| 1. Appena un Po' |
| 2. Generale - Premiata Forneria Marconi |
| 3. Per un Amico |
| 4. Il Banchetto |
| 5. Geranio |
Editorial Reviews
Product Description
Japanese reissue of 1972 album, packaged in a limited edition miniature LP gatefold sleeve. Numerouno/BMG. 2003.
brought us "The four Seasons"
Antonio Vivaldi, comes this
'dramma per musica' it tells
us the story of Bajazet, a Turkish
leader who ruled vast portions of
the Ottoaman empire, and his defeat
by his great foe, Tamerlano(Timur Lenk).
In the past composers like Handel and
others had taken an interest in the story.
This is the World Premiere recording of
the work. Much musicological research was done
by conductor and violinist Fabio Biondi and others
to put together this monumental recording.As personally
for me this is the first complete opera that
I hear by Vivaldi. This opera comes with a
DVD that features all six soloists in an aria.
Europa Galante and Maestro Biondi do a wonderful
job, and the soloists are great. Wonderful work,
thank you Maestro Biondi...
Europa Galante, directed from the 1st violin by Fabio Biondi, is in great form and I've never heard them play better. I have their older recording of Handel's opera Poro, and I enjoyed that one, too.
The singers here are an excellent ensemble. I like the dark and expressive voice of Ildebrando D'Arcangelo - he was also marvellous as Leporello in Gardiner's Don Giovanni. David Daniels is fantastic, as usual, and he is possibly the best operatic countertenor in the world at the moment. Patrizia Ciofi is best heard and not seen - sweet voice coming from a madwoman (check out the DVD!). Vivica Genaux has been hyped to within a centimetre of her life recently. She has a nice flexible mezzo voice. A little too much vibrato for my tastes and she looks like a chipmunk when she attacks coloratura passages. Marijana Mijanovic sings well - she was excellent as the neurotic Penelope in the Christie / L.A.F. DVD of Monteverdi's Il Ritorno d'Ulisse in patria. She is alarmingly thin - possible health problems? She doesn't engage with the conductor or orchestra at all in the DVD - the only singer who doesn't. Elina Garanca looks beautiful (and healthy!) and sings beautifully. She has a lovely contralto voice. I hope I see and hear more from this artist in the future.
I am not a big fan of Vivaldi's operas - I enjoy them as collections of arias. I wonder how well Bajazet worked on stage?
I'd love to have a DVD of this production, I would like to see how a Vivaldi opera works on stage. Vivaldi's operas don't have imaginative scorings and the orchestral passages are fairly prosaic. A lot of what goes on in the Vivaldi operas I've heard (I have a few in my CD collection) is pretty routine. However, I am open minded on the subject and I would like to see how well a Vivaldi opera works on stage.
When a recitative is is sung the performers are placed across the audio stage,disposed left or right,as you will.When an aria is sung ,the soloist leaps to the very center of the sound stage, which is quite disconcerting,especially when listening through headphones.This points to the arias and recits being recorded in separate sessions.Nothing wrong with that given the ravishing perfomance.Well worth the purchase price.
My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.
In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.
Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).
Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.
Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.
Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.
Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.
Trio ROMANESCA "always produce revitalizing, edge-of-your-chair music". With the sounds of violin, harpischord, organ, theorbo, Baroque guitar ROMANESCA created live, luminious, emotional, relaxing sound world. It is a pleasure to return there.
There is St.Petersburg Baroque Trio by V.Shulyakovsky. I heard their CD "Italian Violin Music of the 17th Century" with the music by Uccellini and I was sure that they are the best performers of his music.
Now I`m not so sure...
So if you like light sentimental romantic Baroque music for relaxation - this CD by ROMANESCA is your choice!
And don`t pay much attention to guy above me who recommends you to buy CD by his favourite performer and avoid ROMANESCA.
His likes or dislikes - are his own problems. Make your own choice!!! We are simple listeners and when we are listening to CD - the music is interesting for us, not discussions of musicologists...
By the way, why not to buy both CDs and compare the quality of playing?
Manze is at it again as with every piece he performs for the Italian style that has absolutely no passion of any sort in his intepretations. They are lifeless robotic excercises and nothing more! Manze is principally an academic performer instead of a professional one and his performances sound like scale and technique lessons instead of the passionate interpretations they are supposed to be. I can't stand them as it really only appeals to violinists who need to practice the techniques that are painfully overemphasized ad nauseam in recordings such as this one! This sluggish screeching resulting from his over-methodical applications of technique sounds like a set of nails scratching the chalkboard every time. It's self-defeating really as such over-methodical performances make him sound like nothing more than an amateur compared to McGegan who essentially uses the same techniques and type of instrument but who evokes a jovialty and warmth from them that Menze struggles to reach at best. Manze's performaces are uniformly tedious beyond belief making me want to eject instantly every time I hear one! In terms of professional performance cirlces Manze is really but an amateur as these problems have surfaced before and not just with McGegan. Compare Manze/Romanesca and Goebels/Musica Antiqua Koln for Biber's 'Mystery Sonatas' where Manze's deficiencies are again shamefully exposed. Although both he and Goebels use traditional intruments and techniques as here with McGegan, Goebels' fluid and emotive interpretation again leaves Manze sounding stuck in the mud of his own confused renditions. There's so much emphasis on historical technique with Manze it's no longer a Baroque interpretation but a literally prehistoric one instead! To listeners who care about their ears, I tell you, avoid Manze like the plague whenever possible! Run! He knows great techniques but simply doesn't know how to properly apply them for public performance and that's a fact. In short, he simply stinks as a public performer and, despite all his technical knowledge, he is ironically one of the worst solo violinists you can get for virtually anything you might want to buy!
