Furioso II

Product Description
After numerous adventures at the forefront of the French scene, the famous singer Renaud HANTSON decided to take a "breath of fresh air" in creating FURIOUS ZOO. This parallel project enables him to express on CD and on stage all the passion he has in hard-rock. On this very subtle music, between strength and delicacy, his voice is always a hit. As for the instrumental point of view, a permanent training on drums enabled him to improve significantly on this instrument. Released today on the Brennus label, "Furioso II" (2005) provides twelve new compositions as well as six renewed titles from the first album, the re-issue of which many fans had demanded for a long time. They now got what they wanted, and in a quite nice way indeed !

Furioso II,Furious Zoo,Brennus/Musea,Rock

Average customer rating: Jaroussky has a gifted voice a voice teacher and early music fan Jaroussky is exceptional A pleasant surprise Another Fine Countertenor Lights Up The World!

Vivaldi: Virtuoso Cantatas Philippe Jaroussky , Unspecified , Antonio Vivaldi , Ensemble Artaserse , and Claire Antonini Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Vivaldi Heroes Beata Vergine Vivaldi: Griselda Vivaldi: Bajazet [Includes Bonus DVD] Un Concert Pour Mazarin ASIN: B0006IQM4O Release Date: 2005-04-12

Tracks:

1. Aria: Alla Caccia Dell'alme E De' Cori
2. Recitativo: Ma Sia Crudele O Infida
3. Aria: Preso Sei Mio Cor Piagato
4. Recitativo: Qual Per Ignoto Calle
5. Aria: Quel Passagier Son Io
6. Recitativo: Deh, Piu Non Regni Nel Tuo Gentil Petto
7. Aria: Qual Dopo Lampi E Turbini
8. Piangero Sinche L'onda - Ruggiero
9. Prelude After Vivaldi (Theorbo Solo)
10. Aria: Care Selve, Amici Prati
11. Recitativo: Ben Mal'accorto E Folle All'or Io Fui
12. Aria: Placido In Letto Ombroso
13. Largo
14. Allegro
15. Largo
16. Allegro
17. Recitativo: Perfidissimo Cor! Iniquo Fato!
18. Aria: Nel Torbido Mio Petto
19. Recitativo: Cosi Dunque Tradisci Chi Contenta
20. Aria: Piu Amar Non Spero, No
21. Di Verde Ulivo - Vitellia
22. Recitativo: Pianti, Sospiri E Dimandar Mercede
23. Aria: Lusinga E Del Nocchier
24. Recitativo: O Ingannato Nocchiero
25. Aria: Cor Ingrato Dispietato

Customer Reviews:

Jaroussky has a gifted voice.......2006-06-21

In early polyphony, the contratenor was a voice part in melodic counterpoint against the tenor. It was written roughly in the same range as the tenor. In the 15th century, contratenor split into contratenor altus and contratenor bassus, which were respectively above and below the tenor. By the 16th century, however, the term became obsolete as Latin lost popularity. In Italy, the contratenor altus became simply alto; in France, haute-contre; in England, countertenor.

Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.

The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.

Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.

a voice teacher and early music fan.......2006-05-20

The vocal selections on this disc include 2 arias from Vivaldi operas. However, at that time the cantatas and the operas were very closely aligned using the same instrumentation and truthfully it would be difficult to tell the difference between them had I not been previously informed. Jaroussky has excellent vocal technique;in fact in some passages he astounds the listener. His aria :Cor ingrato dispietato (from an opera) displays amazing breath control and clean clear notes. If there is something lacking it is in slow passages that demand more intensity and emotion; age and experience will certainly help!!!And his voice sounds better when the music has a high tessitura. He's a fresh new voice in the world of countertenors. My appreciation knows no bounds for the "Ensemble Artaserse";they are truly excellent and skilled on their instruments; wonderful to hear. This is really a great disc!!!!

Jaroussky is exceptional.......2005-09-07

Jaroussky's singing adds to the growing interest in Vivaldian opera. His performance of "Qual Dopo ..." is both a demonstration of the great technique and artistry of his beautiful voice. For those curious to explore his singing range, try his masterful deliverance of arias such as "Tu m'offendi",from La Verita en Cimento, and "Sol da te", from "Orlando Furioso" where he honors the composer with the nuances, adornments, and melodic draws of his voice. This CD would have showcased the cantata genre much better had the musical selection been more diverse in note and tempo. Nonetheless, Jaroussky is at his best!

