Tito Tito Tito

Track Listings

1. Descarga Cachao

2. Boco-Boco

3. Cosas del Alma

4. Ese Eres Tu

5. Donde Estabas Tu

6. Sun Sun Babae

7. Descarga Malanga

8. Tremendo Cumban

9. Dudas de Mi

10. Toalla

11. Ya Lo Puedes Decir

Tito Tito Tito,Tito Rodriguez,Polygram Records,Cuban Jazz,Latin,New York Salsa,Pop

Latin

Music

Jazz

Music

Tito Tito Tito

Tracks:

Una Palabra - Carlos Varela
Main Title
Taxi
El Paso
Creasy's Room
The Rave
Pita's Sorrow
Nightmare
Bullet Tells The Truth
Followed
Smiling
You Are Her Father
No Mariachi
The Drop
Angel Vengador - Gabriel Gonzalez
You Betrayed Me
She's Dead
The Crime Scene
Pita's Room
Gonzalez
Oye Como Va - Kinky
La Nina
Creasy's Art Is Death
The Voice
Sanchez Family
The Rooftop
The End
Man On Fire (Remix) - Hybrid

Amazon.com

Director Tony Scott's tale of an ex-Marine-turned-bodyguard (Denzel Washington) who responds to the kidnapping of his young charge and her family with a violence-drenched cycle of revenge and torture is driven by the filmmaker's typically manic visual sense. English composer Harry Gregson-Williams, whose conjured similar action-oriented synth-symphony fusion scores for The Rundown and Spy Game, deftly expands the dimensions of that bi-polar musical sensibility here, infusing it with gentle ethnic folk touches and the ever-savory sonic contributions of Lisa Gerrard. The composer matches Scott's visually jarring action sequences with a melange of strangled guitar riffs, metallic rhythms and aggressive electronic soundscapes, contrasting them masterfully against quiet piano passages and brooding symphonic pastoralism. Contemporary Latin ballads by Gabriel Gonzalez and Cuban singer/songwriter Carlos Varela help cement the score's foreign intrigue, while Gerrard (arguably the MVP of soundtrack utility players) contributes a smart remix of the title track and collaborates with Gregson-Williams on the haunting "The End," which also features her distinctly exotic vocals. The result is a spiritual cousin to Hans Zimmer's similarly compelling brew of electronica and world music for Black Hawk Down. -- Jerry McCulley

Customer Reviews:

excelent soundtrack.......2007-05-14

If you love the movie you will love the soundtrack, it is greatttt......

Easy to the ears.......2007-01-09

This was a gift to my husband,,he loved the music during the movie and wanted this CD for a very long time. He was very suprised at Christmas, even the kids like listening to him play it over and over again.

THE RAVE .......2006-07-29

YEAH i need help finding out the artist or group for THE RAVE please

I'm touched..........2006-05-20

The film and the music makes a magnificent combination. I'm amazed by the pictures, the music and the way it all comes together in my mind. "Smiling" is one of the most beautiful songs I've ever heard and it makes the impression everlasting. I recommend this CD to anyone who wants to lean back after a hard days work and reflect on what's important in life. Because that's what this music does to you. I'm impressed.

Per Jonsson
Malmö, Sweden.

not the music I expected from the showtrack.......2006-03-25

my husband and I were very disappointed. It was not the music we expected from the soundtrack. What happened to the real music?

Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata

Average customer rating:

Why 5... Find Out!
Outstanding De Sabata! Most famous and controversial Tosca!
The Tosca of the century
Wow Wow Wow Wow Wow!!!!

Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin
Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Bizet: Carmen (Complete Opera); Mirella Freni; Jon Vickers; Grace Bumbry
Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra

ASIN: B0000E3HM3
Release Date: 2003-12-02

Tracks:

Ah! Finalmente!
E Sempre Lava!
Sante Ampolle! Il Suo Ritratto!
Dammi I Colori...Recondita Armonia
Gente La Dentro!
Mario!...Mario!...Mario!...Son Qui!
Ora Stammi A Sentir
Or Lasciami Al Lavoro
Ah, Quegli Occhi...Quale Occhio Al Mondo
Mia Gelosa!
E Buona La Mia Tosca
Sommo Giubilo, Eccellenza!
Un Tal Baccano In Chiesa!
Tosca? Che Non Mi Veda
Ed Io Venivo A Lui Tutta Dogliosa
Tre Sbirri, Una Carrozza

Tracks:

Tosca E Un Buon Falco!
Ha Piu Forte Sapore
O Galantuomo, Come Ando La Caccia?
Meno Male!
Ov'E Angelotti?
Ed Or Fra Noi Parliam Da Buoni Amici
Sciarrone, Che Dice Il Cavalier?
Orsu, Tosca, Parlate
Floria!...Amore
Salvatelo!...Lo?...Voi!
Se La Giurata Fede Debbo Tradir...Gia Mi Struggea L'Amor
Come Tu Mi Odi!
Vissi D'Arte
Vedi, Le Man Giunte Io Stendo A Te!
Lo Tenni La Promessa
Tosca, Finalmente Mia!
Or Gli Perdono!
Andante Sostenuto
Lento (Le Campane Suonano Mattutino)
Largo - Mario Cavaradossi? A voi... - Meno
E Lucevan Le Stelle
Moderato Con Moto
O Dolci Mani Mansuete E Pure
Senti, I'Ora E Vicina
Amaro Sol Per Te M'Era Il Moire
E Non Giungono
Come E Lunga I'Attesa!
Presto! Su, Mario!