Uccellini is one of the more creative Italian composers from the Early Baroque and McGegan's performance is a much better example of his charm and Italian warmth than this musical mausoleum of an album. I have great respect for Manze as an innovative musicologist-violinist exploring these obscure Baroque works and the difficult techniques they demand but he is simply pathetic as a performer and that's the simple truth! He focuses so much on techniques that he limits his ability to express the lyricism they are intended to evoke in the first place. Avoid this album and get McGegan's performance as it's immesurably better than Manze's. Avoid Manze whenever possible as he's more an academic than a public performer and, unless you want excellent violin lessons for practice, he's not really worth a dime as a performer. I wish to add that that is only my opinion of Manze and not the other fine performers of Romanesca who are very talented and unfortunately somewhat reduced by their lead.
Bravo Mario!!!!!!
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
To possess such evenness in every part of one's range is nothing short of amazing. Bastianini's high notes are as rich as his lows and it is stunning to hear such brassiness in a baritone. A beautiful timbre is matched by peerless vocal skill; he is VERY well trained as a singer. Nothing is out of tune, a beat behind, or cut short for lack of air.
His opera buffo is superb; I wish there was a recording of "The Barber of Seville" with him in the title role. He truly has character when he sings comedic roles and his diction is impeccable; I don't think I've ever heard recitative done that quickly before. He is a little static and distant in "Eri tu" (I like it a little slower), but I think that, had he lived longer, he would have grown more into the role of Renato. Despite this, he is a true Verdi baritone singing with great civility and consistancy. Track 7 from "Don Carlo" shows this perfectly; easily some of the best lyrical phrasing on record.
Every song is done with perfect technique punctuated by great expression. He makes the change from technical singer to interpretive artist with considerable ease, especially in the last tracks which are live recordings of him in concert.
The orchestra and piano accompaniments are just that; accompaniments. And there is little effort made on the part of the conductors to intrude upon his singing. There is depth, but it quietly provides a very easy platform from which to simply listen to his voice and enjoy the sparkling clarity.
The recording quality is excellent mono that sounds like a very distant stereo instead of like someone singing into a box. There is very little static or hiss and the audience is barely audible at all.
Truly, an excellent (and rare) recording of a singer whose voice was a gift from God. It's a rather odd, but very special album that any opera buff should have.
The redoubtable Luisa Tetrazzini sings "Ah! Non giunge" from Bellini's "La Sonnambula." We experience a different coloratura technique from that of the past 50 years; in itself, this makes this version interesting. The singer takes this song at a nice pace. Tetrazzini shows nice agility; her higher notes are cleanly hit in the first "go through." In the repeat, there is greater ornamentation. She uses higher notes as opposed to more trills and other florid techniques characteristic of the more recent past. There are some nice high notes toward the finale. She displays an attractive voice and good technique, although the c lose is a bit wild and wooly.
John McCormack sings "Il mio Tesoro" from "Il Trovatore." He shows a rich voice, although a bit wooden to me. The song is competently sung, but not much characterization comes through (compare with Stracciari's manic "Largo al factotum").
Amelita Galli-Curci, the well regarded coloratura soprano sings "Son vergin vezzosa," a piece well rendered by the likes of Joan Sutherland and Beverly Sills and Sumi Jo. Again, different technique from what we are used to, but nicely sung. She demonstrates a smooth and agile voice. The ornamentation is well done (if not as we are accustomed to). She hits some high notes, although the last one seems a bit thin. All in all, a nice version.
And then there is Riccardo Stracciari, singing the wonderful "Largo al factotum" from "Il Barbiere de Siviglia." He sings with great enthusiasm and creates a character with just his voice (mirabile dictu!). He begins at a quick pace and goes from there. His voice is attractive, with a nice lower tone. He seems to enjoy singing this; he also shows nice breath control. After his repeating "Figaro" many times, he then accelerates the pace of the music, putting the music into high gear. He hits the notes well, remains musical, and generates great energy. A terrific version (he's in the same league with Tito Gobbi, whom I think did a stellar job on this work).
Others? Gigli, Caruso, Marian Anderson, Tito Schipa, Richard Tauber, Lawrence Tibbett, Rosa Ponselle, and so on. This would be a very nice addition to the musical library of anyone who is interested in the voices from an earlier era. Despite the more primitive technology, the voices ring out and leave one with a sense of what once was in the world of opera.
Japanese reissue of 1972 album, packaged in a limited edition miniature LP gatefold sleeve. Numerouno/BMG. 2003.
