Amor Louco [Import]

Product Description
Fellini was One of the Most Interesting Alternative Bands from Sao Paulo in the 80's. Now 10 Years after They Are Back with a New Album.

Amor Louco,Fellini,Rds,World Music

Average customer rating: SILLS GOES FOR BROKE -------- AND SHE TRIUMPHS Enough! The best set available - wonderful A great Anna I've had it!

Donizetti: Anna Bolena G. Donizetti , and Beverly Sills Manufacturer: Decca U.S. ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Sills, Beverly | ( S ) | Featured Performers, 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 General | Soundtracks | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Donizetti: Maria Stuarda Donizetti: Roberto Devereux (Elizabeth and Essex) Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation) Rossini: L'Assedio di Corinto Donizetti - Roberto Devereux / Rudel, Sills, Alexander, New York City Opera ASIN: B00005AWIL Release Date: 2001-04-10

Tracks:

1. Anna Bolena: Sinfonia
2. Anna Bolena: Act One, Scene One - Introduzione
3. Anna Bolena: Act One, Scene One - Ella di me, sollecita
4. Anna Bolena: Act One, Scene One - Si taciturna e mesta
5. Anna Bolena: Act One, Scene One - Deh! Non voler costringere
6. Anna Bolena: Act One, Scene One - Copme, innocente giovane
7. Anna Bolena: Act One, Scene One - Legger potessi in me! Non v'ha sguardo
8. Anna Bolena: Act One, Scene One - O! qual parlar fu il suo!
9. Anna Bolena: Act One, Scene One - Si: l'avrete
10. Anna Bolena: Act One, Scene One - la mia fama e a pie dell'ara
11. Anna Bolena: Act One, Scene One - Ella pure amor m offria
12. Anna Bolena: Act One, Scene One - Ah! qual sia cercar non oso
13. Anna Bolena: Act One, Scene Two - Chi veggo?...in Inghilterra
14. Anna Bolena: Act One, Scene Two - Da quel di che, lei perduta
15. Anna Bolena: Act One, Scene Two - Ah! cosi nei di ridenti
16. Anna Bolena: Act One, Scene Two - Desta si tosto
17. Anna Bolena: Act One, Scene Two - Io sentii sulla mio mano
18. Anna Bolena: Act One, Scene Two - or che reso ai patri i lidi
19. Anna Bolena: Act One, Scene Two - Questo di per noi spuntato

Tracks:

1. Anna Bolena: Act One, Scene Three - E'sgombro il loco...
2. Anna Bolena: Act One, Scene Three - Ah! parea che per incanto
3. Anna Bolena: Act One, Scene Three - Basta...basta...tropp'oltre vai...
4. Anna Bolena: Act One, Scene Three - Anna! - Riccardo!
5. Anna Bolena: Act One, Scene Three - S'ei t'aborre, io t'amo ancora
6. Anna Bolena: Act One, Scene Three - Ah!...per pieta del mio spavento
7. Anna Bolena: Act One, Scene Three - Alcun potria ascoltarti
8. Anna Bolena: Act One, Scene Three - Tace ognuno
9. Anna Bolena: Act One, Scene Three - Il quegli sgardi impresso
10. Anna Bolena: Act One, Scene Three - In separato carcere
11. Anna Bolena: Act Two, Scene One - O! Dove mai ne andarono
12. Anna Bolena: Act Two, Scene One - O mie fedeli
13. Anna Bolena: Act Two, Scene One - Dio, che mi vedi in core
14. Anna Bolena: Act Two, Scene One - Sul suo capo aggravi un Dio
15. Anna Bolena: Act Two, Scene One - Dal mio cor punita io sono
16. Anna Bolena: Act Two, Scene One - Va, infelice, e teco reca

Tracks:

1. Anna Bolena: Act Two, Scene Two - Ebben? dinanzi ai giudici
2. Anna Bolena: Act Two, Scene Two - Scostatevi...il Re giunge...
3. Anna Bolena: Act Two, Scene Two - Ambo morrete
4. Anna Bolena: Act Two, Scene Two - Al Consiglio sien tratti
5. Anna Bolena: Act Two, Scene Two - Sposa a Percy
6. Anna Bolena: Act Two, Scene Two - Per questa fiamma indomita
7. Anna Bolena: Act Two, Scene Two - Stolta! non sai...
8. Anna Bolena: Act Two, Scene Two - Ah! pensate che rivolti
9. Anna Bolena: Act Two, Scene Three - Tu pur dannato a morte
10. Anna Bolena: Act Two, Scene Three - Vive tu, te ne scongiuro
11. Anna Bolena: Act Two, Scene Three - Nel veder la tua costanza
12. Anna Bolena: Act Two, Scene Three - Chi puo vederla
13. Anna Bolena: Act Two, Scene Three - Piangete voi?
14. Anna Bolena: Act Two, Scene Three - Al dolce guidami castel natio
15. Anna Bolena: Act Two, Scene Three - Qual mesto suon?...
16. Anna Bolena: Act Two, Scene Three - Cielo, a'miei lunghi spasimi
17. Anna Bolena: Act Two, Scene Three - Coppia iniqua

Customer Reviews:

SILLS GOES FOR BROKE -------- AND SHE TRIUMPHS.......2006-04-17

I, being a great admirer of Callas, Caballe', Sutherland, and Sills, cannot understand why people so vehemently bash one of them in favor of the other. This does nothing to further the interest of music, and it reduces great operatic singing to the level of ice hockey. "Anna Bolena" is an opera that requires a very special type of soprano. It is, essentially, a florid bel canto opera for a considerably heavier voice than that associated with such bel canto heroines such as those encountered in "Puritani", "Sonnambula", and "Lucia". A great "Anna Bolena" should also be able to command Norma and Rossini's "Semiramide". Beverly Sills had a basically small voice, and she herself has admitted repeatedly that her undertaking Donizetti's Three Queens (Anna Bolena, Maria Stuarda, and Elizabeth in "Roberto Devereux) probably shortened her career by a decade. She was, of course, right. She certainly makes Anna Bolena a convincing vocal creation, and she sings with great conviction and involvement. But even so, there are moments when you know that she's pushing her resources to the virtual end of their endurance. She manufactures low chest tones that are completely out of allignment with the rest of her voice, and some of her top notes are nothing more than pitched screams. Of course, her passion and sincerity compensates for a lot of these deficiencies, and she emerges with a great success. I respect Sills, and have always felt that she was a little undone by her publicity machine, as well as the constant shadows of Callas, Sutherland, and Caballe. Truth to tell, all three had voices far more suited to these heavier bel canto roles. I'm not going to enter any fray and state any opinions here. Beverly Sills put forth a tremendous amount of skill and effort into roles like Anna Bolena, and she paid a vocal price, as one can hear on this recording. Still, I wouldn't be without this performance. Shirley Verrett is an outstanding Jane Seymour (she certainly could have sung Anna Bolena!), though I'm not sure that she and Sills blend all that well together. Whatever the case, let's give all these great sopranos a break and stop bashing them. My message to the bashers is: Callas, Sills, Caballe' & Sutherland have BEEN there and made it. What have YOU accomplished?

Enough!.......2006-01-25

Will this awfully mellow coloratura chirper ever stop shrieking? Sills couldn't fit the role of Anna less! Maria Callas, La Divina, has always been, and will always remain the role's owner.
Incidentally, how can some people blatantly dare show their absolute ignorance? How can somebody call -and get away with it- Callas' soloists Nicola Rossi-Lemeni, Giulietta Simionato, and Gianni Raimondi "second rate"??? I guess you've neither listened to any of them nor heard of their superb and much acclaimed qualities as musicians!!!

The best set available - wonderful.......2005-03-27

This is one of my favourite operas. I have heard the Callas, Sunderland (CD and DVD performances) and Gruberova (not to mention some live recordings).

