Perdona [CD-single] [Import]

Product Description
The #1 European Hit Song that Took Italy, Spain, Germany and the Netherlands by Storm Has Been Remixed by Carlos Jean in Spanish and Italian Versions. Also Includes an Instrumental for Mixing Or Karaoke. Simply Irresistable!

Tracks:

The Marriage of Figaro - The Letter Duet-Canzonetta sull'aria "Che soave zeffiretto"
The Marriage of Figaro - Susanna's Air: Deh vieni, non tardar
Don Giovanni - Zerlina's Air: Vedrai carino
Cosi fan tutte - Terzettino: Soave sia il vento
La Clemenza di Tito - Duet: Ah perdona al primo affetto
Cosi fan tutte - Di scrivermi ogni giorno
The Marriage of Figaro - Cherubino's Air: Voi che sapete
Don Giovanni - Don Giovanni's Serenade: Deh vieni alla finestre
Zaide - Rube sanft, mein holdes Leben
Il Re Pastroe - L'amero, saro costante
Nehmt meinen Dank, ihr holden Gonner
Idomeneo - Zeffiretti lusinghiere
Idomeneo - Se il padre perdei
The Abduction from the Seraglio - Pedrillo's Serenade (A Moorish Romance): In Mohrenland gefangen war
The Marriage of Figaro - Flower Chorus: Ricevete, o padroncina
The Magic Flute - Boys' Trio: Zum Ziele fuhrt dich dies Bahn
The Magic Flute - Boys' Trio (Welcome A Second Time): Seid uns zum zweiten Mal wilkommen
The Magic Flute - Papageno's Air: Der Vogelfanger bin ich ja
The Magic Flute - Papageno's Love Song: Ein Madchen oder Weibchen
The Magic Flute - Pa Pa Pa Pa Pa Pa
Cosi fan tutte - Despina's Aria: Una donna a quindici anni
Das Kinderspiel

Customer Reviews:

An Alternative view for moms.......2004-07-15

The review by the previous listener who was, dissapointed that this recording, received as a gift, is opera was apparently looking for "soothing" music (possibly elevator music)to put her and possibly her child-to-be to sleep. I agree - if jello is what you seek, do not purchase this disc. If, on the other hand, you seek passion, beauty, and possibly a widening of your musical horizons, do, by all means, purchase this disc. Soaring arias, heavenly voices and the most lovely music imaginable await you. Still, Richard Clayderman and Britney Spears are available to you and your unfortunate child.

Good if you like Opera.......2004-02-11

I received this CD as a gift and was very disappointed to discover it was opera. I have other CD's of Mozart's music that are instrumental and very soothing. If you like opera then it may be a good choice for you, but if you are like me and don't care for opera you are probably better off sticking to an instrumental collection.

Average customer rating:

Voices of Angels!
Where Is the Sparkle?
Miss Hong not in her element
Magnificent!! 5 stars do not suffice!!
More Duet, less Recit-chat

Bellezza vocale ~ Beautiful Opera Duets

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | 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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Larmore, Jennifer | Divas | Opera & Vocal | Styles | Music
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ASIN: B00000IWR5
Release Date: 1999-05-18

Tracks:

Belle nuit, 6 nuit d'amour: Les Contes d'Hoffmann (Hoffmanns Erzungen) -
Mir ist die Ehre widerfahren: Der Rosenkavalier
Caro....Bella: Giulio Cesare (Julius Cr) -
'Signor, hoffi rinasco': L'incoronazione di Poppea -
' Non ci pentiam': La Clemenza di Tito
'Viens, Malika': Lakm
'Mira, o Norma': Norma
'Dio, che mi vedi in core': Anna Bolena
'Una nave da guerro': Madame Butterfly - Blumenduett
'Fiero incontrol': Tancredi -
'Sandmann war dal': Hel und Gretel - Abendsegen

Amazon.com

This generous disc of duets for soprano and mezzo-soprano offers a wonderful selection: from the very familiar "Barcarolle" of Tales of Hoffmann, the "Flower Duet" of Madama Butterfly, and the Presentation of the Rose in Strauss's Der Rosenkavalier to the more exotic Anna Bolena-Giovanna Seymour duet from Donizetti's opera and Mozart's La Clemenza di Tito, there's not a bad piece of music or performance here. To be sure, these two singers do certain things better than others--Hei-Kyung Hong's silvery soprano is not ideal for the emotional outpourings (and low notes) of either Anna Bolena or Butterfly, but it's a perfect fit for Sophie in Rosenkavalier, Cleopatra ,and Poppea. Jennifer Larmore's creamy, agile mezzo is gloriously suave in the "Barcarolle," her Seymour is compelling, and her Adalgisa is stunning, but the voice lacks some of the color necessary for Octavian or Nero. But this is a very high-class, entertaining undertaking, and the program is nicely varied. Love good singing? Here you are. --Robert Levine

Customer Reviews:

Voices of Angels!.......2007-03-08

Purchased for one song: Viens Malika (lockme), but like the entire cd. Purchased a few more elsewhere and gave as gifts to my opera buff colleagues.