Per un Amico,PFM,Japanese Victor Co.,Int'l & World Music,Italy,Pop,Prog-Rock/Art Rock,Rock/Pop,World Music
![Vivaldi: Bajazet [Includes Bonus DVD]](http://ec1.images-amazon.com/images/I/31DKEE81SNL.jpg)
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Vivaldi: Bajazet [Includes Bonus DVD]
Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD  All Works by Vivaldi
| Vivaldi, Antonio
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ASIN: B00022LE38 Release Date: 2005-05-10 |
Tracks:
- Allegro
- Andante Molto
- Allegro
- Recitativo: Prence Lo So: Vi Devo
- Aria: Del Destin Non Dee Lagnarsi
- Recitativo: Non Si Perda Di Vista
- Aria: Nasce Rosa Lusinghiera
- Recitativo: Principe, Or Ora I Greci
- Aria: In Si Torbida Procella
- Recitativo: Il Tartaro Ama Asteria
- Aria: Quel Ciglio Vezzosetto
- Recitativo: Or Si, Fiero Destino
- Aria: Vedeste Mai Sul Prato
- Recitativo: Non Ascolto Piu Nulla
- Aria: Amare Un'alma Ingrata
- Recitativo: Cosi La Sposa Il Tamerlano Accoglie?
- Aria: Qual Querriero In Campo Aramato
- Recitativo: E Bella Irene
- Aria: Non Ho Nel Sen Constanza
- Recitativo: Amico, Tengo Un Testimon Fedele
- Recitativo: Sarete Or Ostinato
- Aria: Anche Il Mar par Che Sommerga
- Recitativo: Gloria, Sdegno Ed Amore
- Aria: Stringi Le Mie Catene
Tracks:
- Recitativo: Ah, Disperato Andronico!
- Aria: La Sorte Mia Spietata
- Recitativo: Signor, Vergine Illustre
- Aria: Cruda Sorte, Avverso Fato!
- Recitativo: Senti, Chiunque Tu Sia
- Aria: La Cervetta Timidetta
- Recitativo: Gran Cose Espone Asteria
- Aria: Sposa, Son Disprezzata
- Recitativo: Dov'e Mia Figlia, Andronico?
- Aria: Dov'e La Figla?
- Recitativo: Asteria, Siamo Al Soglio ...
- Quartetto: Si Crudel! Questo E L'amore
- Recitativo: Figlia, Siam Rei
- Aria: Veder Parmi, Or Che Nel Fondo
- Recitativo: Andronico, Il Mio Amore
- Aria: Barbaro Traditor
- Recitativo: Lascero Di Regnare
- Aria: Spesso Tra Vaghe Rose
- Recitativo: Eccoti, Bajazette
- Arioso: Verro Crudel, Spietato
- Recitativo: Signor, Fra Tante Cure
- Aria: Son Tortorella
- Recitativo: Signore, Bajazette
- Accompagnato: E Morto, Si, Tiranno
- Aria: Svena, Uccidi, Abbatti, Atterra
- Recitativo: Deh, Tu Cauto la Segui
- Coro: Coronata Di Gigli E Rose
Amazon.com
This stunner of an opera involves the proud sultan Bajazet (bass) and his battle with his bloodthirsty rival-tyrant Tamerlane (counter-tenor). More than 50 operas were composed on the subject. Here Vivaldi has composed all the recitatives and marvelous arias for the dignified, fine characters and used arias by other composers--Hasse, Giacomelli, Carlo Broschi--for Tamerlano and the nasties. The music is energetic and virtuosic throughout. Fabio Biondi leads Europa Galante and soloists with urgent, theatrical precision, making the story come to life. The singing could not be better: Ildebrando d'Arcangelo is a remarkably sympathetic Bajazet, singing with fluency and power; David Daniels amazes as Tamerlano; Marijana Mijanovic sings the role of Asteria (Bajazet's daughter) with love and precision; and Viveca Genaux dazzles with her perfect coloratura as Irene. This is a treasure trove of singing, and a bonus DVD allows us to see/hear the performers in rehearsal. Highly recommended. --Robert LevineCustomer Reviews:
Monumental Recording.......2007-03-14
brought us "The four Seasons"
Antonio Vivaldi, comes this
'dramma per musica' it tells
us the story of Bajazet, a Turkish
leader who ruled vast portions of
the Ottoaman empire, and his defeat
by his great foe, Tamerlano(Timur Lenk).
In the past composers like Handel and
others had taken an interest in the story.
This is the World Premiere recording of
the work. Much musicological research was done
by conductor and violinist Fabio Biondi and others
to put together this monumental recording.As personally
for me this is the first complete opera that
I hear by Vivaldi. This opera comes with a
DVD that features all six soloists in an aria.
Europa Galante and Maestro Biondi do a wonderful
job, and the soloists are great. Wonderful work,
thank you Maestro Biondi...
Simply fantastic.......2007-02-28
Marvellous fun and great singing.......2006-09-19
Europa Galante, directed from the 1st violin by Fabio Biondi, is in great form and I've never heard them play better. I have their older recording of Handel's opera Poro, and I enjoyed that one, too.
The singers here are an excellent ensemble. I like the dark and expressive voice of Ildebrando D'Arcangelo - he was also marvellous as Leporello in Gardiner's Don Giovanni. David Daniels is fantastic, as usual, and he is possibly the best operatic countertenor in the world at the moment. Patrizia Ciofi is best heard and not seen - sweet voice coming from a madwoman (check out the DVD!). Vivica Genaux has been hyped to within a centimetre of her life recently. She has a nice flexible mezzo voice. A little too much vibrato for my tastes and she looks like a chipmunk when she attacks coloratura passages. Marijana Mijanovic sings well - she was excellent as the neurotic Penelope in the Christie / L.A.F. DVD of Monteverdi's Il Ritorno d'Ulisse in patria. She is alarmingly thin - possible health problems? She doesn't engage with the conductor or orchestra at all in the DVD - the only singer who doesn't. Elina Garanca looks beautiful (and healthy!) and sings beautifully. She has a lovely contralto voice. I hope I see and hear more from this artist in the future.