A pleasant surprise.......2005-05-20

Countertenor is not this reviewer's favorite range of male singer. That's probably so because it is both unfamiliar and underperformed and, when it is sung, never comes off as quite natural to the singer himself. In many respects, it really is an outdated male vocal range that should have gone the way of castrati. Interestingly, it seems to going in just the opposite direction. At least Virgin Classics must think so because last month it released a new CD by countertenor Philippe Jaroussky singing Vivaldi Cantatas, with the Ensemble Artaserse -- and it is surprisingly good. The CD consists of a couple quite beautiful period solo ensemble selections, theorbo etc. (See cut #9 "Prelude to Vivaldi") and vocals that demonstrate the best of what a countertenor sounds like, most notably Piangero Sinche L'onda, Ruggiero. Mr. Jaroussky's voice is both agile and open and his diction is punctuated and enhanced by a smooth delivery that is passionate enough, such that each piece comes off as a personal story that truly captivates the listener. An added plus is the fact that the thematic organization of this CD is even. In other words, you won't be reaching for the "skip" button here. The quality of the recording, too, is excellent. Although many listeners prefer the live aspect of concert performances, the very thing that attracts, can also produce a hollow, almost metallic sound in a live hall. In Cantatas, you won't find any unevenness or harsh selections. You might even find that you are pleasantly surprised by how intriguing it is.

Another Fine Countertenor Lights Up The World!.......2005-04-13

This exciting recording of Vivaldi cantatas for solo voice and instrumental ensemble is one of the more compelling releases of the year to date! While the music of the glorious Venetian Antonio Vivaldi is well known, especially the standard repertoire `The Four Seasons' and the choral works and chamber works - even some operas - the cantatas are rarely performed and this CD of his best ones should change that.

Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.


Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.

This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05

Average customer rating: A Favorite An Unheralded Vivaldi Masterwork Given a First-Class Production Delightful singers make this recording a joy Superlative Vocalism in Vivaldi's Best-Known Opera

Vivaldi: Orlando Furioso Antonio Vivaldi , Marie-Nicole Lemieux , Jennifer Larmore , Philippe Jaroussky , Lorenzo Regazzo , Ann Hallenberg , and Jean-Christophe Spinosi & Ensemble Mateus Blandine Staskiewicz Manufacturer: Opus 111 ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Vivaldi, Antonio | ( V ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Vivaldi: Griselda Vivaldi Edition: Orlando finto pazzo Vivaldi: Bajazet [Includes Bonus DVD] Vivaldi Edition: Tito Manlio Vivaldi Edition: L'Olimpiade ASIN: B00061ZKP8 Release Date: 2005-01-18

Customer Reviews:

A Favorite.......2006-06-24

This is the opera that turned me on to Vivaldi, and started my interest in mining his music. Not only does his music have a unique and distinguishable style, but also an inimitable energy that is purely musical and pleasing to the senses. To enjoy this opera, one only needs just to listen to it.

Orlando Furioso is very characteristic by its mood arias and temperamental swings from madness to melancholy such as in "Andero, chiamero, dal profondo" and "Sol da te". Because this opera was written in the "disco years" of baroque bel canto, the singing is rich, florid, and very demanding. Most of the arias sharing these "disco-like" qualities are sung by the character of Orlando. Taking this role is a tall order for a singer that is not Marilyn Horne. She made "Nel Profondo", and "Sorge L'irato Nembo" her signature "hits" in a time when Vivaldi Opera performances were rare, and before the years when Bartoli elevated singing of Vivaldi arias to a new art form. Though refreshing, the execution of these arias in the album can't escape to be overshadowed by Horne's.

"Sol da te" is one of Vivaldi's most beautiful mood arias, and no doubt that Philippe Jaroussky its best interpreter to date. The aria is bewitching, hypnotizing, and its performance so flawless that his voice blends with the flute into one single musical instrument.

Veronica Cangemi sings superbly "Chiara al pari", accomplishing very technically difficult note transitions, and doing so magnificently on the ornamentation of the da capo section. She is again very amazing in La Griselda, another Vivaldi Opera.

Jennifer Larmore's lung capacity and jet-propulsion speed are phenomenal and super-human in "Andero, chiamero, dal profondo". If I ever thought that "Andero, volero, gridero" from Orlando Finto Pazzo required high octanage to be sung, Larmore proves that she's got the turbo power in her throat, and vocal pyrotechnics to command the explosive high note at the end of the run.

An Unheralded Vivaldi Masterwork Given a First-Class Production.......2006-02-08

Composer Antonio Vivaldi may always stand in the shadow of his contemporary Handel when it comes to Baroque compositions, and the distinction between the two is further blurred by the fact that both composed operas based on the same epic poem, Ludovico Ariosto's "Orlando furioso". Vivaldi's 1727 opera came about eight years prior to Handel's "Alcina". Unsurprisingly, while several recordings of "Alcina" have been produced (including a particularly strong one of the 1999 William Christie-conducted Paris Opera production with Renee Fleming and Susan Graham released in 2000), this is the first full recording of Vivaldi's work, part of the Naive label's commitment to bring Vivaldi's largely unknown but beautifully composed operas to light.