Where Is the Sparkle?.......2003-11-11

I found this CD very disappointing. To paraphrase Mark Twain, I was hoping for lightning, but found only a lightning bug. Something seems slightly OFF in the blending of their voices in some of the tracks. They are not the worst I've heard, but I have not "imported" any of this CD's tracks to my computer's hard drive to listen to while I'm doing other work. Verrett and Caballe are the ones to listen to if you wish to hear how bel canto duets SHOULD be done.

Miss Hong not in her element.......2003-01-11

This recording must have been driven by the Larmore camp. For Miss Larmore, who was in good voice for this recording, the selections were in her fach for most of the CD. However, the same cannot be said for Miss Hong. Especially disappointing was the Anna Bolena. Miss Hong's voice is much too light for this role. Additionally, she chose not the take many of the upper embellishments more suited for her voice. Miss Hong should have researched her options more carefully on this selection seeing that it takes up 15 minutes on the CD. Similarly, Miss Hong was not well suited for Butterfly. Both divas were out of tune on the Hoffmann. However, the Lakmé was one of the more beautiful recordings I have heard. Likewise, the Rosenkavalier was particularly affecting and the Norma was immaculately in tune.

If you choose to buy this recording, buy it because you want to here a mezzo in good voice. It's a showcase for Miss Larmore. Although Miss Hong is a wonderful singer, this recording does not show what her voice can do when she is in her element.

Magnificent!! 5 stars do not suffice!!.......2002-12-20

I was astounded by the quality of the singing and the absolutely gorgeous music that was sung on this album. The two singers sing like goddesses and are very committed to the drama of the music.

The sound is excellent, both spacious and crystal-clear. Teldec sure knows how to capture voices and operatic music on CD. Many thanks to Teldec for recording this exquisitely sung duet album. If only they were around to record a duet album featuring Joan Sutherland and Marilyn Horne. Now that would have been great!

The soprano, Hei-Kyung Hong, has an excellent coloratura technique. Her trills vary from mediocre to very good. Overall, her fioritura is first-rate. Her diction is crystal clear. Her Italian is exquisite. Almost every "r" is rolled. Her French is generally excellent. Her German is quite good. I love the sound of her voice. It is bright and silvery-toned with a brilliant top. The mezzo-soprano is Jennifer Larmore. She has a gorgeous voice, rich and dark. Her voice reminded me of the voice of that great coloratura mezzo, Marilyn Horne. Her coloratura may be a bit below that of the soprano's but it is more than passable. Her trills also range from mediocre to very good. Her diction is sometimes obscured by her rich tone but it is generally excellent. Her track record with rolling the "r's" is not as good as the soprano's but it is more than passable.

The first duet is the Barcarolle from Offenbach's "Les Contes d'Hoffman". I had never heard it before. The simple yet exquisite quality of the music is just wonderful. Both singers acquit themselves admirably in this duet. Their voices blend together beautifully in this love duet.

The second duet is the wonderful duet from Strauss' "Der Rosenkavalier". I had never heard this duet before. Strauss' music is sparkling and brilliant, an absolute joy to the ears. The two singers are wonderful in this duet.

The third duet is a fine love duet from Handel's "Giulio Cesare". The harp accompaniment is fantastic. It was the harpsichord's sounds that made this duet so enjoyable. Handel did a great job writing the music for this very fine opera. Hong is breathtaking in this duet. Larmore supports her wonderfully. I can't decide if I like this duet the most or the one from "L'incoronazione di Poppea". The notes in the booklet say that this duet comes at the end of the opera. This is incorrect. It comes well before the end of the opera.

The fourth duet is from Claudio Monteverdi's underperfomed and underappreciated masterpiece, "L'incoronazione di Poppea". It was an absolute delight to hear this exquisite duet with its fine Baroque music. From Hong's first note, the listener knows that he/she is in for a wonderful treat. The perfomance of this duet is so good that words do not do it justice.

The fifth duet is from Mozart's "La Clemenza di Tito". I didn't realize that Mozart could write such fine Baroque music. The music is beautiful and noble. The singing is excellent.

The sixth duet is the Flower Duet from Léo Delibes' "Lakmé". It is an exquisite piece of French music. I love this duet. No wonder it is considered by many to be the most beautiful operatic piece ever composed. The singing done by Hong and Larmore is transcendental. Mere words cannot describe the sounds that they make with their beautiful voices.

The seventh duet is from Bellini's "Norma". What you get is wonderful, vigorous bel canto music at its best and gorgeous singing by two very able singers. The coloratura is amazing! The staccati notes done in unison are wonderful. The high notes of both singers are powerful and clear. Larmore makes a powerful and convincing Adalgisa, but Hong is clearly not suited to Norma. She doesn't have the temperament to sing the role and her voice is too light to tackle the role's heavy dramatic demands.