I am not a big fan of Vivaldi's operas - I enjoy them as collections of arias. I wonder how well Bajazet worked on stage?
I'd love to have a DVD of this production, I would like to see how a Vivaldi opera works on stage. Vivaldi's operas don't have imaginative scorings and the orchestral passages are fairly prosaic. A lot of what goes on in the Vivaldi operas I've heard (I have a few in my CD collection) is pretty routine. However, I am open minded on the subject and I would like to see how well a Vivaldi opera works on stage.
Worth it!.......2006-05-23
Gorgeous,but one tiny qualm !.......2006-04-20
When a recitative is is sung the performers are placed across the audio stage,disposed left or right,as you will.When an aria is sung ,the soloist leaps to the very center of the sound stage, which is quite disconcerting,especially when listening through headphones.This points to the arias and recits being recorded in separate sessions.Nothing wrong with that given the ravishing perfomance.Well worth the purchase price.
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Per un Amico
PFM Manufacturer: Bmg Int'l ProductGroup: Music Binding: Audio CD General
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ASIN: B0000072VM Release Date: 1998-07-27 |
Tracks:
- Appena un Po'
- Generale - Premiata Forneria Marconi
- Per un Amico
- Il Banchetto
- Geranio
Album Details
Premiata Forneria Marconi were at the forefront of the Italian prog-rock scene during the 1970's; this is their 1972 imprint.Customer Reviews:
A classic prog album for the Italian ELP.......2006-10-05
PFM's Masterpiece.......2005-08-11
Not as good as Storia di un Minuto.......2003-08-07
I don't think this is as good as their first album, Storia di un Minuto. It is a little bit more bombastic and pretenious. Overblown excesses by groups like Yes and Emerson, Lake and Palmer are what killed off progressive rock. This ablum suffers a tiny bit from that on songs like Generale and Il Banchetto. Some of these songs can get tedious on repeated listenings. But, it is a minor complaint and this album comes close to 5 stars.
The lyrics to this album are in Italian. There is a reworked version of this album with English lyrics called Photos of Ghosts. Pete Sinfield (who wrote much of the early King Crimson lyrics) supplied the lyrics. No one in PFM had much English speaking ability and the English lyrics are sung phonetically. The lyrics are meaningless and take away from beauty of the album. It is better to get this Italian version. Photos Of Ghosts does have one extra track, Celebration, which is an English verion of E'Festa from the first album.
PFM was a completely different band in concert. Instead of playing mellow, progressive rock, they were a hard core, jamming band. Many of thier live albums are excellent. I would reccmmend the 4 CD set, Gil Anni Live 1970 to 1981. If you can't find that, get Live in USA (also called Cook).
melodies do not really stand out.......2003-02-14
Per un Amico.......2003-02-02
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Mozart: Così Fan Tutte
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
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ASIN: B000BL98ME Release Date: 2006-01-10 |
Tracks:
- Sinfonia/Overture - Philharmonia Orchestra & Chorus
- La Mia Dorabella Capace Non E - Rolando Panerai
- Cessate Di Scherzar - Rolando Panerai
- E La Fede Delle Femmine - Rolando Panerai
- Scioccherie Di Poeti! - Rolando Panerai
- Una Bella Serenata - Rolando Panerai
- Ah, Guarda, Sorella - Elisabeth Schwarzkopf
- Mi Par Che Stamattina - Elisabeth Schwarzkopf
- Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Sesto Bruscantini
- Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf
- Sento, Oddio, che Questo Piede - Various Artists
- O Cielo, Questo E Il Tamburo Funesto - Various Artists
- Bella Vita Militar! - Philharmonia Orchestra & Chorus
- Non V'e Piu Tempo - Various Artists
- Muoio D'affano!...Di Scrivermi Ogni Giorno - Various Artists
- Oh, Di, come Veloce Se Ne Va Quella Barca! - Elisabeth Schwarzkopf
- Soave Sia Il Vento - Elisabeth Schwarzkopf
- Quante Smorfie...Quante Buffonerie! - Sesto Bruscantini
- Che Vita Maledetta - Elisabeth Schwarzkopf
- Ah, Scostati!...Smanie Implacabili Che M'agitate - Nan Merriman
- Signora Dorabella, Signora Fiordiligi - Elisabeth Schwarzkopf
- In Uomini, In Soldati Sperare Fedelta? - Lisa Otto
- Despinetta!...Chi Batte? - Lisa Otto
- Alla Bella Despinetta - Various Artists
- Oh, Ciel! Mirate: Uomini In Cosa Nostra - Various Artists
- Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
- Ah, Non Partite! - Various Artists
- Non Siate Ritrosi - Rolando Panerai
- E Voi Ridete? - Rolando Panerai
- E Avete Ancora Coraggio Di Fiatar? - Rolando Panerai
- un'aura Amorosa Del Nostro Tesoro - Leopold Simoneau
- E Come Credi Che L'affar Finira? - Lisa Otto
Tracks:
- Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf
- Si Mora, Si, Si Mora - Various Artists
- Eccovi Il Medico - Various Artists
- Dove Son? Che Loco E Questo? - Various Artists
- Dammi Un Bacio, O Mio Tesoro - Various Artists