Callas was breathtaking in her live performance from the 50's (especially in Act 3) BUT the sound quality is very poor indeed and the other soloists are second rate. The performance was also heavily cut. I only wish she had recorded the whole opera in the studio, instead of one or two arias.

Sunderland was well past her prime by the time she recorded her performance on CD. Her diction, never a strong point for her, is particularly 'woolly' and she has problems sustaining the higher register without strain. It is a pity she didn't record it much earlier in her career. Boynage conducts in a pedestrian manner too (compare the overture from Boynage and Rudel, Rudel makes the overture exciting and vibrant. Boynage conducts a somewhat flat and one dimensional rendition).

Gruberova's recording on CD is from a live performance and is truly aweful in places. I actually think it is one of the worst performances of anything I have ever heard 'recorded'. Don't touch it with a barge pole.

Then there is Sills performance. OK, I wish the voice was a little heavier at times but her singing is, as usual, beautiful. You feel that Anna Bolena is a role she loved, she conveys dramatic sincerity throughout. Rudel conducts his orchestral forces with such energy. Indeed, he is a major selling point of this set for me. He injects the performance with flair and gusto. Verrett, Burrows and Plishka don't put a foot wrong. A wonderful performance. I love this recording above all the others. Buy it. This set leaves the competition standing, (although, if you can tolerate the appalling sound, Callas' performance is fantastic too, however overall this set is far superior).

A great Anna.......2004-05-20

I'm sorry if I hurt anyone. I was just so mad and angry because Callas got bashed so many times by a Sills-Fanatic. I deeply apologise. Sills has a very beautiful voice, one of the best lyric coloratura voices out there. I hope Bev's fans will forgive me. This is one of the best Annas ever.

I've had it!.......2004-05-20

A Sills-Fanatic keeps bashing Callas with one star reviews in a row! I warned him that our patience is at its end! Now we'll retaliate! Sills is AWFUL as Anna Bolena, thin, sour, glassy and fake with no middle. A stupid coloratura chirper. Stop singing, Sills! My ears hurt, stop shrieking!

Average customer rating: Viveca sparkles Pure pleasure.... More Bravura Bel Canto Arias; Vivica Genaux BRAVA! BRAVA! BRAVA!

Bel Canto Arias; Vivica Genaux Vivica Genaux , Gioachino Rossini , Gaetano Donizetti , John Nelson , and Ensemble Orchestral de Paris Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | 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 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 Similar Items: Vivica Genaux - Handel/Hasse: Opera Arias Arias for Farinelli HOMAGE: The Age of the Diva A. Scarlatti - La Santissima Trinità / Invernizzi · Gens · Genaux · Agnew · Abbondanza · Europa Galante · Biondi Tragédiennes ASIN: B0000BWTK1 Release Date: 2003-09-16

Tracks:

1. Nacqui All' Affanno
2. Cruda Sorte! Amor Tiranno!
3. Amici, In Ogni Evento...Pensa Alla Patria
4. Nella Fatal Di Rimini
5. Il Segreto Per Esser Felici
6. Popolo, Amici, Sanguinosi Allori... Ah! Si, Da Tanti Affani
7. E Sgombro Il Loco... Un Bacio, Un Bacio Ancora
8. Mura Felici
9. Eccomi Alfine In Babilonia... Ah! Quel Giorno Ognor Rammento
10. Una Voce Poco Fa

Customer Reviews:

Viveca sparkles.......2007-01-04

If you love Bel Canto and Mezzo Sopranos, you will love Vivica Genaux!

Pure pleasure...........2006-05-19

I have her Farinelli CD, as well. I also saw her on A&E some time ago. My only criticism was her excessive chin movements but, then, I don't get all bent out of shape over Bartoli's grimaces -- and the voice is the thing, after all.

As for Fach, a singer doesn't need to enjoy merely one, although many are restricted to such. What I like about Genaux, aside from the absolutely beautiful tone, is that she is NOT mannered. She has just the right take on every one of these arias. Spare me from the singers who just MUST emote all over the place when simplicity and class are sufficient.