Customer Reviews:

Why 5... Find Out!.......2006-10-13

When I first got this recording, it was my first Tosca. As such, I didn't know what to listen to (or what to listen for) and really at the time the only other soprano I had heard was Cecilia Bartoli in La Cenerentola. So bascially it was my first Tosca with my only soprano. Even so, I knew after listening to the second act that this would be the best Tosca I had ever heard. Callas gives an amazingly intuitive dramatic performance of Tosca, with di Stefano matching her wonderfully as Cavaradossi. Tito Gobbi, of course, is Scarpia and gives the role an extremely insightful flair. Spoletta is played by Angelo Mercuriali, who gives, if not the most dramatic, certainly a precise interpretation of the role. As with all of Callas's Tosca recordings, the second act (i.e. from "Tosca e un buon falco!" to "E qual via scegliete?") is perhaps the best interpretation of the music and the donna Tosca that I have heard. Behind the baton is Victor de Sabata, who provides a unique insight into the music. He brings out, as Toscanini says, "what Puccini intended for the audience to hear". 5 stars.

Outstanding De Sabata! Most famous and controversial Tosca! .......2004-08-07

This is one of the few recordings in which the conductor attracted my attention more than the singers. This is not to dismiss the singers but De Sabata's conducting makes this the most idiomatic Tosca recording I've ever heard.

All three protagonists are heard here in their short-lived prime. Callas in firm voice is a capricious, nervous and furious Tosca. Many accuse her of overacting but here she controls herself and most outbreaks sound sincere. You won't hear the grandness, dignity and beauty of Tebaldi's Tosca but Callas' Tosca is a unique creation. No need to argue which one is better, they both are legendary and besides, tastes differ.

Di Stefano is all ardour and tenderness in this most beloved tenor role. I can already hear the manners that eventually ruined his instrument but he nevertheless is a memorable Mario. Gobbi's Scarpia frightens Tosca not because of what he is but because of what he can do. Gobbi doesn't have the huge voice that made Bastianini or London so scary but he uses his to great effect and creates a sinister Baron Scarpia. Luise's Sagristano is most convincing.

One of the greatest virtues of this old Tosca recording is its vitality and chemistry between the performers. No wonder that since its release it's impossible to make and accurate historical evaluation of Puccini's Tosca without taking it into account. Finally released at budget price!

The Tosca of the century.......2004-05-17

This recording has been showered with accolades and praise by critics, operafans, reviewers etc. etc. And listening to it a whole world comes to life. In a time when Puccini's masterpieces are destroyed by arrogant "directors" this golden age recording is like a breath of fresh air. Callas is in her prime, sounding fresh, loving, passionate and fascinating. She became Tosca, all her jealousies, passions, moods, fears are so real, so sublime and natural that you'll forget that you're listening to a recording. She cleared Tosca of those veristic, fish-wife tears after "Egli ved ch'io piango!" and her tears and agony are heard through her voice alone. Listen to Tosca's ardent "A come la sai bene l'arte di farti amare!" ... She sounds so gorgeous, so lucid and passionate, it'll warm your heart. Then there is act II with the never equalled clash between Tosca and the evil Scarpia sung and acted to perfection by Callas (Whose high Cs will chill you!) and Gobbi. (The only Scarpia) Listen to Callas' tearful, beautiful "Vissi d'arte" sung with exquisite legato, velvety warmth and most tearful colours. Pleading "Why, oh lord dost thou repay me thus?" she will break your heart! The chilling murder of Scarpia with Callas/Tosca ROARING "M'ai assai TORTURATO!!!!!" is too thrilling to describe. And the final duet sung with di Stefano and Tosca's suicide are portrayed hauntingly. Di Stefano, her favourite partner and part of the greatest operatic trio of the century (Callas, di Stefano, Gobbi) sounds sunny, charming and passionate. In short: It's the best Tosca ever recorded.

Wow Wow Wow Wow Wow!!!!.......2004-03-16

This is my first Callas recording. I was curious about her, of course, but I was always put off by descriptions of more or less horrendous audio problems on the famous recordings. Used to modern recordings, I didn't know how I'd react to such bad sound, so I put off trying.

No more! This is a new (12/03) EMI Remaster of the famous de Sabata "Tosca" -- yes, THE definitive "Tosca" starring Callas, Di Stefano, and Gobbi. And I can tell you it sounds WONDERFUL!

Why is this set so affordable, then? I have no idea! There is no libretto included, only a slim booklet with a track list, a short synopsis of the action for each track, and one article about the opera and this performance. There is no cardboard case, and only a simple 2-part jewelcase, not the hefty one often provided with opera CD sets.

But it's enough!! It's more than enough! I'd buy these disks if they were sold loose in a paper bag. I am totally, permanently won over. This performance is simply electrifying! The music leaps out of the speakers and grabs you. Callas as Tosca had me in tears! Scarpia scared me! It's too good to believe it happened several decades ago.

Tracks:

Eine Kleine Nachtmusik, K.525: Allegro - Herbert Kraus, Vienna Mozart Ensemble
Eine Kleine Nachtmusik, K.525: Romance. Andante - Herbert Kraus, Vienna Mozart Ensemble
Eine Kleine Nachtmusik, K.525: Menuetto. Allegretto - Herbert Kraus, Vienna Mozart Ensemble
Eine Kleine Nachtmusik, K.525: Rondo. Allegro - Herbert Kraus, Vienna Mozart Ensemble
Divertimento in D, K.136: Allegro - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.136: Andante - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.136: Presto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in B Flat, K.137: Allegro Di Molto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in B Flat, K.137: Andante - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in B Flat, K.137: Allegro Assai - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in F, K.138: Allegro - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in F, K.138: Andante - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in F, K.138: Presto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in E Flat, K.113: Allegro - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in E Flat, K.113: Andante - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in E Flat, K.113: Menuetto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in E Flat, K.113: Allegro - Camerata Academica of the Salzburg Mozarteum, Sandor V

Tracks:

Serenata Notturna in D, K.239: Marcia. Maestoso - The Berlin Chamber Orchestra, Peter Wohlert
Serenata Notturna in D, K.239: Menuetto - The Berlin Chamber Orchestra, Peter Wohlert
Serenata Notturna in D, K.239: Rondeau. Allegretto - The Berlin Chamber Orchestra, Peter Wohlert
Divertimento in D, K.131: Allegro - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.131: Adagio - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.131: Menuetto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.131: Allegretto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.131: Menuetto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.131: Adagio- Allegro Molto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.205: Largo-Allegro - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.205: Menuetto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.205: Adagio - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.205: Menuetto - Camerata Academica of the Salzburg Mozarteum, Sandor V
Divertimento in D, K.205: Finale. Presto - Camerata Academica of the Salzburg Mozarteum, Sandor V