- Andate La, Che Siete Due Bizzarre Ragazze! - Elisabeth Schwarzkopf
- Una Donna A Quindici Anni - Lisa Otto
- Sorella, Cosa Dici? - Elisabeth Schwarzkopf
- Prendero Quel Brunettino - Elisabeth Schwarzkopf
- Secondate, Aurette Amiche - Rolando Panerai
- Cos'e Tal Mascherata? - Various Artists
- La Mano A Me Date - Various Artists
- Oh, che Bella Giornata! - Various Artists
- Il Core Vi Dono - Rolando Panerai
- Ei Parte...Senti...Ah No! - Elisabeth Schwarzkopf
- Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
- Amico, Abbiamo Vinto! - Leopold Simoneau
- Donne Mie, La Fate A Tanti A Tanti - Rolando Panerai
- In Qual Fiero Contrasto - Leopold Simoneau
- Tradito, Schernito - Leopold Simoneau
- Bravo, Questa E Costanza - Rolando Panerai
Tracks:
- Ora Vedo Che Siete Una Donna Di Garbo - Elisabeth Schwarzkopf
- E Amore Un Ladroncello - Nan Merriman
- Come Tutto Congiura - Elisabeth Schwarzkopf
- Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf
- Ah, Poveretto Me, Cosa Ho Veduto! - Rolando Panerai
- Tutti Accusan Le Donne - Rolando Panerai
- Vittoria Padroncini! - Various Artists
- Fate Presto, O Cari Amici - Lisa Otto
- Benedetti I Doppi Coniugi - Various Artists
- E Nel Tuo, Nel Mio Bicchiero - Various Artists
- Bella Vita Militar! - Various Artists
- Bella Vita Militar! - Various Artists
- Sani E Salvi Agli Amplessi Amorosi - Various Artists
- No, Signor, Non E Un Notaio - Various Artists
- Ah, Signor, Son Rea Di Morte - Various Artists
- A Voi S'inchina, Bella Damina - Various Artists
- Fortunato L'uom Che Prende - Various Artists
Customer Reviews:
Una de la mejores interpretaciones en CD del Cosi fan tutte.......2006-11-16
Overrated, but decent.......2006-03-29
My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.
In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.
Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).
Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.
Which classic Cosi to buy--Karajan or Bohm?.......2006-03-20
Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.
Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.
Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.
AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE.......2006-01-30
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.
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Uccellini - Sonatas / Romanesca - Manze · North · Toll
Marco Uccellini , Romanesca , Andrew Manze , Nigel North , and John Toll Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD Romanesca
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ASIN: B00000IXTQ Release Date: 1999-05-11 |
Tracks:
- Sonata over Toccata V, op. IV (Marco Uccellini)
- Sonata IX, Op. V
- Sonata II, Op. IV
- Sonata XII, Op. V
- Corrente IX, Op. IV
- Area III, Op. IV
- Sonata IV, Op. V
- Sonata III, Op. V
- Corrente IV, Op. IV
- Area IX, Op. IV
- Sonata I, Op. VII
- Aria II, Op. IV
- Corrente XX, Op. IV
- Sonata IX, Op. VII
- Sonata III, Op. VII
- Sonata I, Op. IX
Amazon.com
One thing is for certain, every recording by baroque ensemble Romanesca is a revelation. The trio--led by violinist Andrew Manze, keyboardist John Toll, and lute player Nigel North--breathe new life into 17th- and 18th-century chamber music like no other group playing today. This recording focuses on 17th-century Italian composer Marco Uccellini's numerous violin sonatas. Though his work is shrouded in mystery (manuscripts have been lost, directions are cloudy), Uccellini's legacy pours forth from what little has remained: he wrote some truly cutting-edge violin works filled with revolutionary changes of key and styles. Manze's playing shines on this disc; he executes Uccellini's odd phrases perfectly, without ever sounding too calculated. Opus IV, No. 2 shifts abruptly between slow solo passages and lively tapestries of trio playing. Opus IX, No. 1 is a virtual dialogue between instruments. Romanesca's take on Biber is a classic: spirited, well-played, and almost jazzy; this recording is less fun, but no less enlightening. Before Biber, Uccellini was at the vanguard of baroque composing. Thanks to Romanesca, it's easy to see why. --Jason VerlindeCustomer Reviews:
Sonata for Rhinoceros.......2006-03-10
Trio ROMANESCA "always produce revitalizing, edge-of-your-chair music". With the sounds of violin, harpischord, organ, theorbo, Baroque guitar ROMANESCA created live, luminious, emotional, relaxing sound world. It is a pleasure to return there.
There is St.Petersburg Baroque Trio by V.Shulyakovsky. I heard their CD "Italian Violin Music of the 17th Century" with the music by Uccellini and I was sure that they are the best performers of his music.
Now I`m not so sure...
So if you like light sentimental romantic Baroque music for relaxation - this CD by ROMANESCA is your choice!
And don`t pay much attention to guy above me who recommends you to buy CD by his favourite performer and avoid ROMANESCA.
His likes or dislikes - are his own problems. Make your own choice!!! We are simple listeners and when we are listening to CD - the music is interesting for us, not discussions of musicologists...