I've had this CD since for some time and decided to see what others thought of it -- I'm always interested in other opinions.

Nancy Eckert

More Bravura.......2006-03-23

When I read a review stating that Vivica sang with two little volume on this recording, I found that very hard to believe. Everything I had previously heard of her showed a voice with unlimited power. However, when I purchased this set I agreed that Vivica sings with to little volume and possibly emotion. This is puzzling; I think it must have been an artistic decision that doesn't really work.

However, I can't agree with the other reviewer about this being the wrong repertoire. Most of Genaux's early roles were Rossini and her Bel Canto technique is superb. I love the selection of music, and despite the shortcomings, I really enjoy listening to this CD. I just wish she used a little more emotion and power in the parts that call for it.

Bel Canto Arias; Vivica Genaux.......2005-09-26

Vivica Genaux seems to have a lovely personality not to mention an absolutely fabulous voice both live and on disc, but some of these arias just don't work for her voice, some are just too.....well.... Bel Canto but the arias by Rossini I liked, especially
"Una Voce Poco Fa".
I also feel I should mention that Vivica is NOT a soprano
as "Sergey Tsoy "Dallas Opera"" states in his review, but rather a Mezzo-soprano.

BRAVA! BRAVA! BRAVA!.......2004-12-20

In my opinion, Vivica is a fantastic singer and an outstanding artist. I have heard her singing live in Rossini's La Cenerentola, and it was literally breathtaking. Many sopranos sing well and have beautiful voices, but it is perhaps their choice of vibrato which makes them sound extremely out of tune, weak, irritating, and just ugh! Also, many of them sing just loudly. I am not a singer, but to my ears, Vivica is absolutely the best soprano (or at least, one of a few) whom I have heard live - beautiful, pure, in tune (yes, fortunately and unfortunately it matters, too), great vibrato, wild tempi, rock-solid consistency of musical ideas, convincing stage presence, logical, elegant, and so forth. It is all these things add together, which make a true impression. I still wonder, how is it possible to sing with such clarity, presicion, and beauty? Because it is often either, or. But she somehow combines everything, and that's just marvelous. And also, her tonal quality is so fresh and sounds really out of the ordinary. Although I have never heard her CDs, I have no second thoughts about this particular one, which I have just bought and wait with great impatience until it arrives. Brava to Vivica, for, to my mind, her type of artistry comes in a truly short suply nowadays! It is my personal opinion.

Average customer rating: A great Don (except for the sound) IT'S A GREAT ONE!

Mozart: Don Giovanni 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 | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | 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 General | Soundtracks | Styles | Music Similar Items: Mozart: Don Giovanni Mozart: Symphonies Nos 29, 35 (Haffner), 38 (Prague), 39, 40, and 41 (Jupiter) Mozart: Symphony #40/Piano Concerto #20/Serenades #10 'Gran Partita' & #13 'Eine Kleine Nachtmusik - Wilhelm Furtwangler, Berlin Philharmonic Mozart: Le Nozze di Figaro Verdi: La Traviata (Complete opera); Maria Callas; Alfredo Kraus ASIN: B000BNV8E8 Release Date: 2006-01-10

Tracks:

1. Sinfonia/Overture - Chor Der Wiener Staatsoper
2. Notte E Giorno Faticar - Otto Edelmann
3. Non Sperar, Se Non M'uccidi - Otto Edelmann
4. Lasciala, Indegno!...Leporello, Ove Sei? - Various Artists
5. Ma Qual Mai S'offre, Oh Dei - Anton Dermota
6. Fuggi, Crudele, Fuggi! - Anton Dermota
7. Orsu, Spicciati Presto - Otto Edelmann
8. Ah, Chi Mi Dice Mai - Otto Edelmann
9. Chi E La? - Otto Edelmann
10. Madaminia, Il Catalogo E Questo - Otto Edelmann
11. Giovinette, Che Fate All'amore - Walter Berry
12. Manco Male E Partita - Various Artists
13. Ho Capito, Signor, Si! - Walter Berry
14. Alfin Siam Liberati - Cesare Siepi
15. La Ci Darem la Mano - Cesare Siepi
16. Fermati, Scellerato!...Ah! Fuggi Il Traditor! - Elisabeth Schwarzkopf
17. Mi Par Ch'oggi Il Demonio Si Diverta...Non ti Fidar, O Misera...Povera Sventurata! - Various Artists
18. Don Ottavio, Son Morta! - Anton Dermota
19. Or Sai Chi L'onore - Elisabeth Grummer
20. Come Mai Creder Deggio...Dalla Sua Pace - Anton Dermota
21. Io Deggio Ad Ogni Patto - Otto Edelmann
22. Finch'han Dal Vino - Cesare Siepi

Tracks:

1. Massetto, Senti Un Po'! - Walter Berry
2. Batti, Batti, O Bell Masetto...Guarda Un Po' - Walter Berry
3. Presto, Presto, Pria Ch'ei Venga - Various Artists
4. Tra Quest'arbori Celata - Walter Berry
5. Bisogna Aver Coraggio - Various Artists
6. Protegga Il Giusto Cielo - Elisabeth Schwarzkopf
7. Riposate, Vezzose Raggzze - Various Artists
8. Venite Pur Avanti - Various Artists
9. Ecco Il Birbo Che T'ha Offesa! - Various Artists
10. Trema, Trema, O Scellerato! - Various Artists
11. Eh Via, Buffone, Non Mi Seccar...Leporello!...Signore? - Otto Edelmann
12. Ah Taci, Ingisusto Core! - Otto Edelmann
13. Amico, Che Ti Par? - Otto Edelmann
14. Deh, Vieni Alla Finestra...V'e Gente Alla Finestra - Walter Berry
15. Meta Di Voi Qua Vadano - Cesare Siepi
16. Zitto, Iascia Ch'io Senta! - Walter Berry
17. Verdrai, Carino, Se Sei Buonino - Erna Berger
18. Di Molte Faci Il Lume...Sola, Sola In Buio Loco - Various Artists
19. Mille torbidi Pensieri - Various Artists
20. Dunque Quello Sei Tu...Ah, Pieta, Signori Miei!...Ferma, Perfido, Ferma! - Various Artists
21. Il Mio Tesoro Intanto - Anton Dermota
22. In Quali Eccessi, O Numi - Elisabeth Schwarzkopf
23. Mi Tradi Quell'alama Ingrata - Elisabeth Schwarzkopf

Tracks:

1. Ah, Ah, Ah, Questa E Buona - Otto Edelmann
2. O Statua Gentilissima - Otto Edelmann
3. Calmatevi, Idol Mio! - Anton Dermota
4. Crudele? Ah No, Mio Bene! - Elisabeth Grummer
5. Non Mi Dir, Bell'idol Mio - Elisabeth Grummer
6. Gia La Mensa E Preparata - Otto Edelmann
7. L'ultima Prova Dell'amor Mio - Elisabeth Schwarzkopf
8. Che Grido E Questo Mai - Otto Edelmann
9. Don Giovanni A Cenar Teco - Otto Edelmann
10. Da Qual Tremore Insolito - Otto Edelmann
11. Ah, Dov'e Il Perfido? - Various Artists
12. Or Che tutti, O Mio Tesoro - Various Artists
13. Questo E Il Fin - Various Artists

Customer Reviews:

A great Don (except for the sound).......2007-06-27

I have to agree with the previous reviewer that as an operatic production, this recording is superb. The only downside is the sound quality, which probably could not be helped; one must simply take it on faith that EMI did their best to re-master the original tapes (though I feel that they may have overdone the bass parts in some places). The singers are superb, and you can hear the stage effects, which gives the recording a charming immediacy. Anyone who has only heard only modern recordings of the opera, which emphasize "period" instruments and tempos, should be warned that Furtwängler did not feel obliged to stick to any one particular set of tempi - he varies the speed quite a bit, even within particular numbers, but this reflects an overall aesthetic conception of the opera which he formed over many years (this recording was made in 1954, the year of his death) and which fits together perfectly in its own way.
Moreover, like the previous reviewer, I am glad that EMI is releasing this set for a reasonable price, and it is a good companion to the classic Giulini set (although I would recommend other versions of the opera as well - even some of the "period" interpretations).