Based on this stellar ensemble performance, I would argue that "Orlando furioso" is the stronger of the two works based on the recitatives, which are far more dramatically gripping, and the arias which not only showcase splendid voices but provide an intractable context for the intense drama of the story. The lush performance here captures Vivaldi's insinuating melodies which are full of voluptuous ornamentation. The shimmering orchestral passages are complemented by vibrant choruses that mirror the dramatic shifts in Grazio Braccioli's treatment of Ariosto's eventful poem. His libretto manages to keep the essence of the story but deepens the humanity in blending epic history with the supernatural. Similar to Handel's "Alcina", Vivaldi depicts a set of lively gallery of characters with individualistic personalities in a fanciful plot that moves at a breakneck pace.

At the center are two storylines that complement each other, the grand sweep of Orlando's madness and the tragedy of Alcina's downfall. In the title role as Charlemagne's nephew who falls deeply in love with Angelica, arguably the most dramatically challenging of the ensemble, Marie-Nicole Lemieux, a young contralto from Quebec, must make sense of the lovesick knight, and she does it with passionate delivery and a superb lower register. The richness of her tone is necessary to reflect Orlando's decline into dementia at the end of Act II and the series of "mad scene" monologues in Act III. As Alcina, mezzo-soprano Jennifer Larmore brings an imperious tone and supple edge to the powerful but doomed sorceress, who suffers for her love of Astolfo and then of Ruggiero. Soprano Veronica Cangemi brings a lovely, ethereal quality to the role of Orlando's beloved Angelica.

Bass-baritone Lorenzo Regazzo brings a palpable lushness to his vocally powerful characterization of Astolfo, and the proud female warrior Bradamante is sung by mezzo soprano Ann Hallenberg with stunning verve. As the valiant Ruggiero, rising countertenor Philippe Jaroussky is outstanding, and his arias provide the most poignant moments of this production He is particularly adept at blending his ethereal sound with all the very different voices of the other singers. Under the fluent direction of Baroque specialist Jean-Christophe Spinosi, the Ensemble Mateus proves expert in accommodating the variety of voices with instrumental nuance. If nothing else, this superb recording will introduce Vivaldi to a new generation unfamiliar with his dexterity in the Baroque genre.

Delightful singers make this recording a joy.......2005-04-03

It is thrilling to see more of Vivaldi's operas being recorded. However, this recording of Orlando Furioso may not be for everyone. Jean-Christophe Spinosi's style of conducting is described in the liner notes as "physical;" and this is certainly true. He asks the Ensemble Matheus to `punch' Vivaldi's openings and to accent each phrase with sharp articulations. The singers soar through their runs at break-neck speed, which makes for exciting listening. But Spinosi pushes the tempo of every aria, so much so that many of them clock in at under three minutes. Even the adagio arias move along at a quick pace. For listeners accustomed to the heart-wrenching, gentle interpretations of Baroque opera offered by Rene Jacob and John Elliot Gardner, Spinosi's interpretation may seem blunt and over-done. Spinosi is a young conductor leading youthful singers, and all are clearly excited by Vivaldi's music. However, this recording lacks the mature guidance and interpretation of more experienced musicians, and thus may bother some veteran connoisseurs of Baroque opera.
The quality of the singers on this recording is astounding. Canadian Marie-Nicole Lemieux evokes memories of Marilyn Horne, although her phrasing and vibrato is often more pleasant than Ms. Horne's. Jennifer Larmore is a delight, and sings the part of the sorceress Alcina with great skill and passion. Veronica Cangemi, Ann Hallenberg and Blandine Staskiewicz all have fine voices, and are destined for exciting careers and great acclaim. Of particular interest are the male singers: Venetian bass-baritone Lorenzo Regazzo (who sounds like a combination of Samuel Ramey and Bryn Terfel!) and the young counter-tenor Philippe Jaroussky. Often, male singers are `tacked on' to Baroque opera recordings and lack the skill and quality of their female counter-parts who enjoy the leading roles. Not so in this recording: both men demonstrate voices and training of the highest quality, and sing Vivaldi's music with great skill, enjoyment, and intellectual depth. Buy the opera just to hear the singers demonstrate their talents!

Superlative Vocalism in Vivaldi's Best-Known Opera.......2005-01-27

This review cannot be definitive as I am far from being an expert on Baroque opera. But I have long loved the recording of this opera, 'Orlando Furioso,' made many years ago, but drastically cut, by Claudio Scimone with the Solisti Veneti and featuring the almost superhuman singing of Marilyn Horne as Orlando. Add to that the Angelica of Victoria de los Angeles, Lucia Valentini-Terrani as Alcina, and Sesto Bruscantini as Ruggiero and you have a nigh-unbeatable combination. But this set not only gives us an uncut version of Vivaldi's opera (with some additions suggested by musicologist Frédéric Delaméa, additions which fill in gaps in the original materials from which this performance was produced), it features, amazingly, voices that are fully the equal of those in the fabled Scimone recording. Some roles have been re-assigned: Ruggiero is sung by a counter-tenor here (as opposed to Bruscantini's baritone); Medoro is sung by a mezzo, rather than a tenor.