Tracks:

Symphony No. 34 in C, K.388: Allegro Vivace - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 34 in C, K.388: Andante Di Molto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 34 in C, K.388: Finale. Allegro Vivace - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 35 in D, K.285, Haffner: Allegro Con Spirito - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 35 in D, K.285, Haffner: Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 35 in D, K.285, Haffner: Menuetto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 35 in D, K.285, Haffner: Presto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 36 in C, K.425, Linz: Adagio/Allegro Spiritoso - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 36 in C, K.425, Linz: Poco Adagio - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 36 in C, K.425, Linz: Menuetto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 36 in C, K.425, Linz: Presto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus

Tracks:

Symphony No. 38 in D, K.504, Prague: Adagio/Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 38 in D, K.504, Prague: Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 38 in D, K.504, Prague: Finale. Presto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 39 in E Flat, K.543: Adagio/Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 39 in E Flat, K.543: Andante Con Moto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 39 in E Flat, K.543: Menuetto. Allegretto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 39 in E Flat, K.543: Finale. Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus

Tracks:

Symphony No. 40 in G Minor, K.550: Molto Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 40 in G Minor, K.550: Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 40 in G Minor, K.550: Menuetto. Allegretto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 40 in G Minor, K.550: Allegro Assai - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 41 in C, K.551, Jupiter: Allegro Vivace - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 41 in C, K.551, Jupiter: Andante Cantabile - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 41 in C, K.551, Jupiter: Menuetto. Allegretto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 41 in C, K.551, Jupiter: Molto Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus

Tracks:

Symphony No. 9 in C, K. 73 (75a): Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 9 in C, K. 73 (75a): Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 9 in C, K. 73 (75a): Menuetto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 9 in C, K. 73 (75a): Molto Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 10 in G, K.74: Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 10 in G, K.74: Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 10 in G, K.74: Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 10 in D, K. 81 (73l): Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 10 in D, K. 81 (73l): Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 10 in D, K. 81 (73l): Allegreo Molto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 11 in D, K. 84 (73g): Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 11 in D, K. 84 (73g): Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony No. 11 in D, K. 84 (73g): Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony in D, K. 95 (73a): Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony in D, K. 95 (73a): Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony in D, K. 95 (73a): Menuetto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony in D, K. 95 (73a): Molto Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony in F, K.75: Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony in F, K.75: Menuetto - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony in F, K.75: Andante - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Symphony in F, K.75: Allegro - Hans Graf, Salzburg Mozarteum Orchestra & Chorus

Tracks:

Piano Concerto No. 12 in A, K.414: Allegro - Capella Coloniensis, Marian Migdal
Piano Concerto No. 12 in A, K.414: Andante - Capella Coloniensis, Marian Migdal
Piano Concerto No. 12 in A, K.414: Allegretto - Capella Coloniensis, Marian Migdal
Piano Concerto No. 25 in C, K.503: Allegro Maestoso - Capella Coloniensis, Marian Migdal
Piano Concerto No. 25 in C, K.503: Andante - Capella Coloniensis, Marian Migdal
Piano Concerto No. 25 in C, K.503: Allegretto - Capella Coloniensis, Marian Migdal

Tracks:

Piano Concerto No. 13 in C, K.415: Allegro - Capella Coloniensis, Nicholas Kraemer, Linda Nicholson
Piano Concerto No. 13 in C, K.415: Andante - Capella Coloniensis, Nicholas Kraemer, Linda Nicholson
Piano Concerto No. 13 in C, K.415: Allegro - Capella Coloniensis, Nicholas Kraemer, Linda Nicholson
Piano Concerto No. 23 in A, K.488: Allegro - Capella Coloniensis, Nicholas Kraemer, Linda Nicholson
Piano Concerto No. 23 in A, K.488: Adagio - Capella Coloniensis, Nicholas Kraemer, Linda Nicholson
Piano Concerto No. 23 in A, K.488: Allegro Assai - Capella Coloniensis, Nicholas Kraemer, Linda Nicholson

Tracks:

Flute Concerto in G Major, K.313: Allegro Maestoso - Hungarian State Orchestra, , Ervin Lukacs
Flute Concerto in G Major, K.313: Adagio Non Troppo - Hungarian State Orchestra, , Ervin Lukacs
Flute Concerto in G Major, K.313: Rondo: Tempo Di Minuetto - Hungarian State Orchestra, , Ervin Lukacs
Flute Concerto in D Major, K.314: Allegro Aperto - Hungarian State Orchestra, , Ervin Lukacs
Flute Concerto in D Major, K.314: Andante Ma Non Troppo - Hungarian State Orchestra, , Ervin Lukacs
Flute Concerto in D Major, K.314: Rondo. Allegro - Hungarian State Orchestra, , Ervin Lukacs
Concerto for Flute and Harp in C, K.299: Allegro - Cologne Concerto, Saskia Kwast, Martin Sandhoff
Concerto for Flute and Harp in C, K.299: Andantino - Cologne Concerto, Saskia Kwast, Martin Sandhoff
Concerto for Flute and Harp in C, K.299: Rondo. Allegro - Cologne Concerto, Saskia Kwast, Martin Sandhoff

Tracks:

Clarinet Concerto in A, K.622: Allegro - English Chamber Orchestra, David Glasser, Geoffrey Simon
Clarinet Concerto in A, K.622: Adagio - English Chamber Orchestra, David Glasser, Geoffrey Simon
Clarinet Concerto in A, K.622: Rondo. Allegro - English Chamber Orchestra, David Glasser, Geoffrey Simon
Oboe Concerto in C, K.314: Allegro Aperto - C.P.E. Bach Chamber Orchestra, Burkhard Glaetzner, Hartmut Haenchen
Oboe Concerto in C, K.314: Adagio Non Troppo - C.P.E. Bach Chamber Orchestra, Burkhard Glaetzner, Hartmut Haenchen
Oboe Concerto in C, K.314: Rondo, Allegretto - C.P.E. Bach Chamber Orchestra, Burkhard Glaetzner, Hartmut Haenchen
Bassoon Concerto in B Flat, K.191: Allegro - Klaus Hellman, Herbert Kraus, Vienna Mozart Ensemble
Bassoon Concerto in B Flat, K.191: Andante Ma Adagio - Klaus Hellman, Herbert Kraus, Vienna Mozart Ensemble
Bassoon Concerto in B Flat, K.191: Rondeau, Tempo Di Minuetto - Klaus Hellman, Herbert Kraus, Vienna Mozart Ensemble

Tracks:

String Quartet in a Major K.464: Allegro - Petersen Quartett
String Quartet in a Major K.464: Menuetto - Petersen Quartett
String Quartet in a Major K.464: Andante - Petersen Quartett
String Quartet in a Major K.464: Allegro - Petersen Quartett
String Quartet in C Major K.465 Dissonant: Adagio, Allegro - Petersen Quartett
String Quartet in C Major K.465 Dissonant: Andante Cantabile - Petersen Quartett
String Quartet in C Major K.465 Dissonant: Menuetto. Allegro - Petersen Quartett
String Quartet in C Major K.465 Dissonant: Allegro - Petersen Quartett

Tracks:

Vioin Concerto No. 3 in G, K.216: Allegro - Christian Altenburger, German Bach Soloists, Helmut Winschermann
Vioin Concerto No. 3 in G, K.216: Adagio - Christian Altenburger, German Bach Soloists, Helmut Winschermann
Vioin Concerto No. 3 in G, K.216: Rondo. Allegro - Christian Altenburger, German Bach Soloists, Helmut Winschermann
Vioin Concerto No. 4 in D, K.218: Allegro - Christian Altenburger, German Bach Soloists, Helmut Winschermann
Vioin Concerto No. 4 in D, K.218: Andante Cantabile - Christian Altenburger, German Bach Soloists, Helmut Winschermann
Vioin Concerto No. 4 in D, K.218: Rondeau. Andante Grazioso - Christian Altenburger, German Bach Soloists, Helmut Winschermann
Fantasy in F Minor, K.608 - Camerata Academica of the Salzburg Mozarteum, Sandor V

Tracks:

Violin Concerto No. 5 in A, K.219: Allegro Aperto - Christian Altenburger, Wolfram Christ, German Bach Soloists, Helmut Winschermann
Violin Concerto No. 5 in A, K.219: Adagio - Christian Altenburger, Wolfram Christ, German Bach Soloists, Helmut Winschermann
Violin Concerto No. 5 in A, K.219: Rondeau, Tempo Di Minuetto - Christian Altenburger, Wolfram Christ, German Bach Soloists, Helmut Winschermann
Sinfonia Concertante in E Flat for Violin and Viola, K.364: ... - Christian Altenburger, Wolfram Christ, German Bach Soloists, Helmut Winschermann
Sinfonia Concertante in E Flat for Violin and Viola, K.364: Andante - Christian Altenburger, Wolfram Christ, German Bach Soloists, Helmut Winschermann
Sinfonia Concertante in E Flat for Violin and Viola, K.364: Presto - Christian Altenburger, Wolfram Christ, German Bach Soloists, Helmut Winschermann

Tracks:

Requiem, K.626: Requiem - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Dies Irae - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Tuba Mirum - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Rex Tremendae - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Recordare - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Confutatis - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Lacrimosa - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Domine Jesu - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Hostias - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Sanctus - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Benedictus - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Agnus Dei - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Requiem, K.626: Lux Aeterna - Aldo Baldin, Berlin Radio Symphony Orchestra, Gerhard Faulstich, Rias Chamber Chorus, Gabriele Schreckenbach, Edith Wiens
Laudate Dominum - Budapest Philharmonic Orchestra, Ivan Fischer, Jeunesses Musicales Chorus, Maria Zadori

Tracks:

Missa Solembis in C Minor, K.139: Kyrie - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Missa Solembis in C Minor, K.139: Gloria - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Missa Solembis in C Minor, K.139: Credo - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Missa Solembis in C Minor, K.139: Sanctus - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Missa Solembis in C Minor, K.139: Benedictus - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Missa Solembis in C Minor, K.139: Agnus Dei - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Misericordias Domini, K.222 - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Inter Natos Mulierum, K.72 - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Sancta Maria, Mater Dei, K.273 - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach
Venite Populi, K.260 - Berlin Radio Symphony Orchestra, , Werner Hollweg, Celina Lindsley, Rias Chamber Chorus, Gabriele Schreckenbach

Tracks:

Ave Verum Corpus [From Lorenzo's Oil] - Berlin Radio Symphony Orchestra, Marcus Creed, Rias Chamber Chorus
Exsultate, Jubilate, K.165 - Gabrielle Fuchs
Church Sonata in C, K.328 - Robert Kuppelwieser
Laudate Dominum - Camerata Academica of the Salzburg Mozarteum, Gabrielle Fuchs, Ernst Hinreiner
Fantasy in F Minor, K.608
Ah, Lo Previdi...Ah, T'Invola Agl'occhi Miei, K.272 - Hungarian State Opera Orchestra, Ervin Lukacs, Sylvia Sass

Tracks:

Magic Flute, K.620 - Staatskapelle Dresden, Hans Vonk
Marriage of Figaro, K.492 - Staatskapelle Dresden, Hans Vonk
Ascanio in Alba, K.111 - Staatskapelle Dresden, Hans Vonk
Idomeneo, K.366 - Staatskapelle Dresden, Hans Vonk
Impresario, K.486 - Staatskapelle Dresden, Hans Vonk
Cosi Fan Tutte, K.588 - Staatskapelle Dresden, Hans Vonk
Abduction from the Seraglio, K.384 - Staatskapelle Dresden, Hans Vonk
Finta Giardiniera, K.196 - Staatskapelle Dresden, Hans Vonk
Lucio Silla, K.135 - Staatskapelle Dresden, Hans Vonk
Clemenza Di Tito, K.621 - Staatskapelle Dresden, Hans Vonk
Don Giovanni, K.527 - Staatskapelle Dresden, Hans Vonk

Tracks:

Five Minuets, K.461: No. 1 in C - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Five Minuets, K.461: No. 2 in E Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Five Minuets, K.461: No. 3 in G - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Five Minuets, K.461: No. 4 in B Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Five Minuets, K.461: No. 5 in F - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six Contredances, K.462: No. 1 in C - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six Contredances, K.462: No. 2 in E Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six Contredances, K.462: No. 3 in B Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six Contredances, K.462: No. 4 in D - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six Contredances, K.462: No. 5 in B Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six Contredances, K.462: No. 6 in F - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Two Quadriles, K.463: No. 1 in F - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Two Quadriles, K.463: No. 2 in B Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six German Dances, K.509 - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Contredanse, K.534, Das Donnerwetter - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Contredanse, K.535 la Bataille - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Contredanse, K.587 Der Sieg Vom Helden Koburg - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six German Dances, K.600: No. 1 in C - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six German Dances, K.600: No. 2 in F - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six German Dances, K.600: No. 3 in B Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six German Dances, K.600: No. 4 in E Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six German Dances, K.600: No. 5 in G, The Canary - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Six German Dances, K.600: No. 6 in D - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Two Contredanses, K.603: No. 1 in D - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Two Contredanses, K.603: No. 2 in B Flat - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Three German Dances, K.605: No. 1 in D - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Three German Dances, K.605: No. 2 in G - Hans Graf, Salzburg Mozarteum Orchestra & Chorus
Three German Dances, K.605: No. 3 in C, The Sleighride - Hans Graf, Salzburg Mozarteum Orchestra & Chorus

Tracks:

Magic Flute, K.620 Highlights: Overture - Staatskapelle Dresden, Hans Vonk
Magic Flute, K.620 Highlights: Der Vogelfer Bin Ich Ja, ... - Bratislava Philharmonic, Hermann Prey
Magic Flute, K.620 Highlights: O Isis and Osiris, The Priest's Chorus - Bulgarian National Choir, Sofia Philharmonic Orchestra, Svetoslav Obretenov Bulgarian Choir
Magic Flute, K.620 Highlights: Der H Rache, Queen of the ... - Berlin Radio Symphony Orchestra, Sumi Jo, Roberto Paternostro
Magic Flute, K.620 Highlights: Ies Bildnis Ist Bezaubernd Sch... - Kurt Eichhorn, Munich Radio Orchestra, Josef Protschka
Magic Flute, K.620 Highlights: Ein Mhen Oder Weibchen, ... - Bratislava Philharmonic, Hermann Prey,
Magic Flute, K.620 Highlights: Heil Sei Euch Geweihten, Final Chorus - Bulgarian National Choir, Sofia Philharmonic Orchestra, Svetoslav Obretenov Bulgarian Choir
Idomeneo, K.366 Highlights: Vedrommi Intorno, Idomeneo's Aria - NHK Chamber Soloists, Roberto Paternostro, Giuseppe Sabbatini
Idomeneo, K.366 Highlights: Ballet Music - NHK Chamber Soloists, Roberto Paternostro, Giuseppe Sabbatini
Idomeneo, K.366 Highlights: Il Padre Adorato, Idamente's Aria - NHK Chamber Soloists, Roberto Paternostro, Giuseppe Sabbatini
Idomeneo, K.366 Highlights: d'Oreste, d'Ajace, Electra's Aria - Hungarian State Opera Orchestra, Ervin Lukacs, Sylvia Sass
Idomeneo, K.366 Highlights: Torna la Pace, Idomenco's Aria - Kurt Eichhorn, Munich Radio Orchestra, Josef Protschka

Tracks:

Don Giovanni, K.527 Highlights: Overture - Staatskapelle Dresden, Hans Vonk
Don Giovanni, K.527 Highlights: Madamina, Il Catalogo Questo, ... - Renato Bruson, NHK Chamber Soloists, Roberto Paternostro
Don Giovanni, K.527 Highlights: Li Darem la Mano, Duet ... - Renato Bruson, Sona Ghazarian, NHK Chamber Soloists, Roberto Paternostro
Don Giovanni, K.527 Highlights: Dalla Sua Pace, Don Ottavio's Aria - Kurt Eichhorn, Munich Radio Orchestra, Josef Protschka
Don Giovanni, K.527 Highlights: Mi Traduell'alma Ingrata, ... - Sona Ghazarian, NHK Chamber Soloists, Roberto Paternostro
Don Giovanni, K.527 Highlights: Il Mio Tesoro, Don Ottavio's Aria - Kurt Eichhorn, Munich Radio Orchestra, Josef Protschka
Abduction from the Seraglio, K.384: Ich Baue Ganz Auf Deine ... - Kurt Eichhorn, Munich Radio Orchestra, Josef Protschka
Abduction from the Seraglio, K.384: Singt Dem Gron Bassa Lieder, ... - Berlin Radio Symphony Orchestra, Rias Chamber Chorus, Hanns Martin Schneidt
Abduction from the Seraglio, K.384: Wenn Der Freude Trn ... - Kurt Eichhorn, Munich Radio Orchestra, Josef Protschka
Cosan Tutte, K. 588: Come Scoglio, Fiordiligi's Aria - Bulgarian Radio Symphony Orchestra, Vassil Stefanov, Anna Tomowa Sintow
Cosan Tutte, K. 588: Un'aura Amorosa, Ferrando's Aria - NHK Chamber Soloists, Roberto Paternostro, Giuseppe Sabbatini
Clemenza Di Tito, K.621: Ah Se Fosse Intorno Al Trono, Tito's Aria - NHK Chamber Soloists, Roberto Paternostro, Giuseppe Sabbatini

Album Description

Enjoy a little night music with Mozart and this ultimate collection of his music. This incredible 20-CD set presents the listener with all of Mozart's most famous works, from Symphonies and Concertos, to highlights of his best operas The Magic Flute and Don Giovanni. Take in his Missa Solemnis, Ave Verum and Requiem and don't forget Eine Kleine Nachtmusik...this set truly is the most definitive Mozart collection ever assembled!

