Corinna Corinna [Import]

1. Corinna Corinna
2. Komm Zuruck Schone Nina
3. Sophia
4. Jeder Tag Ist SchÖN (Ricky Boys)
5. Dreizehn Girls
6. Ich Geh Allein
7. Das Bis Du
8. Ein Kleid Aus Seid (Ricky
9. Lass Den Lippenstift Zu Haus (Ricky Boys)
10. Dir Hat Der Mond Den Kopf Verdreht
11. Carolin Carolina
12. Weine Nie
13. Und Dein Zug FÄHrt In Die Nacht
14. Kleine Nervensage Monika
15. Vor Deinem Fenster
16. Nummer Eins In Meinem Herzen
17. Go On Billy (Ricky Boys)
18. Sweet Rosalie (Ricky Boys)
19. Viel Zu Schon
20. Weil Ich Dich Liebe
See all 30 tracks on this disc

Customer Reviews:

A fizzy Rigoletto with stellar casting from the old Met.......2006-10-29

This classic Rigoletto dates from RCA's golden era at the old Met, and it has come up sounding gorgeous--far better than its age--in this bargain remastering. Every aspect is strong vocally. Alfredo Kraus can't stand up to Bjorling''s mesmerizing tenor, but he sings more precisely and with greater refinement--this is one Duke who doesn't bawl out a single phrase. His only flaw is a streak of mildness that makes lechery and treachery fairly unbelievable. Merrill possessed the best dark bass-baritone of his generation (and to think the Met also had Leonard Warren until his untimely death), and Anna Moffo is far more warm and feminine than the usual canary bird Gilda.

Aside from the impeccable soloists, there's Solti's fizzy conducting, which renders excitement without driving too hard (a reputation he deserves far more in the Aida to come). He makes the then lackluster Met orchestra sound world-class, and the Met chorus is just as good. In all, there have only been a handful of Rigolettos to match this one, and probably none in the nearly five decades since it appeared on LP.

2 Words......Robert Merrill.......2006-10-13

Robert Merrill was the GREATEST baritone that ever lived. His sound was PURE GOLD! Best Rigoletto of all time.

The perfect Rigoletto........2006-03-23

There are so many recordings of this PERFECT opera. There's the Gobbi/Callas/Di Stefano, the Milnes/Sutherland/Pavarotti, the Cappuccilli/Cotrubas/Domingo, the Merrill/Peters/Bjorling, there are so many, but almost all of them have a weak link. The Gobbi/Callas/Di Stefano has a miscast Callas as Gilda and all three struggle with their roles vocally. The Milnes/Sutherland/Pavarotti has the old sounding Sutherland who completely ruins the set for me. The Merrill/Peters/Bjorling has Peters being overdramatic and ridiculous. The Cappuccilli/Cotrubas/Domingo comes close, but lacks vocal flair and energy.

This set, in my VERY humble opinion, is the best. Not only do you get Merrill, who is fabulous on pretty much anything he does, but you get Anna Moffo and Alfredo Kraus, along with a solid supporting cast and wonderful, dramatic conducting by Solti.

Many people I know have issues with Anna Moffo, who recently died. Now that she's gone and I'm done mourning, and trust me, I did, I have been making a point to toot her horn to everyone I know. Yes, she had her vocal problems towards the end of her career, but there ARE legitimate reasons for that. Anna Moffo is STUPENDOUS on this recording and brings a legitimate sensitivity and dramatic art to this character. Not only that, but she sings it BEAUTIFULLY and is consistent throughout.

Alfredo Kraus is PERFECT. He's romantic, charming, and has KILLER high notes. Robert Merrill is perfect in this role, maybe not as fresh sounding as he was on the earlier recording with Roberta Peters and Jussi Bjorling, and of course, more mannerisms, but who cares. He's one of the greatest Verdi Baritones of the century.

This Rigoletto is so well cast that it'd be a mistake to go for any of the other sets. Also, this set is SO cheap and is great for first timers to the opera and those who want to try out another recording. This was my first and favorite. I did listen to MANY others just to make sure I wasn't missing out on anything...and I wasn't.

my favorite all-round Rigoletto .......2006-01-02

This version of Rigoletto is by far my favorite - it combines
plenty of vocal beauty, characterful singing and dramatic
tension. Robert Merrill has the perfect voice for the title-
role - dark, powerful, biting - and conveys the old jester's
bitterness and heartbreak superbly. Anna Moffo is a lovely and
touching Gilda - she brings considerable warmth and tenderness
to the role and sings an exquisite "Caro nome". Alfredo Kraus
is an electrifying Duca - charming and manipulative all at on-
ce - he is here caught in his youthful prime and sings with
splendid aplomb. Rosalind Elias and Ezio Flagello offer strong
support. Georg Solti is perhaps a bit hard-driven but the end
result is undeniably exciting. A very welcome reissue of a
great opera sung by great singers.