One quibble I have about the Horne performance is that she made the role of Orlando, with all its vocal gymnastics, almost a caricature (forgive me, Horne fans! I'm one, too, after all). In the present recording Canadian mezzo Marie-Nicole Lemieux not only sings as well as Horne, but limns the character with greater sensitivity. Her ornamentation is not quite as spectacular, but it's also not as, how shall I say?, show-offy. And the ornaments are more in keeping with practice of 1727 when the opera was premièred, I believe. Lemieux is fully capable of Horne's acrobatics, so it's not a matter of lack of technique, it's more a matter of (gasp!) taste. A larger question arises about the replacement of the role of Ruggiero sung by a baritone (Bruscantini) with a counter-tenor (the sweet-voiced Philippe Jarrousky). In fact, though, at the first performance Ruggiero was sung by a mezzo who specialized in pants roles, so perhaps using a counter-tenor is more appropriate. In any event, Jarrousky is superb, bringing an appropriate delicacy to the role. Angelica, sung ravishingly by the Argentine soprano Veronica Cangemi, does not make us forget the late, beloved Victoria de los Angeles, but her performance does not suffer in comparison either. Jennifer Larmore has a complete triumph in her performance of Alcina which is, I feel, actually superior to that of Valentini-Terrani.

Instrumental support by Jean-Christophe Spinosi and his Ensemble Matheus is lively, sensitive and brilliant. Special mention must be made of the lovely flute obbligato in Ruggiero's aria, 'Sol da te, mio dolce amore,' played radiantly by Jean-Marc Goujon. Supporting roles are also well sung, in some instances better than on the Scimone set. I think this set heralds the real arrival of Marie-Nicole Lemieux on the international scene, at least on records. She has made some wonderful CDs, mostly on smaller labels; I raved about her recording with Tafelmusik on Analekta but was less taken with her Brahms lieder recital on the same label. I suspect this recording will bring her appropriate acclaim.

Strongly recommended for lovers of superb singing.

3CDs: 181 mins

Scott Morrison

Average customer rating: Que Viva Zarzuela!! Preludes & Choruses From Zarzuelas overall The Dance of the Lovers is Here! ¡Olé!

Preludes & Choruses From Zarzuelas Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Classical | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Zarzuela Arias & Duets Zarzuela: Spanish Operetta Romanzas de Zarzuelas Viva la Zarzuela! Zarzuela castiza ASIN: B00007FKQI Release Date: 2003-02-18

Tracks:

1. Preludio
2. El Noble Gremio...
3. Intermedio
4. Coro De Doctores
5. Preludio
6. Intermedio
7. Seguidillas
8. Preludio
9. Preludio
10. Se Marcha Furioso
11. Preludio
12. Intermedio
13. Ronda De Enamorados
14. Preludio (II Acto)
15. Ensalada Madrilena

Customer Reviews:

Que Viva Zarzuela!!.......2006-11-10

Zarzuela is Spanish operetta. This is a fine collection of choruses and preludes from various famous Zarzuelas, particularly for a beginner in the genre. If however you have been "enrollado" in Zarzuela for a while it's a lot like popular classics or "Opera Goes to the Movies" It'll be stuff you've heard before. Maestro Roa knows how to conduct with finess and fire, whichever is required and the performances are easy to appreciate and very easy to understand the lyrics if you speak Spanish. I highly reccommend this disc to anyone who wants to take away the veil of mystery surrounding Zarzuela and start exploring on your own. This disc is an excellent place to begin!

Preludes & Choruses From Zarzuelas.......2006-07-17

Preludes & Choruses From Zarzuelas~ Miguel Roa was something quite new to me. Having mostly listened to classical from France, Germany, Austria, Russia and Italy I had not listened much to Spanish composers. The end result is that the music is very easy to listen to but feels light and I feel that it sounds a bit to much like movie soundtrack music. The book-let is quite well done and the painting on the front is splendid. The liner notes and the essay inside are well done and it is not overlong or too verbose. I must say that I had never ever heard of any of these composers before and it was a with an adventurous spirit that I started listening to this recording and to my pleasant surprise it was quite good and I therefore give it 4 out 5 stars.

overall.......2006-03-16

Great selections
Great orchestration
Every thing I was expecting
Wish you had this or any other like it in DVD
thank you

The Dance of the Lovers is Here!.......2003-09-07

For many years an ancient 78 of one of the items found on this welcome CD was the most requested item for playing on the national radio broadcaster in Australia. Requests for full details of the item always yielded an announcement that everything on the record label was printed in Spanish, that there was not much of it, and all that could be deciphered and translated approximated to "The Dance of the Lovers".

