrico and Azucena, this isn't a good first choice. If you really want a good budget price recording, get the Opera D'oro set with Corelli, Price, Simionato, and Bastianini. It's the best ever, no doubt!

Average customer rating: The best Italian Composer-Performer Ever!!!

Come Due Soli Racconto Amedeo Minghi Manufacturer: Import [Generic] ProductGroup: Music Binding: Audio CD Italy | Continental Europe | Europe | International | Styles | Music General | International | Styles | Music International | Imports | Stores | Music ASIN: B000007278 Release Date: 1998-06-30

Tracks:

1. Due Soli in Cielo
2. Mio Sole Mio
3. Tempo Di Abbracci E Baci
4. Ladri Di Sole
5. Dimenticarti Mai Piu
6. Gelosi Amori Miei
7. Sottomarino
8. Isola
9. Di Pi
10. Solo All'ultimo Piano
11. Immenso
12. Sicuramente Tu
13. Mi Danno Tutti Quarant'anni
14. Pensa a Me
15. Vojo Er Canto de 'Na Canzone
16. Girotondo Dell'amore
17. Vicere
18. Rivederci E Grazie

Album Details

Life Performance from Italo Pop Star featuring his Biggest Hits.

Customer Reviews:

The best Italian Composer-Performer Ever!!!.......1999-07-30

track 16 is one of the best songs ever written!

I mean, EVER!

and for the rest of the Album, it really is worth the money, and if you understand Italian, well, he makes poetry look cheap!

Average customer rating:

Come Due Soli in Cielo ,Il Racconto, Amedeo Minghi Manufacturer: Musicrama, Inc ProductGroup: Music Binding: Audio CD General | International | Styles | Music ASIN: B00000DYQ1 Release Date: 1995-05-19

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