Customer Reviews:

A Wonderful Collection.......2007-04-11

As a selection, this is highly representative of Mozart's music. Just seeing the volume of work makes one marvel at Mozart's genius. Hear everything from piano to woodwinds, symphonies to concertos as well as religious pieces and operas. On my cd player, which is not a very expensive model, I get fine tonal quality and dynamics. I would highly recommend this box set to any fan of Mozart's work.

Celebrate Mozart's 250th at a Budget Price.......2006-01-11

This month will mark the 250th anniversary of the birth of one of the giants of the classical music world. While I am certainly not a classical music snob (the only Mozart piece I can identify is "Eine Kleine Nachtmusik," and what little I know of his life came from the 1984 movie "Amadeus"), I recognize his genius and the significance of his music.

This 20-CD box set gathers all of his major symphonies, concertos and operas into one massive collection. All of the selections are performed by European musicians (eg. the Budapest Philharmonic Orchestra, the Berliner Kammerorchester, etc.). While not household names, the music is uniformly excellent.

If you're looking for an inexpensive purchase (I got mine at a national retailer that rhymes with "Clam's Tub" for under $20!) to kick off your "Rock Me Amadeus" party, this is a great choice. RECOMMENDED

Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan

Average customer rating:

The Incomparable Callas
A complete classic among classics
Stellar cast - stellar performance
A "Regular People" Review
this is not a review

Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan
Giacomo Puccini , Victor De Sabata , Maria Callas , Giuseppe di Stefano , Tito Gobbi , and Orchestra e Coro del Teatro alla Scala
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra
Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan

ASIN: B000002RXZ
Release Date: 1997-08-19

Tracks:

TOSCA: Ah! Finalmente! (Cavaradossi)
TOSCA: Dammi i colori...Recondita armonia (Cavaradossi)
TOSCA: Gente lentro! (Cavaradossi - Tosca)
TOSCA: Mario! Mario! Mario!
TOSCA: Ah, quegli occhi...Quale occhio al mondo puar di paro (Tosca - Cavaradossi)
TOSCA: buona la mia Tosca (Cavaradossi)
TOSCA: Un tal baccano in chiesa! (Scarpia)
TOSCA: Tutto hiaro...Tosca? Che non mi veda...Mario! Mario! (Scarpia - Tosca)
TOSCA: Ed io venivo a lui tutta dogliosa (Tosca - Scarpia)
TOSCA: Tre sbirri, una carrozza (Scarpia)

Tracks:

TOSCA: Tosca n buon falco! (Scarpia)
TOSCA: Ha pite (Scarpia)
TOSCA: Meno male! (Scarpia - Cavaradossi)
TOSCA: Dov'unque Angelotti? (Scarpia - Cavaradossi - Tosca)
TOSCA: Ed or fra noi parliam da buoni amici...Scarrione, che dice il Cavalier? (Scarpia - Tosca - Cavaradossi)
TOSCA: Orssca, parlate (Scarpia - Tosca - Caravadossi)
TOSCA: Basta, Roberti
TOSCA: Nel pozzo....Del giardino (Scarpia - Tosca - Caravadossi)
TOSCA: Se la giurata fede debbo tradir (Scarpia - Tosca)
TOSCA: Vissi d'arte (Tosca)
TOSCA: Vedi, le man guinte io stendo a te! (Scarpia - Tosca)
TOSCA: E qual via scegliete? (Scarpia - Tosca)
TOSCA: Io de' sospiri
TOSCA: Act III / Mario Cavaradossi? A voi (Cavaradossi)
TOSCA: E lucevan le stelle (Cavaradossi)
TOSCA: Ah! Franchigia a Floria Tosca
TOSCA: O dolci mani mansuete e pure (Cavaradossi - Tosca)
TOSCA: E non giungono (Tosca - Cavaradossi)
TOSCA: Com'unga l'attesa! (Tosca)
TOSCA: Presto! Su, Mario! Mario! Su! Presto! Andiam! (Tosca)

Amazon.com essential recording

Little can be added to what's been written about this landmark recording, except that Walter Legge's 1953 mono production yields nothing to modern Tosca recordings for vivacity and theatrical impact--especially Maria Callas's. The miraculous Victor de Sabata conjures up a vibrant, inspiring orchestral canvas that enables Callas and her stellar cohorts to work their magic. Tito Gobbi and Callas spur each other on to heights in which the characters take over from the singers in the listener's mind. Giuseppe Di Stefano is on his best behavior, and in fresher voice than on his fine Leontyne Price-Herbert von Karajan remake. On this set, EMI includes texts, translations, and notes that discuss this recording in the context of Callas's mercurial career. --Jed Distler

Customer Reviews:

The Incomparable Callas .......2007-05-13

She was sui generis (unlike any other) and for any fan of Mme. Callas this CD is a "must have!!! For the younger generation who were not fortunate enough to have ever heard her in person, her voice, although imperfect,portrays the complexity of Floria Tosca, through the delicate shadings of Callas' voice. Tosca is vulnerable, she is jealous, she is loving, she is delicate and tough at the same time. All of this is plain to hear through the marvel of this greatest of singing actresses.