Well, the same item features on Track 13 of this CD in a digitally recorded 1999 Madrid recording, and full information is provided about it and the other zarzuela excerpts in notes by Manuel Garcia Franco. This once popular item on Australian airwaves is a simple verse and chorus, the first in the minor and the second in the major mode. Framed in a short introduction and coda, it is sung twice, and what the female chorus members sing the first time is sung by the male chorus members the second time, and vice versa.

Although the Spanish composers of the zarzuela excerpts included here are represented in my collections by solo items from singers such as Supervia and de los Angeles, the choruses and orchestral excerpts found on this CD are all new to my ears. I have never seen a zarzuela and, welcoming and recommending this collection of samples, would like to read reviews or communications from others with better information.

¡Olé!.......2003-02-26

I know almost nothing about zarzuelas, other than that they're Spanish light operas, immensely popular in Spanish-speaking areas and virtually unknown everywhere else. Why they didn't travel and Viennese operetta did, I'll never know; they're a heckuva lot more exciting!

If this disc is any indication, the music, the rhythm, the overall feeling of zarzuela music is infectious. I put this CD on and then couldn't stop listening to it. According to the liner notes, these orchestral selections and choruses are among the best-known from this genre. I can see why they're popular. The playing and singing of the Comunidad de Madrid Orchestra and Chorus are exemplary.

Now please excuse me, while I go sign up for castanet lessons.

Average customer rating:

Neujahrskonzert 1996 Manufacturer: RCA ProductGroup: Music Binding: Audio CD Polkas | Ballets & Dances | Classical | Styles | Music Waltzes | Ballets & Dances | Classical | Styles | Music Strauss Jr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Johann Strauss Sr. | Strauss Sr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Josef Strauss | Strauss, Josef | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Marches | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Maazel, Lorin | ( M ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: New Year's Concert 1999 New Year's Concert 1997 Strauss: New Year's Concert 1989 1995 New Year's Concert Neujahrskonzert In Wien (New Year's Concert) ASIN: B000003G10 Release Date: 1996-10-15

Tracks:

1. Festival March
2. Viennese Citizens
3. The Girl from Nasswald
4. Floral Festive Polka
5. Lagoon Waltz
6. With Pleasure
7. 'Green Woodruff Punch': Overture
8. The Wings of the Phoenix
9. The Dancing Muse
10. 'The Goddess of Reason': Overture
11. Seconds Polka
12. Emperor Waltz
13. Jockey Polka

Average customer rating: Horne at her fiercest and most dazzling One of the many legacies of Marilyn Horne fantastic singing

Recital Manufacturer: Erato ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Horne, Marilyn | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Handel, George Frideric | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music Vivaldi, Antonio | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Horne, Marilyn | Divas | Opera & Vocal | Styles | Music ASIN: B000005E49 Release Date: 1996-07-02

Tracks:

1. Arie Di Rinaldo: Arie Di Rinaldo: 'Or la tromba' (Rinaldo, Act III, scene 9)
2. Arie Di Rinaldo: Arie Di Rinaldo: 'Cara sposa' (Rinaldo, Act I, scene 7)
3. Arie Di Rinaldo: Arie Di Rinaldo: 'Venti, turbini' (Rinaldo, Act I, scene 9)
4. Arie Di Rinaldo: Arie Di Rinaldo: 'Cor' ingrato' (Rinaldo, Act I, scene 3)
5. Aria Di Serse: Aria Di Serse: 'Frondi tenere...Ombra mai fu' ISerse, Act I, scene 1)
6. Aria Di Arsace: Aria Di Arsace: 'Furibondo spira il vento' (Partenope, Act II, scene 9)
7. Aria Di Poppea: Aria Di Poppea: 'Bel piacere' (Agrippina, Act III, scene 10)
8. Aria Di Almirena: Aria Di ?Almirena: 'Lascia ch'io pianga' (Rinaldo, Act II, scene 4)
9. Aria Di Orlando: Aria Di Orlando: 'Fammi combattere' (Orlando, Act I, scene 10)
10. Aria Di Orlando: Aria Di Orlando: 'Nel profondo' (Orlando Furioso, Act I, scene 1)
11. Aria Di Orlando: Aria Di Orlando: 'Sorge l'irato nembo' (Orlando Furioso, Act II, scene 2)
12. Aria Di Orlando: Aria Di Orlando: 'Fonti di pianto' (Orlando Furioso, Act III, scene 6)

Customer Reviews:

Horne at her fiercest and most dazzling.......2003-05-17

Having recently purchased this recital at budget price on the French label Erato, I can say without reservation that this is bar none one of the best recitals I have ever purchased. Marilyn Horne is triumphant, especially in the Rinaldo and Orlando arias. Listen to her rapid-fire delivery of Venti Turbini. She switches from very low to very high passages, with absolute ease and bravura. She also navigates the fiendishly difficult intervallic coloratura, which is much harder to sing than bel canto coloratura. Likewise, her Cara Sposa is a delight. If you want something sophisticated and stylish, listen to David Daniels. If you want to explore the depths of sorrow, listen to Marilyn Horne. (Both are viable choices in their own right)

Marilyn also sings a variety of arias from other Handel operas, those currently being staged as part of the baroque revival that is taking part in the USA and Europe, which is reminiscient of the bel canto revival of the 50's. These offer more opportunities to hear her almost unprecedented octave range and breath control.