IT'S A GREAT ONE!.......2006-01-29

"Don Giovanni" is a very great, but difficult opera. It requires a charasmatic bass-baritone (or bass) for the title role, another equally great bass-baritone with a comic flair (for Leporello), two great leading sopranos for two very difficult roles (Donnas Anna and Elvira), a flawless lyric tenor (Don Octavio), and a pair of appealing younger singers for Zerlina and Massetto. It also doesn't hurt to have a sonorous Commandatore (a real bass)who can terrify Don Giovanni and take him to down at the end of the opera. This is an opera better left alone than presented even decently. The 1950's was a great time for Mozart singers, and many of them are right here on this live recording from Vienna in 1954. Cesere Siepi made the role of Don Giovanni his own and performed it many times (as well as on a commercial London recording which still is available). Elisabeth Schwarzkopf owned the role of Donna Elvira, and, in fact, can be heard on the EMI commercial recording made five years after this performance took place. Elisabeth Grummer was primarily a singer of the lighter Wagnerian roles, but her Donna Anna has power and passion. All of the other artists - Otto Edelmann, Erna Berger, Anton Dermota, Walter Berry, etc, were well known for their Mozart performances all through the decade. They mesh beautifully together in this performance, all under the exciting leadership of the legendary Wilhelm Furtwangler, who really finds the dramatic elements in this piece --- at the price of perhaps less emphasis on the lighter moments. Still, this is a towering performance, in excellent monophonic sound (yes, there are some stage noises, but no distortion or peaking). EMI has made it available at an incredibly low and wonderful price, and I can't see how anyone who loves Mozart would want to be without it under any circumstances. This is a great companion to the EMI Giulini set, and quite probably the superior of all the others.
It's a winner!

Average customer rating: Refreshing and Surprising! Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard. Best ever!!

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 | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music The Decca Records Store | Specialty Stores | Music Similar Items: Beethoven: Symphonies Nos. 1-9 (Fra) Wagner: Der Ring des Nibelungen Weber: Der Freischütz Mozart Opera Glyndebourne Collection: Cosi fan Tutte, Don Giovanni, Le Nozze di Figaro, Die Entfuhhrung aus dem Serail, Idomeneo, Die Zauberflote (6 DVDs) Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin 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 (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

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

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.

Average customer rating: Early Verdi at its best Verdi's Ernani

Verdi: Ernani Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Similar Items: Donizetti: Roberto Devereux Verdi: La Forza del Destino Verdi - Giovanna d'Arco (Joan of Arc)/ Caballé · Domingo · Milnes · LSO · Levine Rossini - Guillaume Tell / Bacquier, Caballé, Gedda, Mesplé, Kovacs, Howell, RPO, Gardelli Eugene Onegin ASIN: B000000UO3 Release Date: 1997-09-16

Tracks:

1. Ernani: Preludio
2. Ernani - Act One - Scene One: 'Evviva!...Beviamo!'
3. Ernani - Act One - Scene One: 'Merce, diletti amici...Come rugiada al cespite'
4. Ernani - Act One - Scene One: 'Dell' esilio nel dolore'
5. Ernani - Act One - Scene Two: 'Surta e la notte'
6. Ernani - Act One - Scene Two: 'Ernani!...Ernani, involami'
7. Ernani - Act One - Scene Two: 'Tutto sprezzo che d'Ernani'
8. Ernani - Act One - Scene Two: 'Qui mi trasse amor possente'
9. Ernani - Act One - Scene Two: 'Da quel di' che t'ho vedurta'
10. Ernani - Act One - Scene Two: 'Tu se' Ernani!...'
11. Ernani - Act One - Scene Two: 'Che mak vegg'io!...Infelice!...e tuo credevi'
12. Ernani - Act One - Scene Two: 'Vedi come il buon vegliardo' - Bruno Prevedi - Ernani
13. Ernani - Act Two: 'Esultiamo!...Letizia ne innorndi' - Bruno Prevedi - Ernani
14. Ernani - Act Two: 'Oro, quant'oro ogni avido' - Bruno Prevedi - Ernani
15. Ernani - Act Two: 'Tu perfida...' - Bruno Prevedi - Ernani
16. Ernani - Act Two: 'No, vendetta piu tremenda' - Boris Christoff - Silva