Perhaps the most balanced Rigoletto.......2005-12-15

There are many good recordings of Verdi's Masterpiece and the remastered RCA classic is certainly one of them (I liked the previous cover more though). The DG D. Fisher-Diskau/Bergonzi/Scotto also stands out mainly because of its Duke who shines. To me, Bergonzi with his perfect phrasing is the ideal Duke. However, we must keep in mind that the opera is called Rigoletto and not "the Duke". This Solti set sounds ideally balanced.

Robert Merrill as povero Rigoletto captures both drama and music of the role. He has a powerful, rich voice ideal for such Verdi roles. Although I mentioned my preference to Bergonzi, Alfredo Kraus is not less memorable. I especially admire his "posente amor", truly remarkable. As Gilda we hear a young, fresh Anna Moffo in one of her best moments. Exquisite singing and a convincing portrait of the young girl make her one of my first choices for Gilda. Let me not forget the rest of the cast, Elias and Flagello do a fine job too.

Superb Maestro Solti completes this thrilling account of Rigoletto. Perhaps too poweful at times but still sensitive enough to honour Verdi.

A must even if you have other versions.

Mascagni - Cavalleria rusticana / de Los Angeles · Corelli · Santini ~ Leoncavallo - Pagliacci / Corelli · Gobbi · Amara · von Matacic

Average customer rating:

A Recommended Corelli Memento
Best Stereo Cav/Pag
Text Book Bel Canto Technique. . .
Overlooked jewel!
Bravissimo!

Mascagni - Cavalleria rusticana / de Los Angeles · Corelli · Santini ~ Leoncavallo - Pagliacci / Corelli · Gobbi · Amara · von Matacic
Angelo Mercuriali , Franco Piva , Mario Spina , Mario Zanasi , Rome Opera Orchestra , and La Scala Theater Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
The Very Best of Franco Corelli
Verdi: Il Trovatore
Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin
Mascagni: Cavalleria Rusticana

ASIN: B000002S2H
Release Date: 2002-11-05

Tracks:

Preludio
O Lola ch'hai di latti la cammisa
Preludio
Gli aranci olezzano
Dite, Mamma Lucia
Il cavallo scalpita
Beato voi, compar Alfio
Regina Coeli
Inneggiamo, il Signor non orto
Voi lo sapete, o mamma
Tu qui, Santuzza?
Fior di giaggiolo
Ah! Lovedi, che hai tu detto?
No, no, Turiddu
Oh! Il Signore vi manda
Intermezzo
A casa, a casa
Viva il vino spumeggiante
A voi tutti, salute!
Mamma, quel vino eneroso

Tracks:

Pagliacci: Prologo: Si puSi pu
Pagliacci: 1.1-Eh!... Son qua! Son qua!
Pagliacci: 1.1-Un gran spetacollo a ventitrre
Pagliacci: 1.1-Un tal gioco, credetemi...
Pagliacci: 1.1-Don, din, don, din...
Pagliacci: 1.2-Qual fiamma avea nel guardo!... Hui! Stridono lass
Pagliacci: 1.2-Sei lCredea che te ne fossi andato
Pagliacci: 1.2-So ben che difforme contorte son io
Pagliacci: 1.2-Nedda!... Silvio! A quest'ora che imprudenza
Pagliacci: 1.2-E fra quest'ansie in eterno vivrai!
Pagliacci: 1.2-Non mi tentar!
Pagliacci: 1.2-E allor perchdi', tu m'hai stregato
Pagliacci: 1.2-Cammina adagio e li sorprendai!
Pagliacci: 1.2-Recitar!... Mentre preso dal delirio
Pagliacci: 1.2-Vesti la giubba
Pagliacci: 1.2-Intermezzo
Pagliacci: 2-OhOhPresto! Presto!
Pagliacci: 2.La Commedia-Pagliaccio, mio marito
Pagliacci: 2.La Commedia-Oh! Colombina, il tenero...
Pagliacci: 2.La Commedia-Di fare il segno convenuto
Pagliacci: 2.La Commedia-Arlecchin!... Colombina!
Pagliacci: 2.La Commedia-Coraggio! Un uomo era con te
Pagliacci: 2.La Commedia-No, Pagliaccio non son
Pagliacci: 2.La Commedia-Suvvia, coserribile