The recital ends with three arias from Vivaldi's Orlando il Furioso. The second one really blows me away. This is quintessential Horne. She is glorious!

One of the many legacies of Marilyn Horne.......2001-07-19

In terms of bel canto and Romantic opera, Marilyn Horne is and will always be remembered as a talented and unique milestone in the history of opera, a singer who set the standard for such roles as Adalgisa in Bellini's "Norma," Carmen in Bizet's opera of the same name, and various lead Rossini roles. To many connoisseurs of the opera of the Baroque age, Horne will be remembered as a pioneer, someone who singlehandedly took the forefront in reviving the castrato roles of Baroque opera's greatest son, Georg Friedrich Haendel, and encouraged other opera singers in the mainstream to do the same. We have Marilyn Horne to thank for the first Met staging of any Baroque opera, and also such mainstream singers as Cecilia Bartoli and Renee Fleming are indebted to her whenever they take the stage (or record) in such roles as Almirena or Alcina. Before Horne's pioneering work, Vivaldi was heard only in the concert hall, or occassionally in the church. Her encouragement of the performance of "Orlando furioso" for the 300th anniversary of the birth of Vivaldi marked a new chapter in the studies of Vivaldi's operas, as well as his other works and the operas of other Italian composers of the period. This CD recording is an important testament to Horne's legacy in the field of pre-Mozartean Italian opera.

In displaying her vocal fireworks in "Or la tromba" and "Venti, turbini," and providing new shades of never heard before nuance in "Cor ingrato" and of course, "Ombra mai fu," Marilyn Horne shows her genuine appreciation for the operatic music of Haendel, which unfortunately was for a long time performed in the same fashion as, say, Baroque oratorio. In other words, Horne throws off "museum piece" notions of Baroque vocal music along with the notion that Baroque music is appropriate only in the art song recital (i.e., Parisotti's "Arie Antiche"). Although her rather excessively free ornamentation and elaboration can at times be unsettling, she nonetheless does a beautiful job and proves that Baroque vocal music is in very alive. Let us remember, the Baroque Age, whether the likes of Grout and Groves approve of it or not, was a very Romantic period: this was the age of Bernini's "Ecstasy of St. Theresa" and Farinelli, of Caravaggio and of le Roi soleil, Louis XIV. Horne finally shows that Baroque music must be percieved in the same strain as well.

Now on to a few of the arias themselves. "Or la tromba" is magificently sung and played, and one admires both Horne's impressive command and agility of voice and her emphasis on making a castrato aria sound like a piece for a hero, thereby acquiring a manly and heroic timbre as opposed to a relatively seductive female one acquired by far too many recitalists. In "Ombra mai fu," she proves that the famous aria, formerly known as "Handel's Largo," can still have many things to offer in terms of interpretation and nuance. The opera "Serse," from which the aria is taken, is a combination of comic and romantic strains in opera, and Horne realizes that in her interpretation of the aria. In "Cor ingrato" and "Cara sposa," Horne shades and colours the arias to reveal the pain and suffering (and yet very Baroque self-conscious sentimentality) of the hero who has lost his beloved.

There are, however, reasons for which I gave this CD 4 stars out 5, but let me first say that none of it is Marilyn Horne's fault. First of all, the Solisti Veneti under Maestro Scimone are nothing but of the highest caliber, but the orchestral playing is slightly sloppy at times and tends to weigh down in some places. Second of all, one should purchase this album for the Haendel arias and definetely not the Vivaldi arias, because the arias "Nel profondo," "Sorge l'irato," and "Fonti di pianto" are very facile and fluffy examples of Vivaldi's operatic output, which is better represented by Cecilia Bartoli's "Vivaldi Album" on the Decca label. But Marilyn Horne excels and amazes at every turn, and in every aria, therefore it does not really diminish my opinion of her or this CD in any way.

fantastic singing.......2000-02-21

As an introduction to bel canto this cd is a good place to start. Marilyn Horne's rich mezzo is not what was originally intended for this music, but it sounds wonderful nonetheless. Her rendition of "Fammi Combattere" and "Or La Tromba" is stirring stuff, while the famous aria "Lascia chi'o pianga..." is tenderly sad.

The only drawback is the recording of the orchestra: it sounds a little thin and murky, with little instrumental differentiation, which suggests poor microphone placement and mixing (even with digital recordings it's how you use the technology...). Sometimes Horne's voice is also a little too far back in the mix, even though she's bellowing gustily. As a record of a fine vocal performance, though, this is great stuff.

Average customer rating: colleratura as they should be: not just a gimmick .... An interesting interpretation ...