The eighth duet is from Donizetti's masterpiece, "Anna Bolena". The bel canto melody found in this piece of music is very fine indeed. Hong tries her best to sound like Bolena, but this role does not show her in the best light. Her voice is too light for this heavy role and she doesn't have the queen's regal temperament. Larmore is very convincing as the repentent Jane Seymour. The singing is fabulous. So is the diction of the two singers. The high C done in unison that ends the duet is spectacular and breathtaking.

The ninth duet is from Puccini's "Madama Butterfly". This is the other Flower Duet on the album. The singing is magnificent. Larmore makes a very fine Suzuki. Hong's Cio-Cio San is excellent. She would make a fine recorded Butterfly. She is, after all, Asian. Some people say she is not good enough to be a Butterfly. I strongly disagree. If Freni and Scotto, two of the lightest-voiced sopranos to have sung the role, were allowed to record "Madama Butterfly", then Hong should be able to do so too.

The tenth duet is from Rossini's "Tancredi". This taxing piece of bel canto is handled superbly by Hong and Larmore. It is 10 minutes and 35 seconds of some of the most difficult coloratura ever written. I was astounded by the singers' amazing virtuosity in this piece. They show us why their coloratura techniques are world-class. The trills, runs over octaves, and roulades are tossed off expertly. Even though this music is very taxing, they still manage to characterize! Sutherland and Horne would be proud.

The eleventh and last duet is from Engelbert Humperdinck's "Hänsel und Gretel". The duet opens with beautiful music but I found this piece to be the weakest of the selections chosen for this album. The music doesn't rise to new heights after the opening notes. The singing is more than average but the piece is not a good showcase for the talent of these two singers. Really, another duet from a better opera should have been included that would have done justice to these singers' unique talent.

Finally, I have to comment on the superb conducting and orchestral playing on this album. Jesús López Cobos is an above average conductor, that's for sure. His conducting supports the singers very well and never intrudes upon their singing. The Münchner Rundfunkorchester provides excellent orchestral playing. They never play too loudly as to drown out the singers. Overall, this duet album is one of the finest ever made with two female singers.

More Duet, less Recit-chat.......2002-01-11

While the vocal talents of these two ladies is considerable, and the duets, when they get to them, are lovely, thrilling and so forth, there is way too much recitative included. It would not be an exaggeration to say that 2/3 of this CD is recitative. Added to that, Teldec has not bothered to include side-by-side translations of the text. Instead, previous to the text, are synopsi of the plots of the various scenes. These things really detract from the overall listening enjoyment. I would prefer just to listen to the duets, but even all the recitative wouldn't be that bad if the translations were included.

Average customer rating:

Una de la mejores interpretaciones en CD del Cosi fan tutte
Overrated, but decent
Which classic Cosi to buy--Karajan or Bohm?
AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE

Mozart: Così Fan Tutte

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
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ASIN: B000BL98ME
Release Date: 2006-01-10

Tracks:

Sinfonia/Overture - Philharmonia Orchestra & Chorus
La Mia Dorabella Capace Non E - Rolando Panerai
Cessate Di Scherzar - Rolando Panerai
E La Fede Delle Femmine - Rolando Panerai
Scioccherie Di Poeti! - Rolando Panerai
Una Bella Serenata - Rolando Panerai
Ah, Guarda, Sorella - Elisabeth Schwarzkopf
Mi Par Che Stamattina - Elisabeth Schwarzkopf
Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Sesto Bruscantini
Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf
Sento, Oddio, che Questo Piede - Various Artists
O Cielo, Questo E Il Tamburo Funesto - Various Artists
Bella Vita Militar! - Philharmonia Orchestra & Chorus
Non V'e Piu Tempo - Various Artists
Muoio D'affano!...Di Scrivermi Ogni Giorno - Various Artists
Oh, Di, come Veloce Se Ne Va Quella Barca! - Elisabeth Schwarzkopf
Soave Sia Il Vento - Elisabeth Schwarzkopf
Quante Smorfie...Quante Buffonerie! - Sesto Bruscantini
Che Vita Maledetta - Elisabeth Schwarzkopf
Ah, Scostati!...Smanie Implacabili Che M'agitate - Nan Merriman
Signora Dorabella, Signora Fiordiligi - Elisabeth Schwarzkopf
In Uomini, In Soldati Sperare Fedelta? - Lisa Otto
Despinetta!...Chi Batte? - Lisa Otto
Alla Bella Despinetta - Various Artists
Oh, Ciel! Mirate: Uomini In Cosa Nostra - Various Artists
Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
Ah, Non Partite! - Various Artists
Non Siate Ritrosi - Rolando Panerai
E Voi Ridete? - Rolando Panerai
E Avete Ancora Coraggio Di Fiatar? - Rolando Panerai
un'aura Amorosa Del Nostro Tesoro - Leopold Simoneau
E Come Credi Che L'affar Finira? - Lisa Otto

Tracks:

Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf
Si Mora, Si, Si Mora - Various Artists
Eccovi Il Medico - Various Artists
Dove Son? Che Loco E Questo? - Various Artists
Dammi Un Bacio, O Mio Tesoro - Various Artists
Andate La, Che Siete Due Bizzarre Ragazze! - Elisabeth Schwarzkopf
Una Donna A Quindici Anni - Lisa Otto
Sorella, Cosa Dici? - Elisabeth Schwarzkopf
Prendero Quel Brunettino - Elisabeth Schwarzkopf
Secondate, Aurette Amiche - Rolando Panerai
Cos'e Tal Mascherata? - Various Artists
La Mano A Me Date - Various Artists
Oh, che Bella Giornata! - Various Artists
Il Core Vi Dono - Rolando Panerai
Ei Parte...Senti...Ah No! - Elisabeth Schwarzkopf
Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
Amico, Abbiamo Vinto! - Leopold Simoneau
Donne Mie, La Fate A Tanti A Tanti - Rolando Panerai
In Qual Fiero Contrasto - Leopold Simoneau
Tradito, Schernito - Leopold Simoneau
Bravo, Questa E Costanza - Rolando Panerai

Tracks:

Ora Vedo Che Siete Una Donna Di Garbo - Elisabeth Schwarzkopf
E Amore Un Ladroncello - Nan Merriman
Come Tutto Congiura - Elisabeth Schwarzkopf
Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf
Ah, Poveretto Me, Cosa Ho Veduto! - Rolando Panerai
Tutti Accusan Le Donne - Rolando Panerai
Vittoria Padroncini! - Various Artists
Fate Presto, O Cari Amici - Lisa Otto
Benedetti I Doppi Coniugi - Various Artists
E Nel Tuo, Nel Mio Bicchiero - Various Artists
Bella Vita Militar! - Various Artists
Bella Vita Militar! - Various Artists
Sani E Salvi Agli Amplessi Amorosi - Various Artists
No, Signor, Non E Un Notaio - Various Artists
Ah, Signor, Son Rea Di Morte - Various Artists
A Voi S'inchina, Bella Damina - Various Artists
Fortunato L'uom Che Prende - Various Artists

Customer Reviews:

Una de la mejores interpretaciones en CD del Cosi fan tutte.......2006-11-16

Esta es una de las mejores interpretaciones en CD del Cosi Fan tutte, en compañìa de la versión de Böhm de 1962. Uno de los méritos fundamentales de esta excelsa grabación es la magnífica dirección de Karajan. El maestro austriaco se demuestra en todo momento como un estilista consumado, obtiene timbres orquestales sugerentes y refinados, construye y define adecuadamente lo que es el "dramma giocoso", con gracia, con humor y justos toques de seriedad, todo con una elegante presición. Cuenta, por lo demás, con un cast abolutamente modélico; Elizabeth Schwarzkopf es considerada unánimemente por todos los criticos musicales como la intérprete de referencia del rol de Fiordiligi, por su imponente modo de esculpir y modelar las frases con un estilo y elegancia de fraseo espectaculares. Leopold Simoneau, es un Ferrando sutil e insinuante, ideal por su voz leve, clara y robusta a la vez. Es junto a Alfredo Kraus, de la versión Böhm 1962, el mejor intérprete histórico de este rol. Lisa Otto configura con musicalidad, vitalidad y fino humor una Despina excelente. Sesto Bruscantini, es sin duda el Don Alfonso de referencia, por su fina ironia y discreta elegancia, aunado a la belleza de su voz baritonal y excelente técnica. Rolando Panerai es el barítono brillante que todo aficionado serio a la opera conoce a la perfección. Excelente técnica, fraseo inteligente e incisivo, en suma un Guglielmo de referencia. Quizás el punto un poco mas debil del cast sea la Dorabella de Nan Merriman, pero solo si se la compara con el resto del cast, ya que se trata de una fina artista, muy musical y de excelente estilo (es necesario recordar que fue una de las artistas preferidas del gran Arturo Toscanini). En suma un clásico absoluto de la discografia, reconocido casi por unanimidad, por toda la crítica especializada y por los mozartianos en particular. Sería interesante comprarla junto a la versión de Böhm de 1962, ya que las dos son complementarias y no excluyentes.

Overrated, but decent.......2006-03-29

As a whole, this recording isn't bad at all. As far as quality of sound goes, while it definitely shows its age, you probably wouldn't notice unless you compared it side-by-side with a modern recording.

My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.

In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.

Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).

Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.

Which classic Cosi to buy--Karajan or Bohm?.......2006-03-20

Whereas EMI was fortunate enough to make one Don Giovanni and one Marriage of Figaro for the ages, both under Giulini, they achieved mixed results with two versions of Cosi fan tutte. Neither is an obvious first choice, so I thought it was worthwhile comparing their respective pluses and minuses.

Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.

Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.

Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.

AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE.......2006-01-30

EMI had been incredibly consistent with their Mozart opera recordings in the 1950's. Of course, their great fortune was to have conductors like Van Karajan, Giulini, and Furtwangler under contract. It was an age of great Mozart singers---Elisabeth Schwarzkopf, Anton Dermota, Irmgard Seefried, Sena Jurinac, and Leopold Simoneau - all of whom recorded for EMI. By 1954, Schwarzkopf and Von Karajan were already big ticket talent at EMI (they also had exclusive contracts with Maria Callas, Victoria de los Angeles, Nicolai Gedda, Tito Gobbi, Giuseppe di Stefano ---- seven-eighths of the greatest opera singers in the world at the time). This recording of Mozart's "Cosi Fan Tutte" comes from the height of that period, and it's very impressive indeed. Von Karajan's musicians make the most of Mozart's lush music, and the entire performance has a "float" to it that I find eludes other presentations of this opera. The legendary and gifted Schwarzkopf sings a beautiful Fiordiligi ---her "Come Scoglio" a real piece of virtuoso singing covering a span of two and a half octaves. Her singing throughout the opera is exemplary (I cannot understand one critic years ago referred to her performance as "pufferies of sound"---he's dead wrong!).
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.

Average customer rating:

A stunning recording
Fresh, luminous and touching!
A very musical and lively recording.

Monteverdi: Quarto Libro dei Madrigali
Sandro Naglia , Marcello Vargetto , Bianca Simone , and Rinaldo Alessandrini
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Monteverdi: Quinto Libro de Madrigali (Fifth Book of Madrigals)
Monteverdi: Secondo Libro de' Madrigali (Second Book of Madrigals) /Concerto Italiano * Alessandrini
Monteverdi: Ottavo Libro de' Madrigali, Vol.1
Monteverdi: Madrigals Book 3
Madrigals Book I

ASIN: B000027MVE
Release Date: 1993-12-03

Tracks:

Ah Dolente Partita
Cor Mio, Mentre Vi Miro
Cor Mio, Non Mori? E Mori!
Sfogava Con Le Stelle
Volgea L'anima Mia Soavemente
Anima Mia Perdona [Prima Parte]
Che Se Tu Se'Il Cor Mio [Seconda Parte]
Luci Serene E Chiare
La Piaga C'ho Nel Core
Voi Pur Da Me Partite, Anima Dura
A Un Giro Sol De' Begl'occhi Lucenti
Ohime, Se Tanto Amate
Io Mi Son Giovinetta
Quel Augellin Che Canta
Non Piu Guerra Pietate
Si Ch'io Vorrei Morire
Anima Dolorosa Che Vivendo
Anima Del Cor Mio
Longe Da Te Cor Mio
Piagn' E Sospira

Amazon.com

Monteverdi's Fourth Book of Madrigals for five voices was a real ground-breaking work: the composer tossed aside the rules of classical counterpoint and harmony, making the music subservient to the text it delivered--creating extraordinary pictorial and emotive effects that are surprising even today. Here's just one example: in "Si, ch'io vorrei morire," the voices enter successively on the line "Ahi, car'e dolce lingua" ("Ah, dear sweet tongue"), each voice extending its phrase while the next two voices above enter in their turn, the lines caressing and colliding with each other like the tongues of kissing lovers, the dissonant suspensions like frissons of passion. Concerto Italiano's performance is a revelation: each quicksilver change in tempo or volume is beautifully judged, yet sounds completely spontaneous and natural. --Matthew Westphal

Customer Reviews:

A stunning recording.......2005-07-04

If I had to single out one recording of madrigals to recommend this might quite possibly be it. The performances by Alessandrini and Concerto Italiano are everything the critics have been raving about for a number of years now. They really do take the cake when it comes to being the outstanding madrigal performers of our times - although we now have La Venexiana, who can be put on the same level. The singing here represents a degree of refinement in expressive eloquence that is previously unheard of in this repertoire. This makes this CD gripping listening from start to finish even though all works are sung a capella.

The recording is also well up to the usual high standards of Opus 111.

Fresh, luminous and touching!.......2005-06-14

The best book of Monteverdi sung the very best by the best singers.
This crew - which main members now sing in La Venexiana - must have some strange affinity to Monteverdi! It never sounds 'old' or 'ancient'; you feel rather that Monteverdi is some modern composer, or you feel how young his inventive style must have been felt by his contemporaries. Concerto Italiano - i.e. until the mid 90ies - had some kind of 'analytical' approach, slow, high definition, sophisticated, clear, fresh, young, shining - like the first spring! This luxury production never feels cold or boring, from the first madrigals, 'Ah dolente partita', 'Cor mio' and so on, it is very, very touching. A more happy madrigal like 'A un giro sol de' bell'occhi lucenti' is really a wonder. Rossana Bertini's shrill soprano is specially striking. Highly recommended! I also recommend The second book - Amazon: B0000260SF - by the same group and The third book - Amazon: B00006B1R7- by La Veneziana; almost the same crew and surely the same style.

A very musical and lively recording........1998-12-16

Concerto Italiano gives a refreshing interpretation of Monteverdi's madrigals. Apart from being a well and musically sung recording, it is the expression of the lyrics which makes this CD unique. From listening it is clear that the madrigals were meant to be sung this way: One hears the birds, the wind, the sea and, of course, many lamenting lovers. (Be sure to keep the booklet handy when listening !)