Customer Reviews:

A Recommended Corelli Memento.......2007-03-26

This is Corelli at his best, with all of those spine-tingling "high" notes. There is a version of Cavalleria/Pagliacci(on 2 separate CDs)by Jussi Bjorling, my other favorite tenor, which serves as an interesting contrast to the Corelli version. I found the Corelli take to be the superior of the two, in this case, although there is little to fault in the Bjorling offerings.

Best Stereo Cav/Pag.......2006-11-01

If you need to show somebody WHY Franco Corelli was the most exciting tenor of the last half of the 20th century, just plop this CD in your player. Corelli is electrifying in both these operas and has a fine supporting cast (well except for the Nedda, but Pagliacci thankfully is an opera that won't be ruined if you have a so-so one). Gobbi is his typical creepy self and Sereni is manly. The conducting keeps things going at a great pace. The Cav is even better. De Los Angeles is a surprisingly good Santuzza.

Text Book Bel Canto Technique. . ........2005-12-22

Corelli is a God: never has anyone had a command of Bel Canto
technique like him. Some complain that he is loud and vulgar. Well,
that is a complaint that has been made about Verdi, Italian Opera, and
Italian culture in general. I am in complete envy of anyone who might have heard him in the theater. Can you imagine what kind
of frisson this "loud and vulgar" voice could have created? Not to
mention his stunning sex appeal. THE tenor of this century, but
divine in a different way from Callas. His SINGING is the key to
his glory: completely free, squillo beyond human understanding, and
because of his completely free upper mechanism, his breath control
was simply stunning.

These recordings are must have-s: De los Angeles is a young, vulnerable Santuzza (unlike the dangerous reading that Callas gives it). Instead of perpetrating the death of Turridu, the Santuzza of de los Angeles seems to have stumbled innocently into the situation. Her disclosing of the affair of Turridu and Lola to Alfio is the hurt confession of a young girl, as opposed to the crafty reading that Callas
gives the scene. The conducting of Sabatini is urgent and propels the
drama forward. Cavalleria is a strange piece architecturally: it sometimes gives the impression of being an oratorio with its extended
orchestral passages and choruses. Of course, Corelli in the final
scene leave no piece of scenery un-chewed, but his noble tone makes
him a sympathetic Turridu. Unlike the Turridi-s of De Stefano and Pavarotti, Corelli turns Turridu into a confused adolescent, rather than a mature man making selfish choices.

As for Pagliacci: the Canio of Gobbi is searing in its intensity, and
the Nedda of Amara (again, compared to Callas, ALWAYS one
must compare to Callas) is youthful and rather un-complex, though
beautifully sung and completely convincing. Of course, Corelli is
THE Canio, brooding, sullen, frightening. He does not come across
as middle aged (Vickers), but a virile man in his prime, "fatto cornuto"
by his wife.

As recordings come and go in and out of print, snatch this up NOW.
I have 4 recordings of Cav/Pag: my understanding of these pieces would not really be complete without this one.

Overlooked jewel!.......2004-05-26

This double-recording of two very famous verismo-operas is absolutely stunning. For one it has the most beautiful, touching Santuzza in the velvety Victoria de los Angeles and the most erotic Turridu in the hot-blooded Franco Corelli. Victoria's Santuzza never screeches or sounds vulgar but is a wounded, loving soul crying for help. The incredible beauty of her "Voi lo sapete o mamma" is proof for how sublime "verismo" (This so often abused word) can be. Verismo is a type of opera, a unique style of singing, not tricks, gimmicks or mannerisms.
The Pagliacci with the fierce Amara and the unequalled Gobbi presents us one of the most intense Canios on disc. In short: Buy this and be floored by this beauty and drama!

Bravissimo!.......2002-11-27

Rudolf Bing once said that Franco Corelli, with his handsome look and grandiose voice, in his time was opera incarnated. Yes, after listening to this electrified version of Pagliacci, it would be hard to disagree. When you listen to it you actually can see the drama goes on. In the highlights Maestro von Matacic push the orchestra to the edge and Corelli gives his all. It's unbelievable.
It will be hard to find any other versions with more theatrical intensity. This is a firstchoice among all versions of Pagliacci.