Tracks:

1. Ernani - Act Two: 'Cugino, a che munito'
2. Ernani - Act Two: 'Lo vedremo, veglio audace'
3. Ernani - Act Two: 'Vieni meco, sol di rose'
4. Ernani - Act Two: 'A te...scegli...seguimi'
5. Ernani - Act Three: 'E questo il loco?...'
6. Ernani - Act Three: 'Gran Dio!'
7. Ernani - Act Three: 'Oh de' verd'anni miei'
8. Ernani - Act Three: Un patto, un giuramento...Si ridesti il Leon di Castiglia'
9. Ernani - Act Three: 'Oh sommo Carlo'
10. Ernani - Act Four: 'Oh come felici...gioiscon gli sposi'
11. Ernani - Act Four: 'Tutto ora race intorno'

Customer Reviews:

Early Verdi at its best.......2001-03-13

This recording finds Caballe in the very best voice, and Christoff at the top of his game. The tenor, Bruno Prevdi, was one of those three or four year sensations, and, listening to this recording, I am not at all sure what all the fuss was about. He does very little with the music except sing it, and the tone isn't all that great either. Peter Glossop is the Don Carlo. While not in the league of the Italians who have recorded this role, he is more than adaquate in it. You will take this recording from your shelf many times because Caballe and Christoff are in it--they make this recording more than worth the little bit of money it costs.

Verdi's Ernani.......2001-02-07

Verdi has given us a virtual songfest!!!This two disc CD has a wonderful ensemble. I really enjoyed hearing Monserat Caballe in this recording. Her lower register or "chest tones" make you really appreciate her great range. It is a good CD to have in your car when you take that long commute.......... it is a real bargain!!!!!

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: A Showcase of DH's Mozart. Masterful Don Giovanni what a thrill !

Don Giovanni: Lepovello's Revenge (Soundtrack) Manufacturer: Cbc 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 Hvorostovsky, Dmitri | ( H ) | Featured Performers, A-Z | 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 Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Similar Items: Arie Antiche [Australia] I Met You, My Love Dmitri Hvorostovsky - Tchaikovsky & Verdi Arias Kalinka: Russian Folk Songs Dmitri Hvorostovsky - Russian Songs of the War Years ASIN: B000051W06 Release Date: 2000-11-21

Customer Reviews:

A Showcase of DH's Mozart........2007-02-09

If Don Giovanni wasn't casted by Mozart with sufficient solo arias, this soundtrack made it up by having the same singer singing the part of Leporello as well.
In recent years DH has focused primarily on his native Russian reportoire. In part, this is a true loss to operatic fans.
Here in Don Giovanni, DH demonstrates what a versatile singer he is.
Personally I find his timbre suits the role of Don Giovanni more than Leporello. Even so, in terms of singing, the great solo arias of Leporello were handled very well too in this recording.
If the orchestra is not as first rate as other top-notch ones, and the rest of the cast less well-known, the singers of Zerlina and Commendatore did come up with more than competent performances alongside with DH.
Just for the sake of a truly good baritone singing a truly great opera, this soundtrack is a must to own.