Angelo Manzotti - Vivaldi Opera Aria (Arie d'opera) Manufacturer: Tactus Records ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Angelo Manzotti - Arie di Farinelli Moreschi - The Last Castrato Vivaldi: Soprano Cantatas Vivaldi: Virtuoso Cantatas Farinelli ASIN: B00004S2X6 Release Date: 2000-04-11

Tracks:

1. Orlando Furioso: Nel Profondo Cieco Mondo
2. L'incoronazione Di Dario: Mi Va Scherzando In Sen
3. Teuzzone: Sinf: Allegro
4. Teuzzone: Sinf: Adagio
5. Teuzzone: Sinf: Allegro
6. Teuzzone: Sinf: Taci Per Poco Ancora
7. Giustino: Vedro Con Mio Diletto
8. Farnace: Sorge L'irato Nembo
9. Siroe Re Di Persia: Gelido In Ogni Vena
10. Orlando: Sol Da Te Mio Dolce Amore
11. L'olimpiade: Siam Navi All'onde Algenti
12. Il Tamerlano (Il Bajazet): Sinf: Allegro
13. Il Tamerlano (Il Bajazet): Sinf: Largo
14. Il Tamerlano (Il Bajazet): Sinf: Allegro
15. Il Tamerlano (Il Bajazet): Sinf: Sposa Son Disprezzata
16. Griselda: Agitata Da Due Venti

Customer Reviews:

colleratura as they should be: not just a gimmick ...........2006-05-03

This is a very nice CD for people wanting to get familiar with the castrato sound and with the famous fire work colleratura Baroque in general and Vivaldi in particular is known for.

THe most heard of criticism is that the sopranisto (or counter tenor for that matter) cannot compete with the (natural) skills /agility of -most referred to- mezzo soprano's. People tend to prove their point with pointing to the griselda aria and comparing it to most notedly the version of Cecilia Bartoli. Yes Brtoli has more speed, but is actually performing the almost same collaratura over and over again. Manzotti proves it to be more than just a neat trick and actually uses different collaratura's with different colors and different expressions. Thus making it very exciting to listen to.

The only minus is that sound of the orchestra is not very pronounciated (sorry of that is not correct english).. not like eg Fabio Bondi would do it :-) But overall a hugely enjoyable record with great singing

An interesting interpretation ..........2004-08-04

The Italian sopranist Angelo Manzotti's recitals in the past have often been characterised by a wish to show off his voice with inappropriate cadenzas, as well as questionable ornamentation, whilst claiming to be trying to show the best of baroque bel canto technique. This recital is no exception, consisting of 10 arias from different Vivaldi operas, many of them only now being recorded fully for the first time. So, he is to be commended for bringing some gems to notice, though others, notably Cecilia Bartoli and Marilyn Horne have already recorded one or two (Nel profundo cieco mondo, and agitate da due venti come to mind), and sung them better.

Manzotti's voice has a huge range, as befits a singer whose previous records have included tributes to Farinelli and the castrati who sang for Handel, but it does not always have accuracy of intonation nor pitch. The integration of the registers is also lacking, and so his voice sounds curiously disjointed. Listeners who want to hear a quality sopranist at work would be better advised to try out Philippe Jaroussky or Randal Wong.

The sound is ok on this TACTUS release, as is the accompaniment from the Bologna Baroque Orchestra, though a more defined bass line might be appreciated. There are a number of short orchestral movements from Teuzzone and Il Tamerlano that fill in what is a generous length CD at 75 minutes. Releases such as this one are to be encouraged until Vivaldi's operas receive the sort of acclaim that has recently been the case with Handel.

Average customer rating: An opera for Marilyn Horne

Vivaldi - Orlando furioso / Horne · de los Angeles · Valentini-Terrani · C. Gonzales · Bruscantini · Zaccaria · Kozma · I Solisti Veneti · Scimone [Highlights] Antonio Vivaldi , Claudio Scimone , Marilyn Horne , Victoria de los Angeles , I Solisti Veneti , Coro Amici dela Polifonia , Lucia Valentini-Terrani , Carmen Gonzales , Sesto Bruscantini , Nicola Zaccaria , and Lajos Kozma Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Horne, Marilyn | Divas | Opera & Vocal | Styles | Music ASIN: B000005EEB Release Date: 1995-06-06

Tracks:

1. Ov - Andras Adorjan/Jurgen Hubscher/Gianni Chiampan/Kiyoshi Koyama/Edoardo Farina/Bepi De Marzi
2. Act 1, Scene 1: Aria: 'Nel Profondo' - Marilyn Horne
3. Act 1, Scene 5: Aria: 'Sol Da Te' - Sesto Bruscantini
4. Act 1, Scene 6: Aria: 'Amorose Ai Rai' - Lucia Valentini-Terrani
5. Act 2, Scene 2: Aria: 'Sorge L'irato Nembo' - Marilyn Horne
6. Act 2, Scene 3: Aria: 'Vorresti Amor Da Me?' - Lucia Valentini-Terrani
7. Act 2, Scene 4: Aria: 'Che Bel Morirti' - Sesto Bruscantini
8. Act 2, Scene 4: Aria: 'Se Cresce Un Torrente' - Carmen Gonzales
9. Act 2, Scene 5: Aria: 'Qual Candido Fiore' - Lajos Kozma
10. Act 2, Scene 5: Aria: 'Chiara Al Pari Di' - Victoria De Los Angeles
11. Act 2, Scene 8: Chor: 'Al Fragor De Corni Audaci' - Amici Della Polifonia Chor/Piero Cavalli
12. Act 2, Scene 8: Aria: 'Cosi Potessi Anch'io' - Lucia Valentini-Terrani
13. Act 3, Scene 1: Aria: 'Dove Il Valor Combatte' - Nicolas Zaccaria
14. Act 3, Scene 5: Aria: 'Poveri Affetti Miei' - Victoria De Los Angeles
15. Act 3, Scene 6: Aria: 'Fonti Di Pianto' - Marilyn Horne
16. Act 3, Scene 9: Aria: 'Andero, Chiamero' - Lucia Valentini-Terrani
17. Act 3, Scene 9: Chor: 'Con Mirti E Fiori' - Amici Della Polifonia/Piero Cavalli

Customer Reviews:

An opera for Marilyn Horne.......1998-09-10

Perhaps the best opera written by Vivaldi, and apparently written for Marilyn Horne! The role of Orlando suits her perfectly, with all the sensational coloratura, and several arie di tempesta (tempest arias, in which the voice mimicks a storm). There are also hilraious moments (unfortunately understandable only when the opera is staged), such as when the medieval hero Orlando, who has become mad, enters announcing he is Orestes, the Greek hero (Napoleon wasn't born yet!)

Average customer rating:

Vivaldi: Orlando Furioso Manufacturer: Wea International ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music ASIN: B000005E5S Release Date: 2002-08-12

Tracks:

1. Act I
2. Act Ii
3. Act Iii

Average customer rating:

Neeme Järvi Conducts Rachmaninov Manufacturer: Chandos ProductGroup: Music Binding: Audio CD Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Russian | Languages | Opera & Vocal | Styles | Music ASIN: B0009SC7HW Release Date: 2005-07-26

Tracks:

1. I Allegro Ma Non Tanto
2. II Lento
3. III Presto
4. IV Lento Lugubre
5. Vocalise, Op.34 No.14
6. No.5 Women's Dance Tempo Di Valse
7. No.6 Men's Dance Vivo - Meno Mosso, Alla Zingana - Poco A Poco Accelerando - Presto Furioso
8. Allegro Vivace - Lento Lugubre

Average customer rating:

New Year's Concert 1999 Manufacturer: RCA ProductGroup: Music Binding: Audio CD Dances | Ballets & Dances | Classical | Styles | Music Polkas | Ballets & Dances | Classical | Styles | Music Waltzes | Ballets & Dances | Classical | Styles | Music Strauss Jr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Johann Strauss Sr. | Strauss Sr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Marches | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: New Year's Concert 2000 1994 New Year's Concert Neujahrskonzert 1996 New Year's Concert 1990 New Year's Concert 1997 ASIN: B00000I146 Release Date: 1999-02-09

Tracks:

1. Sinngedichte - Epigramme, Walzer, Op. 1 - Wiener Philharmoniker / Lorin Maazel
2. Scher-Polka, Op. 72 - Wiener Philharmoniker / Lorin Maazel
3. Furioso-Galopp (nach - after Franz Liszt), Op. 114 - Wiener Philharmoniker / Lorin Maazel
4. Geschichten aus dem Wienerwald, Walzer, Op. 325: Tales from the Vienna Woods - Johann Strauss II
5. Tritsch-Tratsch-Polka, Polka schnell, Op. 214 - Wiener Philharmoniker / Lorin Maazel
6. Donauweibchen, Walzer, Op. 427: Little Woman of the Danube - Johann Strauss II
7. Hopser-Polka, Op. 28 - Wiener Philharmoniker / Lorin Maazel
8. Walzer a la Paganini, Op. 11 (violin & orchestra) - Wiener Philharmoniker / Lorin Maazel
9. Kunstlerleben, Walzer, Op. 316 - Johann Strauss II
10. Banditen-Galopp, Op. 378 - Wiener Philharmoniker / Lorin Maazel
11. Unter Donner und Blitz, Polka schnell, Op. 324: During Thunder and Lightning - Johann Strauss II
12. Perpetuum mobile, Op. 257 - Johann Strauss II
13. An der schonen blauen Donau, Walzer, Op. 314: On the Beautiful Blue Danube - Johann Strauss II
14. Radetzky-Marsch, Op. 228 - Wiener Philharmoniker / Lorin Maazel

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