By the way, why not to buy both CDs and compare the quality of playing?
pretty good.......2006-03-04
Academic Performance.......2005-10-13
Manze is at it again as with every piece he performs for the Italian style that has absolutely no passion of any sort in his intepretations. They are lifeless robotic excercises and nothing more! Manze is principally an academic performer instead of a professional one and his performances sound like scale and technique lessons instead of the passionate interpretations they are supposed to be. I can't stand them as it really only appeals to violinists who need to practice the techniques that are painfully overemphasized ad nauseam in recordings such as this one! This sluggish screeching resulting from his over-methodical applications of technique sounds like a set of nails scratching the chalkboard every time. It's self-defeating really as such over-methodical performances make him sound like nothing more than an amateur compared to McGegan who essentially uses the same techniques and type of instrument but who evokes a jovialty and warmth from them that Menze struggles to reach at best. Manze's performaces are uniformly tedious beyond belief making me want to eject instantly every time I hear one! In terms of professional performance cirlces Manze is really but an amateur as these problems have surfaced before and not just with McGegan. Compare Manze/Romanesca and Goebels/Musica Antiqua Koln for Biber's 'Mystery Sonatas' where Manze's deficiencies are again shamefully exposed. Although both he and Goebels use traditional intruments and techniques as here with McGegan, Goebels' fluid and emotive interpretation again leaves Manze sounding stuck in the mud of his own confused renditions. There's so much emphasis on historical technique with Manze it's no longer a Baroque interpretation but a literally prehistoric one instead! To listeners who care about their ears, I tell you, avoid Manze like the plague whenever possible! Run! He knows great techniques but simply doesn't know how to properly apply them for public performance and that's a fact. In short, he simply stinks as a public performer and, despite all his technical knowledge, he is ironically one of the worst solo violinists you can get for virtually anything you might want to buy!
Uccellini is one of the more creative Italian composers from the Early Baroque and McGegan's performance is a much better example of his charm and Italian warmth than this musical mausoleum of an album. I have great respect for Manze as an innovative musicologist-violinist exploring these obscure Baroque works and the difficult techniques they demand but he is simply pathetic as a performer and that's the simple truth! He focuses so much on techniques that he limits his ability to express the lyricism they are intended to evoke in the first place. Avoid this album and get McGegan's performance as it's immesurably better than Manze's. Avoid Manze whenever possible as he's more an academic than a public performer and, unless you want excellent violin lessons for practice, he's not really worth a dime as a performer. I wish to add that that is only my opinion of Manze and not the other fine performers of Romanesca who are very talented and unfortunately somewhat reduced by their lead.
Renaissance Modernity.......2005-09-20
As I bumble, fumble, tumble, ramble.........2001-05-16
In this journey I came upon this astounding Harmonia Mundi release [can 'they' (Harmonia Mundi)] magnificently capture the feeling sometimes?
I implore one and all to buy this disc. This is entertainment at its very finest. No matter the 'age'.
Long before the conveniences of today, their was Baroque.
A wealthy patron demanded a poor scrub (musician), to complete a work of art to hasten the dreary doldrums of the then world: Background noise: White noise in todays parlance.
In todays mean-spirited and evil world this is the music of enlightenment.
How could this be music to watch the world go by?
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Mario del Monaco: Opera Arias
Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD All Works by Flotow
| Flotow, Friedrich von
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ASIN: B000003XIL Release Date: 1994-09-13 |
Tracks:
- Aida: Celeste Aida
- Otello: Esultate!
- Otello: Ora E per Sempre Addio
- Otello: Dio Mi Potevi Scagliar
- Otello: Niun Mi Tema
- La Boheme: Testa Adorata, Piu Non Tornerai
- I Pagliacci: Vesti La Giubba
- I Pagliacci: No, Pagliacci Non Son
- Manon Lescaut: Donna Non Vidi Mai
- Turandot: Nessun Dorma
- L'amico Fritz: O Amore, O Bella Luce Del Cor
- Cavalleria Rusticana: O Lola Ch'hai Di Latti La Cammisa
- Cavalleria Rusticana: Mamma, Quel Vino E Generoso
- Andrea Chenier: Un Di All'azzurro Spazio
- Andrea Chenier: Si, Fui Soldato
- Andrea Chenier: Come Un Bel Di Di Maggio
- Adriana Lecouvreur: La Dolcissima Effigie
- Adriana Lecouvreur: L'anima Ho Stanca
- L'africana: O Paradiso
- Marta: M'appari Tutt'amor
- Carmen: Il Fior Che Avevi A Me To Dato
- Werther: Ah! Non Mi Ridestar
- Lohengrin: Da Voi Lontan
Customer Reviews:
Showcase for a powerful voice.......2007-02-26
Bravo Mario!!!.......2002-06-18
Bravo Mario!!!!!!
A force of Nature!.......2001-01-31
Loathed by many for this high sound and accused for not being able to sing below forte, especially in the late stages of his carreer, no one can deny the fact that he has performed and recorded operas with some of the greatest singers of all times:Renata Tebaldi, M.Callas, J.Sutherland, M.Olivero, A.Cerquetti, G.Simionato, E.Bastianini, C.Siepi and many others. The list is long. Perhaps not the best tenor choice for all the roles he performed, Mario del Monaco was sublime when the role suited his voice. Such examples are Ottelo, Andrea Chenier, Canio (Pagliacci), Des Grieux (Manon Lescaut), Johnson (Fanciulla del West) and many of these performances are heard on this collection. He had a certain sound that made his voice very dramatic thus so good for these roles.