A complete classic among classics.......2007-03-19

This is one of the few opera recordings that can reach immortality. De Sabata conducts superb over orchestra and a trinity of "monsters": Di Stefano, Callas and Gobbi understood not only the music but the drama. Opera as it always must be. What can we say about the climatic experience of Callas and Gobbi together, probably the most talented actors in opera?
At the end, pay attention (it is impossible not to) to Tosca's death... In the voice of Callas, no other soprano in history have achieved such perfection.

Stellar cast - stellar performance.......2007-01-11

What more can be said about this recording that has not already been abundantly elaborated?
Callas at her best with a supporting cast that made this recording stand the test of time. I received two recordings this Christmas as a present so that I can compare and perhaps change my mind (the Alagna - Gheorghiou & the Leontyne Price sets). I listened carefully and although I have to admit that Price's voice has a more melodic sonority Callas was the ultimate performer what little she may have lacked in her voice she more than made with her dramatic qualities, she had a stage presence that can be "heard" without having to watch her.
This is truly a premier performance of an operatic masterpiece. Enjoy it.

A "Regular People" Review.......2006-12-04

Hey I'm an Opera newbie trying to find his way around the maze with the help of Opera 101 (any Opera guru's out there that would like to help me out here?). Thanks to the Books advice I picked up this Opera and WOW! This is great stuff. Don't be intimidated by Opera you'll be missing out on this!

this is not a review.......2006-08-15

Just the fact that this product has gathered 123 reviewers by the time I write my first comment ever in a similar internet site, should tell something per se... I am a singer myself. I could write endless technical comments on the slightest vocal or musical nuance these four legendary musicians have contributed here. Empty words! Just ask yourselves: "Do I really and humbly love Music!?" If the answer is "YES!!!", run and buy this recording.

PS. Listen with the libretto in your hands (translation of it if you dont speak italian). Do it. At least the first time through... a Sunday afternoon. You'll remember me.

Average customer rating:

Muy caliente
Excellente
Tito Rocks

Tarantism
Tito & Tarantula
Manufacturer: Bmg
ProductGroup: Music
Binding: Audio CD

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Andalucia
Little Bitch
Hungry Sally & Other Killer Lullabies
From Dusk Till Dawn: Music From The Motion Picture
Mexico and Mariachis: Music From and Inspired by Robert Rodriguez's El Mariachi Trilogy

ASIN: B0000265LH
Release Date: 2003-12-19

Tracks:

After Dark
Smiling Karen
Slippin' & Slidin'
Strange Face
Angry Cockroaches
Back To The House
Jupiter
Sweet Cycle
Flying In My Sleep
Killing Just For Fun

Customer Reviews:

Muy caliente.......2007-04-20

I first encountered Tito Larriva in David Byrne's 1986 slice of absurdist Texas life "mockumentary" TRUE STORIES. I quickly became enamored of his Tex-Mex rock sound, and have followed his career though his work with the CRUZADOS, as well as his current band - though its various musician change-outs. TARANTISM is Tito & Tarantula's best-selling CD to date and, although it contains only 10 tracks, they are some of the band's best known songs: From the full-throttle, sultry and white-hot "After Dark" (is there a red-blooded male out there who doesn't remember Salma Hayek's "would you like some fries with that shake" table dance in FROM DUSK TILL DAWN) and the frenetic "Angry Cockroaches" (also made famous in the same film), to "Back To The House That Love Built" and "Strange Face Of Love" from the film DESPERADO, Larriva's music has frequently provided the driving musical energy behind Robert Rodriguez's films. (The CD is in fact co-produced by both Larriva and Robert Rodriguez.) This CD represents the best cross-section of the band's early work--before they started to veer off into the musical experimentation of their album LITTLE BITCH.

I am surprised that Larriva hasn't found more of a following in this country. Perhaps it is because his music is hard to categorize. It incorporates elements from classic rock, as well as "Tejano," but doesn't really conform to either. Until the rest of the country catches on, and Tito & Tarantula becomes a household name, they will just have to be our little secret.

Excellente.......2006-10-17

First came across Tito and Tarantula on Robert Rodriguez's Desperado soundtrack - it kicked [...] and this album is more of the same bluesy rock. Stinging guitar licks and passionate highway rock - very visual, very dramatic, very poetic. Highly recommended...

Tito Rocks.......2005-10-04

This C.D. Combines some of the best tracks for a great gutiar lovers journey.

Average customer rating:

Not as good as the film...
disappointing
it's all about the Malagueña
Start to Finish, a Real Mexi-CAN of a Soundtrack
Better than the movie!

Once Upon a Time in Mexico

Manufacturer: Milan Records
ProductGroup: Music
Binding: Audio CD

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Desperado: The Soundtrack
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Kill Bill: Volume 2
Kill Bill: Volume 1

ASIN: B0000BWVC5
Release Date: 2003-09-09

Tracks:

Malaguena - Brian Setzer
Traeme Paz - Patricia Vanne
Eye Patch - Robert Rodriguez
Yo Te Quiero - Marcos Loya
Guitar Town - Robert Rodriguez
Church Shootout - Robert Rodriguez
Pistolero - Juno Reactor
Me Gustas Tu - Manu Chao
Sands Theme - Tonto's Giant Nuts
Dias De Los Angeles - Del Castillo
The Man With No Eyes - Robert Rodriguez
Mariachi Vs. Marquez - Robert Rodriguez
Flor De Mal - Tito Larriva
Chicle Boy - Robert Rodriguez
Coup De Etat - Robert Rodriguez
El Mariachi - Robert Rodriguez
Siente Mi Amour - Salma Hayek
Cuka Rocka - Chingon

Customer Reviews:

Not as good as the film..........2007-05-06

I remembered the music in the movie as being a little better than it actually is. I was a little disappointed in the CD.

disappointing.......2007-03-26

It just wasn't what I thought it would be and I personally didn't like it. But it is good music.

it's all about the Malagueña.......2004-12-01

i loved the movie and the music there is good. i really like the Malagueña so i learned how to play it on guitar. the song is great i enjoyed the movie as much as i enjoyed the sound track