Tracks:

The Magic Flute, K 620: Der Vogelfanger Bin Ich Ja - Mikael Melbye
The Magic Flute, K 620: Dies Bildnis Ist Bezaubernd Schon - Peter Schreier
The Magic Flute, K 620: Der Holle Rache Kocht In Meinem Herze - Luciana Serra
The Magic Flute, K 620: O Isis Und Osiris - Kurt Moll
The Magic Flute, K 620: Pa-Pa-Pa-Pa-Pa-Pa-Papagena - Cecilia Bartoli
The Abduction From The Seraglio, K 384: Welche Wonne, Welche Lust - Kathleen Battle
Il Re Pastore, K208: L'amero, Saro Costante - Angela Maria Blasi
Idomeneo, Re Di Creta, K366: Se Il Padre Perdei - Barbara Hendricks
Cosi Fan Tutte, K588: Soave Sia Il Vento - Jose Van Dam
La Clemenza Di Tito, K621: Ah, Perdona Al Primo Affetto - Lucia Popp
Don Giovanni, K527: Notte E Giorno Faticar - Gilles Cachemaille
Don Giovanni, K527: Madamina, Il Catalogo E Questo - Wladimiro Ganzarolli
Don Giovanni, K527: Ah! Fuggi Il Traditor! - Della Jones
Don Giovanni, K527: Dalla Sua Pace (k540a, Vienna Version) - Stuart Burrows
Don Giovanni, K527: Finch'han Dal Vino - Bryn Terfel
Don Giovanni, K527: Deh, Vieni Alla Finestra - Ingvar Wixell
Don Giovanni, K527: Il Mio Tesoro Intanto - Stuart Burrows
Don Giovanni, K527: Mi Tradi Quell'alma Ingrata (Vienna Version) - Dame Kiri Te Kanawa
Don Giovanni, K527: Don Giovanni, A Cenar Teco - Kristinn Sigmundsson

Tracks:

The Marriage Of Figaro, K492: Se Vuol Ballare, Signor Contino - Jose Van Dam
The Marriage Of Figaro, K492: Non So Piu - Teresa Berganza
The Marriage Of Figaro, K492: Non Piu Andrai - Samuel Ramey
The Marriage Of Figaro, K492: Voi Che Sapete - Frederica Von Stade
The Marriage Of Figaro, K492: Che Soave Zeffiretto - Lucia Popp
The Marriage Of Figaro, K492: Deh Vieni, Non Tardar - Cecilia Bartoli
Das Kinderspiel, K598 - Dalton Baldwin
Die Alte, K517 - Dalton Baldwin
Mass In C Minor, K427: Kyrie - Arleen Auger
Kommet Her, Ihr Frechen Sunder, K146 (317b) - Ann Murray
Mass In C Minor, K427: Gloria - The Winchester Cathedral Choir
Ave Verum Corpus In D, K618 - James Vivian
Vesperae Solennes De Confessore K339: Laudate Dominum - Emma Kirkby
Exsultate, Jubilate K165: Alleluia - Leontyne Price
Requiem In D Minor, K626: Intoitus - Wolfgang Amadeus Mozart
Requiem In D Minor, K626: Dies Irae - Wolfgang Amadeus Mozart
Requiem In D Minor, K626: Tuba Mirum - Robert Loyd
Requiem In D Minor, K626: Confutatis - Wolfgang Amadeus Mozart
Requiem In D Minor, K626: Lacrimosa - Wolfgang Amadeus Mozart

Customer Reviews:

Many worthy versions, at a good price.......2003-07-15

There are arguments aplenty about whether a listener can really appreciate an opera when its "Greatest Hits" are extracted. That argument applies in spades on a disc such as this, which goes for the big, big guns from some of the most delightful vocal music ever composed.

Nevertheless, there are many fine singers in here. This is no second-string collection of unknowns from Eastern Europe, though one of my favorite Mozart interpreters, Thomas Allen, is missing. And some of the versions included are relatively weak. But as a very reasonably priced introduction to Mozart's vocal music, this is quite listenable. Good tunes, good playing, usually fine singing, and a logical sequence makes this a tasty intro at a tasty price.

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
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

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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.

Tracks:

Le nozze di Figaro: Cinque ... Dieci ... Venti ... Trenta ... (Act 1, Scene 1)
Le nozze di Figaro: Venite ... Inginocchiatevi ... (Act II, Scene 3)
Le nozze di Figaro: Un Moto Di Gioia
Le nozze di Figaro: Crudel! Perche Finora Farmi Languir Cosi? (Act III, Scene 2)
Sull'aria ... Ricevete, O Padroncina, Queste Rose (Act III, Scenes 10-11)
Le nozze di Figaro: Giunse Alfin Il Momento ... Deh Vieni, Non Tardar (Act IV, Scene 10)
Le nozze di Figaro: Giunse Alfin Il Momnto ... Al Desio Di Chi T'adora
Don Giovanni: Giovinette Che Fate All'Amore (Act 1, Scene 2)
Don Giovanni: La Ci Darem La Mano (Act I, Scene 2)
Don Giovanni: Masetto, Senti Un Po'! (Act I, Scene 2)
Don Giovanni: Presto, Presto, Pria Ch'ei Venga (Act I, Scene 3)
Don Giovanni: Vedrai, Carino (Act II, Scene 1)
La Clemenza di Tito: Ah, Perdona Al Primo Affetto (Act I, Scene 2)
La Clemenza di Tito: S'altro Che Lacrime (Act II, Scene 2)
Die Zauberflote: Bei Mannern, Welche Liebe Fuhlen (Act I, Scene 2)
Die Zauberflote: Schnelle FuBe, Rascher Mut (Act I, Scene 3)
Die Zauberflote: Ach, Ich Fuhl's, Es Ist Verschwunden (Act II, Scene 4)
Die Zauberflote: Soll iIch Dich, Teurer, Nicht Mehr Sehn? (Act II, Scene 5)
Die Zauberflote: Tamino Mein! ... Wir Wandelten Durch Feuergluten (Act II, Scene 8)