Concluding, those who like him will find this collection of exceptional value. Those who don't, just stay away since this Cd is full of Mario del Monaco.
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Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B00006IU7V Release Date: 2003-03-11 |
Album Details
These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (FiordiligCustomer Reviews:
Refreshing and Surprising!.......2006-11-24
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
Best ever!!.......2004-01-12
I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.
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Monteverdi: Madrigali
Manufacturer: EMI Classics Imports ProductGroup: Music Binding: Audio CD Ballets
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| Monteverdi, Claudio
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ASIN: B000093U3L Release Date: 2004-02-03 |
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Ettore Bastianini in Recital
Manufacturer: Myto Records Italy ProductGroup: Music Binding: Audio CD All Works by Leoncavallo
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ASIN: B000001MKV Release Date: 2000-09-09 |
Tracks:
- Il Barbiere Di Siviglia: Largo Al Factotum
- La Forza Del Destino: Urna Fatale
- Un Ballo In Maschera: Alzati/La Tuo Figlio
- Un Ballo In Maschera: Eri Tu Che Macchiavi
- Otello: Vanne/La Tua Meta Gia Vedo
- Otello: Credo In Un Dio Crudel
- Don Carlo: O Carlo, Ascolta
- Rigoletto: Cortigiani, Vil Razza Dannata
- Andrea Chenier: Questo Azzurro Sofa
- Andrea Chenier: Son Sessant' Anni/O Vecchio
- Il Tabarro: Nulla!...Silenzio!...
- Il Tabarro: T'ho Colto!
- I Pagliacci: Prologo
- Cavalleria Rusticana: Il Cavallo Scalpita
- Cavalleria Rusticana: Oh! Il Signore Vi Manda
- L' Amico Fritz: Per Voi/Ghiottoni Inutili
- Lodoletta: Tel Dissi/Lodoletta
- Le Maschere: Quella E Una Strada
- Il Sogno
- Non Posso Chiedervi
- Eterna Memoria
- Ovunque Tu
Customer Reviews:
Wow! Bastianini can really sing!.......2007-03-19
a voice of gold.......2003-02-23
To possess such evenness in every part of one's range is nothing short of amazing. Bastianini's high notes are as rich as his lows and it is stunning to hear such brassiness in a baritone. A beautiful timbre is matched by peerless vocal skill; he is VERY well trained as a singer. Nothing is out of tune, a beat behind, or cut short for lack of air.
His opera buffo is superb; I wish there was a recording of "The Barber of Seville" with him in the title role. He truly has character when he sings comedic roles and his diction is impeccable; I don't think I've ever heard recitative done that quickly before. He is a little static and distant in "Eri tu" (I like it a little slower), but I think that, had he lived longer, he would have grown more into the role of Renato. Despite this, he is a true Verdi baritone singing with great civility and consistancy. Track 7 from "Don Carlo" shows this perfectly; easily some of the best lyrical phrasing on record.
Every song is done with perfect technique punctuated by great expression. He makes the change from technical singer to interpretive artist with considerable ease, especially in the last tracks which are live recordings of him in concert.
The orchestra and piano accompaniments are just that; accompaniments. And there is little effort made on the part of the conductors to intrude upon his singing. There is depth, but it quietly provides a very easy platform from which to simply listen to his voice and enjoy the sparkling clarity.
The recording quality is excellent mono that sounds like a very distant stereo instead of like someone singing into a box. There is very little static or hiss and the audience is barely audible at all.
Truly, an excellent (and rare) recording of a singer whose voice was a gift from God. It's a rather odd, but very special album that any opera buff should have.
The gift from the Heaven.......2000-06-06
supreme beauty.......2000-06-04
Non ti scordar!.......2000-04-14
Bastianini started out as a bass before developing the powerful upper register to match his rich secure low notes. His baritone is, therefore, the darkest you would ever hear, with a possible exception of Renato Bruson. Yet high tessitura of Verdian arias presented no difficulty for him. On this disk the arias from Un Ballo, Otello, Rigoletto, and Don Carlo are presented in a sequence, all of the highest difficulty and all flawlessly executed. Bastianini must have been perfect on stage as well with sound so immense it overwhelms the recording system several times. His talents also shine in rarely performed arias from operas "Lodoletta", "Il Tabarro", and "L'Amico Fritz". There are four beautiful art songs at the end of the disk. While Bastianini was mostly famous for the sheer beauty of his voice, I found his characterizations to be wonderful as well. Just take Figaro's flamboyant swaggering introduction versus Iago's dark brooding credo. It really sounds like two different people singing. Without ever breaking the line or sacrificing the quality for the dramatic effect, he was able to convey the very nature of the character.
Needless to say, I would like to see more recordings become available of this magnificent baritone. Since he's featured on quite a few Decca releases of complete operas, perhaps the company would treat us with a compilation album? That would be most appreciated by everyone who wants to see the opera legends not perish from audience's memory. In a meanwhile, get this disk that has over 70 minutes of pure joy recorded on a surprisingly good level.