Customer Reviews:

A Wonderful Recital with Caballe at her Best.......2006-12-10

At the wake of Maria Callas' explorations into the bel canto repertoire, great sopranos such as Joan Sutherland, Leyla Gencer, and most importantly, Montserrat Caballe, dominated the Italian repertoire during their careers to revive the forgotten operas of Donizetti, Bellini, Verdi, and Rossini. I say that Caballe is the most important of these three post-Callas sopranos because more so than any of these divas, she epitomized the true bel canto style needed to make her characterizations come to life. Sutherland had an excellent technique, but her characterizations were sadly lacking in verve, and Leyla Gencer was too often in an undesirable state of voice despite her thespian histrionics. Montserrat had both, and she championed the great operas of Verdi, Puccini, Donizetti, Bellini, Rossini, Massenet, Wagner, Strauss, Mozart, Giordano, Pergolesi, and all the other great, almost-unknown composers who became part of her core repertoire, if there was any at all. Her excellent technique allowed her to continue assuming roles that displayed her magnificent artistry well into her 70's...up to today! Yes, she is still singing, and in fact she is going to be starring in a role in the Vienna Opera next year.

This recital shows Caballe in the repertoire that was arguably her best. Although I found her compelling in some Verdi, I thought that she lacked the spinto sound needed to set those Verdi roles on fire. In this recital, Caballe shows her knack and ability to make the earlier Verdi operas shine. She had a coloratura facility that was simply astounding for an instrument of her particular smoothness, beauty, and timbre, and I believe that her excerpt from Aroldo is a must hear. Her Donizetti is brilliant as well, a highlight being the Parisina and the Belisario excerpts. It makes us wish that there were a Belisario lying around somewhere with her singing. Her Rossini makes us hope for an Armida and a Tancredi. This recording finds her in superb voice, much more so than many of the recordings of her latter years that find her singing with a trademark Caballe bleat. For people who love bel canto and tasteful singing, I think this is a recital that anyone should own.

no news.......2006-02-21

If you have the earlier release of this set (1992 I think), there's really no need to replace it. This current (2004) release was supposedly remastered, but I can hear little if any difference. Amazon shows both versions, but I'd bet the earlier one may well be out of print. You get all the Caballe trademarks here: floated pianissimos, gorgeous mid-range singing - and the usual glottal stops. Even if you're not a big MC fan, the set is worth getting for all those arias you're not likely to hear elsewhere, or done as well.

Montserrat Caballe's Claim To Fame.......2005-11-09

Bel canto opera was soprano Montserrat Caballe's claim to fame. Blessed with both a huge and lyrically resplendent voice, she was a refreshing change from the purely dramatic style of singing provided by Maria Callas. Her pianissimi are still talked about even long after they disappeared, her coloratura is dynamic, her stamina and breath control impressive and her orutund, vigorous but beautiful tone made her particularly suited for the roles of queens or strong women- Donizetti's Lucrezia Borgia and Bellini's Norma especially. The other reviewer says she was perfect for the roles of mothers, queens and wives, and this is true because she was able to portray seemingly powerful women dying of love underneath. She would have made an exceptionally terrific Turandot but she never sang the role in her career.Her career in opera spanned the decades of the 60's, 70's and even part of the 80's. The arias from Parisina and Torquato Tasso are indeed outstanding. These operas are obscure bel canto operas by Donizetti, Rossini and even early Verdi operas. These operas will never be staged again and some of them enjoyed only mild success in their original stage premieres in the 19th century. This is the work of young and energetic composers who had not yet mastered character insight and thrilling dramatic elements. Mostly, it's beautiful singing, the actual definiton of the term bel canto. What we get in place of dramatic potency is ornate, lush singing. In the very least, these arias should be sung in recital. Caballe sang numerous bel canto pieces in recital, displaying her gift for this type of singing. She is the very embodiment of bel canto. Not even Joan Sutherland and Beverly Sills, considered her fellow peers in the same "back to bel canto" movement could essay the arias with such grace, elegance and majestic beauty. Sutherland sang with obvious gloss and no real dramatic power, Sills sang beautifully but focused on the significance of text as drama and therefore "spoke" some of her lines or cried or raged instead of singing. Callas was the same way only hers was a bigger voice. Caballe gave us simply beautiful singing. And we thank her for that.