Masterful Don Giovanni.......2002-03-21

I'd say Hvorostovsky makes the best Don Giovanni there is. Despite his temperament fits more to Verdi than Mozart, I really love his exquisite lyric baritone voice in Mozart. I was extremely impressed when I heard him sung the Count at Salzburg back in 95. He is my favorite Mozart interpreter ever since. I don't think anybody else could quite pull off "La ci darem" and "Serenade" so seductively as Hvorostovsky does. His "Champagne aria" is at most perfect tempo, and even Lepollero's "Catalogo aria" sounds so sensuous. This is the only recording of his Mozart. I should be thankful to have this at all since he sung both Giovanni and Leporello. What a clever idea!

The film version of "Lepollero's Revenge is quite a treat.
Dmitri's portrayal of both Don Giovanni and Lepollero is absolutely charming. He showed his comical skills so well.

He'll sing Don Giovanni at the Met next season and The Marriage of Figaro at Paris, so he keeps the balance in between various Verdi productions.

what a thrill !.......2001-12-16

To hear my favorite singer perform my favorite opera is a treat indeed, and through the the magic of modern technology, we get to hear him do duets with himself, as both the Don, and Leporello. This dual casting, as the booklet says about this hour long film, "...alludes to the notion that the Don and his servant are alter-egos, opposite sides of the the same person".

One of the reasons I like this CD is that I get to hear all the parts of this opera (including the overture) that delight me, all on one disc...also the recitativos, which are sometimes the most delectable of all...and Hvorostovsky does them so well, with his flawless Italian.
I also love the trio "Al taci, ingiusto core", and the sestetto "Sola, sola in buio loco". Of the lovely melodic arias, the "La ci darem la mano" duet, and the beautiful Serenata are wonderful, and perfectly suited for his rich baritone.

In the cast there's Dominique Labelle (Donna Anna), Gary Relyea (Commendatore), Liesel Fedkenheuer (Donna Elvira), Michael Colvin (Ottavio), Krisztina Szabo (Zerlina), and Alain Coulombe (Masetto), and though they may not be of Hvorostovsky's stature (few singers are !), they do an excellent job of backing him here. I especially like Relyea, and he gets to sing in what for me is one of the greatest scenes in all opera, the final trio, starting with the Commendatore's "Don Giovanni, a cenar teco"...now to hope this film becomes available on video !

Average customer rating: a must have for all the Piazzollists

Itinerary of a Genius Astor Piazzolla Manufacturer: Milan Records ProductGroup: Music Binding: Audio CD Argentina | South & Central America | International | Styles | Music General | International | Styles | Music Tango | Latin Music | Styles | Music General | Soundtracks | Styles | Music Similar Items: Tango: Zero Hour The Rough Dancer and the Cyclical Night (Tango Apasionado) ASIN: B000068Q1X Release Date: 2002-07-23

Tracks:

1. Adios Nonino
2. Libertango
3. Buenos Aires hora cero
4. Tres minutos con la realidad
5. Verano Porteno
6. Doble concierto para Bandoneon, Guitarra y Orquesta de Cuerdos - "Hommage a Liege" Tango
7. Vuelvo al Sur
8. Tanguedia III
9. Milonga del Angel
10. Concierto de Nacar 3rd mvt allegro marcato
11. Decarissimo
12. Duo de Amor
13. Ballada para un loco
14. November 1987 - Opus
15. July 1987 - Les Trottoirs de Buenos Aires - Euphonia Argentina
16. March 21, 1981 - Interactualites

Customer Reviews:

a must have for all the Piazzollists.......2004-06-23

This is one of my favorite Piazzolla recordings. Be ready to embarke on a beautiful journey through Europe and Argentina. For the pluralists Piazzolla's language is the Lingua-Franca !

Average customer rating:

Loco De Amor Carlos Catalan Manufacturer: Dii ProductGroup: Music Binding: Audio CD General | International | Styles | Music Mexico | International | Styles | Music General | Latin Music | Styles | Music ASIN: B00008EZEH Release Date: 1995-10-27

Average customer rating:

Verdi: Ernani Manufacturer: Pantheon 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 ASIN: B0000040SF Release Date: 1995-05-23

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