Amazon.com essential recording

American soprano Barbara Bonney has emerged as one of the most engaging interpreters of Mozart's heroines on the stage today. Indeed, the selections offered here--culled from various full-length recordings over the 1990s--are about more than beautiful singing: Bonney's portrayals of four Mozart heroines are rich in vivid characterization and emotional nuance and are models in their own way of "vocal acting." Bonney makes a particularly appealing Susanna with her natural, unforced sound and remarkably poetic phrasing (the Figaro selections include the two new arias Mozart later interpolated for a favorite singer, which are rarely heard in stagings of the opera). Gorgeously floated pianissimos and a deliciously lilting legato give her Zerlina a knowing, sexually charged charm, while her Pamina is both vulnerable and radiant. And, unlike the dime-a-dozen Mozart excerpt albums, this one provides not only arias but duets (with Hakan Hagegard's characterful Count and Don Giovanni and Bryn Terfel's Masetto, among others) and a few ensemble scenes. Most of the selections are conducted with grace by period-instrument maven Arnold Östman; two selections from La clemenza di Tito under Christopher Hogwood will tempt the listener to take a closer look at these artists' complete recording of a neglected Mozart masterpiece. --Thomas May

Customer Reviews:

Nice, but quiet.......2004-11-13

I bought this CD about a year and a half ago and play it all the time, but I do have to turn up the volume, especially in the car (which is a lousy place to listen to serious music anyway). I still prefer Bonney's "Deh vieni" to the other recordings I have, including Bartoli and Upshaw. I love the "Sull'aria," something omitted from a Nozze Highlights CD (also featuring Bonney) I also own. If you like Bonney, you'll probably love the recording.

"Deep" voice for Susanna or Pamina??? Get off the juice!!!.......2004-02-21

I don't know which Mozart one of the previous reviewer was professing to "worship" but it certainly isn't one I was raised listening to.
Turn up the hearing aid, if you must, but leave your Wagnerian tastes at home when you approach these Mozart roles being sung properly by the proper voice.

Mozart + Bonney=Outstanding!.......2000-01-24

I consider Barbara Bonney to be the ultimate Mozart soprano, and that's it! Her beautiful and lyrical soprano is just perfect for the music. Her performance in Die Zauberflöte with Östman/Drottningholm is the best I have ever heard in that opera. The music of Mozart doesn't really require any Wagner-sopranos with huge vibrato and tasteless phrasing. No, it's more suitable for the lovely and brilliant sopranos like Barbara Bonney!

FEEBLE VOICE!.......1999-11-13

I read all the reviews and since they were all favourable I bought this CD. Alas! I was deeply disappointed. All these laudatory comments turned out to be just pompous array of praises. Barbara Bonney has clear,but weak voice. She is whispering something indistinctly, not singing. I worship Mozart and still I was not moved by this rendition.I wonder whether at a real performance the audience in the rear seats ever hear what she is singing.These Mozart's arias are really great but they must be performed by great artists as well. A diva possessed of deep ,clear,strong voice will do the job perfectly.

Solid Mozart singing from opera's leading current soubrette.......1999-10-03

This cd has excellent recorded sound, and Barbara Bonney's light, sweet soprano is heard at its freshest. For young sopranos studying Mozart roles, it would be a valuable purchase. Bonney sounds most at home in the Magic Flute selections where her obvious love for the music is really apparent. I give only 4 stars however, because I personally prefer a bigger voice in these roles like Swenson. But this should not deter Mozart and light soprano fans as diva prefences are all a matter of personal taste.

Average customer rating:

Bon appetit!