Welcome to the Caballe school of singing!.......2004-12-18

This re-released recitals indisputably rank among Caballe's best recording material. Each "rarity" has something different to offer. In Rossini, Caballe mostly displays her coloratura ability which was not in the same league as Sills', Callas' or Sutherland's but had a magic of its own. One never expects such agilty from such a firm and full voice. The Tancredi scene is my favourite.

In Donizetti, Caballe truly reigns! If only she'd recorded these operas completely. I've always found her sound perfectly suited to roles of wifes, mothers and aristocratic ladies in general. The operas chosen here deal with marrital problems and Caballe is the definition of the Donizzeti roles she sings here! My favs are the Parisina and Torquato Tasso moments. Comparing her and the lighter sopranos who nowadays perform these operas makes one realise that high notes are not the issue here. The full, sumptuous sound of a Monsterrat is what these operas need!

Early Verdi has a lot in common with bel canto and Caballe is again sublime! The Un Giorno extract stands out. It's breathtakingly perfect! Caballe finds meaning in every phrase she sings. But all other tracks are unforgettable as well. Needless to say that the voice at this moment of her carreer was at its best!

These recitals will always have a special place in my opera collection and my heart!

Average customer rating:

Live 1965-1969

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005YE4R
Release Date: 1997-01-01

Tracks:

'Rigoletto': Della mia bella incognito borghese
'La Boheme': E' il sol dell' anima
'La Boheme': Ella mi fu rapita
'La Boheme': La donna e mobile
'Rigoletto': Un di, se ben rammentoro
'Rigoletto': Libiamo ne' lieti calici
'Rigoletto': Oh qual pallor!
'Rigoletto': Un di felice
'Rigoletto': Lunge da lei
'Rigoletto': Signora!
'Rigoletto': Non sono in vena
'Rigoletto': Che gelida manina
'Rigoletto': O soave fanciulla
'Rigoletto': In un coupe?
'Rigoletto': Sono andati?

Average customer rating:

Easily One Of The Best

Giuseppe Verdi: La Forza del Destino

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Verdi: Ernani (Complete) [Germany]
RCA Opera Treasury - Verdi: Aida / Leinsdorf, Price, Domingo, Milnes, Bumbry, et al
Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini
Giuseppe Verdi: Macbeth
Verdi: Un Ballo in Maschera

ASIN: B000026M4X
Release Date: 1988-08-15

Tracks:

Overture
Act 1, Scene 1. Buona Notte, Mia Figlia (Marchese)
Act 1, Scene 2. Temea Restasse
Act 1, Scene 2. Me Pellegrina Ed Orfana (Leonora)
Act 1, Scene 3. Ah! Per Sempre
Act 1, Scene 3. Seguirti Fino Agl'ultimi
Act 1, Scene 3. Tardi
Act 1, Scene 4. Vil Seduttor!
Act 2, Scene 1. Hol(Ballabile)
Act 2, Scene 1. La Cena Pronto
Act 2, Scene 2. Viva La Guerra!
Act 2, Scene 2. Al Suon Del Tamburo (Preziosilla)
Act 2, Scene 3. Padre Eterno Signor
Act 2, Scene 3. Viva La Buona Compagna
Act 2, Scene 4. Poich'imberbe L'igcognito
Act 2, Scene 4. Son Pereda, Son Ricco D'onore
Act 2, Scene 4. Sta Bene (Finale)
Act 2, Scene 5. Son Giunta! Grazie O Dio (Leonora)
Act 2, Scene 5. Madre, Madre, Pietosa Vergine (Leonora)
Act 2, Scene 6. Chi Siete? (Melitone)
Act 2, Scene 8. Chi Mi Cerca?
Act 2, Scene 9. Or Siam Soli...
Act 2, Scene 9. Infelice, Delusa, Reietta
Act 2, Scene 9. Sull'alba Il Piede
Act 2, Scene 10. Il Santo Nome Di Dio Signore (Guardino)
Act 2, Scene 10. La Vergine Degli Angeli
Act 3, Scene 1. Attenti Al Gioco (Chorus)
Act 3, Scene 1. La Vita Inferno
Act 3, Scene 1. Oh, Tu Che In Seno Agl'angeli (Alvaro)
Act 3, Scene 1. Al Tradimento (Carlo)
Act 3, Scene 2. Amici In Vita E In Morte (Alvaro, Carlo)
Act 3, Scene 2. All'armi! (Chorus)
Act 3, Scene 3. Arde La Mischia! (Battle Scene)
Act 3, Scene 4. Piano, Qui Posi
Act 3, Scene 4. Solenne In Quest'ora
Act 3, Scene 5. Morir! Tremenda Cosa! (Carlo)
Act 3, Scene 5. Urna Fatale Del Mio Destino (Carlo)
Act 3, Scene 5. Ah! Egli Salvo
Act 3, Scene 6. Compagni, Sostiamo
Act 3, Scene 7. NGustare M'Dato
Act 3, Scene 7. Sleale! Il Segreto
Act 3, Scene 7. LorchPifferi E Tamburri (Preziosilla, Chorus)
Act 3, Scene 7. Qua, Vivandiere, Un Sorso
Act 3, Scene 11. A Buon Mercato
Act 3, Scene 12. Pane, Pan Per Carit
Act 3, Scene 12. Che Vergogna!
Act 3, Scene 12. Nella Guerra, La Follia
Act 3, Scene 14. Toh, Toh! Poffare Il Mondo
Act 3, Scene 14. Lasciatelo Ch'ei Vada
Act 3, Scene 14. Rataplan
Act 4, Scene 1. Fate La Carit(Chorus)
Act 4, Scene 2. Che? Siete All'osteria Quieti? (Melitone)
Act 4, Scene 3. Auf! Pazienza Non V'ha Che Basti (Melitone)
Act 4, Scene 3. Del Mondo I Disinganni (Guardiano)
Act 4, Scene 3. Giunge Qualcun
Act 4, Scene 4. Siete Il Portiere? (Carlo)
Act 4, Scene 5. Invano Alvaro
Act 4, Scene 5. Le Minaccie I Fieri Accenti (Alvaro)
Act 4, Scene 6. Pace, Pae, Mio Dio (Leonora)
Act 4, Scene 7. Io Muoio! Confessione!
Act 4, Scene 7. Non Imprecare, Umiliata

Customer Reviews:

Easily One Of The Best.......2006-11-28

Thank goodness this is available again! Price is in her glorious early form with Richard Tucker and Robert Merrill along for the ride. Tucker may get hammy at times, but we just don't have tenors of this caliber anymore and Merrill shows what a true Verdi baritone is supposed to be. Schippers conducts with a nice flair. I rank this with the Tebaldi/Del Monaco on London and the live DVD with Tebaldi and Corelli as the top choices.

Average customer rating:

Fine recital of neglected composer
Good Performance but the content?

Campion: Lute Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Dowland: Flow My Tears and Other Lute Songs

ASIN: B00000IXIZ
Release Date: 1999-06-01

Tracks:

Come Let Us Sound With Melody
Tune Thy Musicke To Thy Hart
Come You Pretty False-Ey'D Wanton
There Is None, O None But You
Sweet Exclude Mee Not
I Care Not For These Ladies
Though You Are Yoong And I Am Olde
Fire, Fire, Fire, Fire!
What Then Is Love But Mourning?
Shall I Come, Sweet Love, To Thee?
Beauty, Since You So Much Desire
What Is It All That Men Possesse?
The Sypres Curten Of The Night
Jacke And Jone They Think No Ill
It Fell On A Sommers Daie
When To Her Lute Corrina Sings
My Sweetest Lesbia
Her Rosie Cheekes, Her Ever Smiling Eyes
Faire, If You Expect Admiring
There Is A Garden In Her Face
Author Of Light
Never Weather-Beaten Saile
Most Sweet And Pleasing Are Thy Wayes
To Musicke Bent Is My Retyred Minded
Thou Joy'St, Fond Boy
Turne All Thy Thoughts To Eyes
Vaile, Love Mine Eyes
Miserere My Maker

Customer Reviews:

Fine recital of neglected composer.......2000-10-29

I'd agree with the earlier reviewer that this CD is for those who have already tried Dowland. However Dowland has been fortunate in the recording studio and Campion much neglected (this appears to be the only disc dedicated to him currently available) so Naxos deserve our thanks for having brought Rickards and Linell back together for a second disc. What is particularly encouraging is to find a whole disc of songs, not just a few raisins in a cake of viol music which is how Dowland and his contemporaries are normally represented. Not that I've anything against mixed recitals - the collaborations of Fretwork with Red Byrd are beautiful - but it tends to be the same better known songs.