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Great Singers, 1909-1938
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ASIN: B0000037J2 Release Date: 1992-12-02 |
Tracks:
- La Somnambula: Ah! Non Giunge - Luisa Tetrazzini
- Pagliacci: No! Pagliaccio Non Son - Enrico Caruso
- Lucrezia Borgia: Brindisi - Ernestine Schumann-Heink
- Don Giovanni: Il Mio Tesoro - John McCormack
- I Puritani: Son Vergin Vezzosa - Amelita Galli-Curci
- Il Barbiere Di Siviglia: Largo Al Factotum - Riccardo Stracciari
- Norma: Casta Diva - Rosa Ponselle
- I Puritani: A Te O Cara - Giacomo Lauri-Volpi
- Turandot: In Questa Reggia - EVA TURNER
- Un Ballo In Maschera: Eri Tu - Lawrence Tibbett
- Carmen: Habanera - Conchita Supervia
- La Boheme: Che Gelida Manina - Beniamino Gigli
- Samson Et Delilah: Softly Awakes My Heart - Marian Anderson
- L'Amico Fritz: Suzel, Buon Di - Tito Schipa/Mafalda Favero
- Refice: Ombra Di Nube - Claudia Muzio
- Die Zauberflote: Dies Bildnis Ist Bezaubernd Schon - Richard Tauber
Customer Reviews:
An historical treat.......2007-04-19
The redoubtable Luisa Tetrazzini sings "Ah! Non giunge" from Bellini's "La Sonnambula." We experience a different coloratura technique from that of the past 50 years; in itself, this makes this version interesting. The singer takes this song at a nice pace. Tetrazzini shows nice agility; her higher notes are cleanly hit in the first "go through." In the repeat, there is greater ornamentation. She uses higher notes as opposed to more trills and other florid techniques characteristic of the more recent past. There are some nice high notes toward the finale. She displays an attractive voice and good technique, although the c lose is a bit wild and wooly.
John McCormack sings "Il mio Tesoro" from "Il Trovatore." He shows a rich voice, although a bit wooden to me. The song is competently sung, but not much characterization comes through (compare with Stracciari's manic "Largo al factotum").
Amelita Galli-Curci, the well regarded coloratura soprano sings "Son vergin vezzosa," a piece well rendered by the likes of Joan Sutherland and Beverly Sills and Sumi Jo. Again, different technique from what we are used to, but nicely sung. She demonstrates a smooth and agile voice. The ornamentation is well done (if not as we are accustomed to). She hits some high notes, although the last one seems a bit thin. All in all, a nice version.
And then there is Riccardo Stracciari, singing the wonderful "Largo al factotum" from "Il Barbiere de Siviglia." He sings with great enthusiasm and creates a character with just his voice (mirabile dictu!). He begins at a quick pace and goes from there. His voice is attractive, with a nice lower tone. He seems to enjoy singing this; he also shows nice breath control. After his repeating "Figaro" many times, he then accelerates the pace of the music, putting the music into high gear. He hits the notes well, remains musical, and generates great energy. A terrific version (he's in the same league with Tito Gobbi, whom I think did a stellar job on this work).
Others? Gigli, Caruso, Marian Anderson, Tito Schipa, Richard Tauber, Lawrence Tibbett, Rosa Ponselle, and so on. This would be a very nice addition to the musical library of anyone who is interested in the voices from an earlier era. Despite the more primitive technology, the voices ring out and leave one with a sense of what once was in the world of opera.
An important part of any collection.......2002-01-18
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The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)
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ASIN: B00005O841 Release Date: 2001-11-13 |
Album Description
Disc 1: Donizetti Arias from L'elisir d'amore, Maria Stuarda, Lucia di Lammermoor, La Fille du Regiment, Linda di Chamounix, La Favorita, and Don PaqualeDisc 2: Bellini/Donizetti/Verdi Includes arias from I Capuleti e i Montecchi, Norma, La Sonnambula (1976 Duet Recording), I Beatrice di Tenda, I Puritani, Don Sebastien, Il Duca d'Alba, I Lombardi, I due Foscari, Ernani, and Attila
Disc 3: Verdi 1 Includes arias from Macbeth, Luisa Miller, Rigoletto, Il Trovatore, La Traviata, and Les Vepres Siciliennes
Disc 4: Verdi 2 Includes arias from Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello, and Requiem
Disc 5: Puccini Includes arias from La Boheme, Madama Butterfly, and Turandot
Disc 6: Puccini and Verismo Includes arias from Cavalleria Rusticana, Manon Lescaut, Pagliacci, Andrea Chenier, and Tosca
Disc 7: Arias 1 Includes arias from La Griselda, Atalanta, Orfeo ed Euridice, Don Giovanni, Cosi fan Tutte, Guillaume Tell, and more. Includes Unreleased Material.
Disc 8: Arias 2 Includes arias from Martha, Mefistofele, La Giocanda, Adriana Lecouvreur, Rosenkavalier, Fedora, Werther, Faust, Carmen, and more
Disc 9: Italian Songs Includes: In questa tomba oscura, Me voglio fa'na casa, Non t'amo piu, Pace non trovo, and more
Disc 10: Neapolitan and Italian Popular Songs Includes: O sloe mio, Torna a Surriento, Core 'ngrato, Funiculi Funicula, Non ti scordar di me, Mamma and more
Bonus CD: The 1964 EP (previously unreleased) "Che Gelida Manina," "E lucevan le stelle," "Questo o quella," "La Donna e mobile," and "Parmi veder" with Orchestra of the Royal Opera House, Covent Garden, Edward Downes conducting
Customer Reviews:
Beyond all description..........2006-09-19
An Absolute Must-Have for Any Pavarotti Fan.......2004-01-09
Wonderful!!!!.......2002-11-07
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