Essential Mozart Opera

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Mozart: Great Opera Moments 1
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ASIN: B00008J2NZ
Release Date: 2003-03-11

Tracks:

The Marriage Of Figaro: Overture
The Marriage Of Figaro: Voi, Che Andrai
The Marriage Of Figaro: Non Piu Andrai
The Marriage Of Figaro: Dove Sono
The Marriage Of Figaro: Se Vuol Ballare, Signor Contino
The Marriage Of Figaro: Cosa Mi Narri!...Che Soave Zeffiretto
The Marriage Of Figaro: Pace, Pace, Mio Dolce Tesoro
The Magic Flute: Der Vogelfanger Bin Ich Ja
The Magic Flute: Pa-Pa-Pa-Pa-Pa-Pa-Papagena!
The Magic Flute: Der Holle Rache Kocht In Meinem Herzen
The Magic Flute: O Zittre Nicht, Mein Lieber Sohn!
The Magic Flute: Ach, Ich Fuhl's, Es Ist verschwunden
The Magic Flute: Hm! Hm! Hm! Hm! Hm! Hm! Hm!
The Magic Flute: O Isis Und Osiris, Welche Wonne
Idomeneo: Placido E Il Mar, Andiamo
Idomeneo: Zeffiretti Lusinhieri
Idomeneo: Scenda Amor, Scenda Lmeneo
La Clemenza Di Tito: Overture
La Clemenza Di Tito: Parto, Parto, Ma Tu, Ben Mio

Tracks:

The Abduction From The Seaglio: Overture
The Abduction From The Seaglio: Martern Aller Arten
The Abduction From The Seaglio: Vivat Bacchus, Bacchus Lebe
The Abduction From The Seaglio: O, Wie Will Ich Triumphieren
Don Giovanni: Madamina, Il Catalogo E Questo
Don Giovanni: La Ci Darem La Mano
Don Giovanni: Dalla Sua Pace
Don Giovanni: Fin Ch'han Dal Vino Calda La Testa
Don Giovanni: Batti, Batti, O Bel Masetto
Don Giovanni: Il Mio Tesoro Intanto Andate A Consolar
Don Giovanni: In Quali Eccessi, O Numi...Mi Tradi Quell'alma Ingrata
Don Giovanni: Deh, Vieni Alla Finestra, O Mio Tesoro
Cosi Fan Tutte: Un'aura Amorosa Del Nostro Tesoro
Cosi Fan Tutte: E Amore Un Ladroncello
Cosi Fan Tutte: Soave Sia Il Vento
Cosi Fan Tutte: Ei PArte...Per Pieta, Ben Mio, Perdona
Cosi Fan Tutte: Temerai! Sortite...Come Scoglio

Customer Reviews:

Bon appetit!.......2006-09-01

This 2CDs set is quite a good compilation of arias from Mozart's best known operas. The cast is awesome, too.

The trouble is Mozart wrote so many wonderful arias that when you try to compile them from many operas, lots of the great ones like 'Non piu di fiori' and 'Deh per questo istante solo' from La clemenza di Tito get left out (tho having Teresa Berganza's version of 'Parto ma tu ben mio' makes up for it somewhat). A lot of chorus pieces from Idomeneo but none of Idamante's arias, no Elettra's famous rage aria, and no 'Traurigkeit' from 'Die Entfuehrung'?

Bottom line, all the arias included are marvellously sung. I think the line up could have been better, tho. It won't fill you up, perhaps, but it will wet your appetite for complete set of the operas included.

Mozart: Così fan tutte / Mackerras [Highlights]

Average customer rating:

Needs better singers

Mozart: Così fan tutte / Mackerras [Highlights]
Wolfgang Amadeus Mozart , Edinburgh Festival Chorus , Scottish Chamber Orchestra , Sir Charles Mackerras , Felicity Lott , Marie McLaughlin , Nuccia Focile , Jerry Hadley , Gilles Cachemaille , and Alessandro Corbelli
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Beethoven: The Nine Symphonies

ASIN: B000003D12
Release Date: 1995-01-24

Tracks:

Ouvertura
Terzetto 'La Mia Dorabella Capace Non E'
Duetto: 'Ah, Guarda, Sorella'
Aria: 'Vorrei Dir'
Quintetto: 'Sento, Oddio Che Questo Piede'
Coro: 'Bella Vita Militar!'
Quintetto (Con Coro) 'Di Scrivermi Ogni Giorno'
Terzettino: 'Soave Sia Il Vento'
Aria: 'Smanie Implacabili'
Aria: 'In Uomini, In Soldati'
Aria: 'Come Scoglio Immoto Resta'
Aria: 'Non Siate Ritrosi'
Terzetto: 'E Voi Ridete'
Aria: 'Un'aura Amorosa'
Aria: 'Una Donna A Quindici Anni'
Quartetto: 'La Mano A Me Date'
Duetto: 'Il Core Vi Dono, Bell'idolo Mio
Aria: 'Ah, Lo Veggio: Quell'anima Bella'
Rondo: 'Per Pieta, Ben Mio, Perdona'
Aria: 'Donne Mie, La Fate A Tanti'
Cavatina: 'Tradito, Schernito'
Aria: 'E Amore Un Ladroncello'
Duetto: 'Fra Gli Amplessi'
Aria: 'Tutti Accusan Le Donne'

Customer Reviews:

Needs better singers.......2000-10-15

I like the smart cover painting and the lively direction of Mackerras. However, the cast is nothing to brag about. Come Scoglio doesn't sound good, and the rest of the arias are only okay. The chorus, however, is magnificent. Overall, an okay recording and a generous highlights disc, but there are better choices out there.

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