The first recordings of early English music on the Naxos label (I'm thinking of Summerly's earlier recordings of Byrd, Tomkins, Gibbons) lacked texts, that has been corrected in later releases, including both this disc (timing 52:52), and the earlier Rickards Dowland recital (8.553381, 1997, timing 74:08). Sound on both discs is more than adequate.

Good Performance but the content?.......2000-02-01

I make no claims to being knowledable about the intricacies of this music. But if I were giving stars I'd give the performance four or five and the content...um...that's the hard part.

I bought this out of curiosity. Campion's lyrics turn up occasionally in anthologies of poetry and I was curious to hear the songs. I own Rickards and Linell's "Dowland: Flow my tears and other lute songs" and i play it often so I also wanted to know what Dowland's competition sounded like.

Firstly, the performance is of the same high standard as on the other disk. Which is good. Linell plays well and Rickards' voice is fine. The liner notes provide good background information as well as the words to the songs. The only real complaint I could have about the performance is probably related to production: The lute sounds small, thin and distant compared with, say, Bream's lute on "The golden age of English Lute music" or Lindberg's on "The complete solo lute music". This is true of the pair's Dowland recording as well but it may only be a drawback if you're trying to use the performances as a guide to playing the songs yourself. ( I was).

The real drawback to this recording though is the material. Play the Dowland and you're liable to find yourself humming odd snatches of the songs. Play the Campion and you're liable to have difficulty remembering any of the individual tunes. Nor do the lyrics redeem the music. He probably was a "better " lyric writer than Dowland (whatever that means) but music wise Dowland beats him hollow.

Tracks:

Come Cheerful Day
The Peaceful Western Wind
Turn Back You Wanton Flyer
It Fell On A Summers Day
When To Her Lute
Break Now My Heart And Die
My Love Hath Vowed
I Care Not For These Ladies
Shall I Come, Sweet Love, To Thee?
Fire, Fire
All Looks Be Pale
Jack And Joan
There Is A Garden In Her Face
Fain Would I Wed
Sweet, Exclude Me Not
Could My Heart More Tongues Employ
Kind Are Her Answers
A Secret Love Or Two
Beauty Is But A Painted Hell
Oft Have I Sighed
I Must Complain
Leave Prolonging Thy Distress
The Cypress Curtain Of The Night Is Spread
Author Of Light
Never Weather-Beaten Sail

Customer Reviews:

a voice teacher and early music fan.......2005-12-23

What a great line-up of singers on this disc! Although Campions' songs are written as solo songs he stated at the time that they may also be enjoyed as part songs. On this CD they are tastefully mixed both vocally and instrumentally. There are trios with soprano, tenor, baritone and lute where the lute is treated almost like another voice part. Each of the singers has a solo or two and Chance has several. It is also good to keep in mind that Thomas Campion (l567-l620) was a poet as well as a musician who had the capability of putting together the two art forms, words and music. As he says, "lovingly coupled together." From over 100 songs it was difficult to select only 25, but Campion helped us by placing his prize songs often at the beginning of a volume. And it is certainly appropriate to present these chosen songs with varied vocal combinations. My favorites are the last three on the album: "The Sypres curten of the night is spread" (Michael Chance); "Author of Light" (quartet:(Elliott-soprano;Chance-countertenor;Padmore-tenor;Harvey -baritone) and "Never weather-beaten Saile" (Chance).

Average customer rating:

New Cantatas and Madrigals

Manufacturer: Composers Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000005TVR
Release Date: 1994-06-13

Tracks:

Shake Off your Heavy Trance
The Faery Beam Upon You
Death, Be Not Proud
Corinna's Going A-maying
Three Cultivated Choruses: Madrigal No. 1 - Amarilli
Three Cultivated Choruses: Madrigal No. 2 - Doro dungue morire
Three Cultivated Choruses: Madrigal No. 3 - Dovro dungue morire
The Habitable Earth: Part I
The Habitable Earth: Part II
The Habitable Earth: Part III
Cantus Contra Cantum IV
Madrigals: I. When As In Silks
Madrigals: II. Alas, This Life
Madrigals: III. The Expiration
Madrigals: IV. My Love In Her Attire
Une Saisaon En Enfer

Rock Music:

Rock Music