Start to Finish, a Real Mexi-CAN of a Soundtrack.......2004-11-30

Alright, so the main reason I got the soundtrack was Pistolero by Juno Reactor,a real driving, pumped-up techno song. I started to get into the rest of the music on the soundtrack, and I find it an essential cd I carry along with me. The great thing about this soundtrack is you can listen in on Mexican traditional music and a glimpse of the culture, and still have some real badass-sounding guitar! Whatever you may think of the film, you can imagine the actors playing their parts in your head, since they play and sing in the soundtrack (as the first one). There is an aura in the music I can't put my finger on; there's a history, an old feel to it, but it lingers with new musical ideas. Kinda like the movie, in terms of making it. I agree fullheartedly with previous reviews: where the movie fails, the music fills in the gaps and expands on Mexican music, making the entire movie/soundtrack experience very deep and epic. I dunno, maybe I'm rambling, but I emphasize that this soundtrack adds culture and kickass to your collection, as it did mine.

Better than the movie!.......2004-11-21

When I first saw this film I was shocked at its total stupidity. I was a big fan of the first Desperado and this sequel completely choked my enthusiasm. One thing that was good about this film though was the music. I have to admit it, the music was excellent and in harmony with the motion picture. The best tracks on this CD are Traeme Paz, El Mariachi and Siente Mi Amor (Salma Hayek brings out the best in her sensuality in this song). I'm not a big fan of Latino music but some of these songs are so beautiful they deserve to be listened to. Yo Te Quiero and Cuka Rocka both are well known songs and excellent to dance to, while Flor Del Mal is a very nice and chilling ballad. This CD is a great addition to your music collection, don't hesitate to buy it.

Rossini: The Barber Of Seville with Maria Callas, Tito Gobbi, Alceo Galliera, Philharmonia Orchestra & Chorus

Average customer rating:

Bravo a tutti!
Doing Rossini Right
A Magnificent Performance !
An iconic version of this opera
It's not just the stars, but the drama...

Rossini: The Barber Of Seville with Maria Callas, Tito Gobbi, Alceo Galliera, Philharmonia Orchestra & Chorus
Gioachino Rossini , Alceo Galliera , Maria Callas , Luigi Alva , Philharmonia Orchestra and Chorus , Gabriella Carturan , Tito Gobbi , Fritz Ollendorf , and Mario Carlin
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan
Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra
Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano
Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan

ASIN: B000002RY1
Release Date: 1997-08-19

Tracks:

Il Barbiere di Siviglia: Overture - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Piano, pianissimo, senza parlar - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Ecco ridente in cielo - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Ehi, Fiorello? - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Mille grazie, mio signore - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Gente indiscreta! (Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - La ran la le ra, la ran la la. Largo al factotum (Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Ah, che bella vita! (Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Se il mio nome saper voi bramate (Figaro, Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Oh, cielo! - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - All'idea di quel metallo (Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Una voce poco fa (Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Si, si, la vincero (Figaro, Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ah, disgraziato Figaro! (Rosina, Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ah! Barbiere d'inferno - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - La calunnia e un venticello - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ah! Che ne dite? - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ma bravi! Ma benone! - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Dunque io son (Figaro, Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ora mi sento meglio (Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - A un dottor della mia sorte - G. Rossini

Tracks:

Il Barbiere di Siviglia: Finora in questa camera - Rossini
Il Barbiere di Siviglia: Ehi, di casa, buona gente - Rossini
Il Barbiere di Siviglia: Che cosa accadde, signori miei - Rossini
Il Barbiere di Siviglia: Fredda ed immobile - Rossini
Il Barbiere di Siviglia: Ma signor... ma un dottor - Rossini
Il Barbiere di Siviglia: Act II: Ma vedi il mio destino! - Rossini
Il Barbiere di Siviglia: Pace e giola sia con voi - Rossini
Il Barbiere di Siviglia: Insomma, mio signore, chi e lei? - Rossini
Il Barbiere di Siviglia: Venite, signorina - Rossini
Il Barbiere di Siviglia: Contro un cor che accende amore - Rossini
Il Barbiere di Siviglia: Bella voce! Bravissima! - Rossini
Il Barbiere di Siviglia: Quando mi sei vicina - Rossini
Il Barbiere di Siviglia: Bravo, signor barbiere, ma bravo! - Rossini
Il Barbiere di Siviglia: Don Basilio!... Cosa veggo! - Rossini
Il Barbiere di Siviglia: Che vecchio sospettoso! - Rossini
Il Barbiere di Siviglia: Il vecchiotto cerca moglie - Rossini
Il Barbiere di Siviglia: Temporale - Thunderstorm - Gewittermusik - Musique d'orage - Rossini
Il Barbiere di Siviglia: Alfine eccoci qua - Rossini
Il Barbiere di Siviglia: Ah, qual colpo inaspettato! - Rossini
Il Barbiere di Siviglia: Ah, disgraziati noi! - Rossini
Il Barbiere di Siviglia: Insomma io ho tutti i torti - Rossini
Il Barbiere di Siviglia: Di si felice innesto - Rossini

Amazon.com essential recording

Maria Callas surprised some fans when this recording appeared in 1958 by singing some of Rosina's music in the mezzo-soprano range. Originally used by Rossini, the mezzo range helped Callas in characterizing Rosina not as a bird-brained, twittering, helpless ingenue but as a crafty, intelligent woman, smarter than any of the men around her (even the resourceful Figaro). Callas's Rosina knew exactly what she wanted and how she would get it. It is a brilliant performance, made even more enjoyable by the first-class contributions of Tito Gobbi, Luigi Alva, and Alceo Galliera. --Joe McLellan

Customer Reviews:

Bravo a tutti!.......2007-05-31

This "barbiere" is outstanding. The singing of Maria Callas (although the role of Rosina is intended for a mezzo) is clear and beautiful and transmits joy and determination. Tito Gobbi as Figaro is marvelous: humorous, hillarable and potent, he really makes Dr. Bartolo life a hell. Luigi Alva as the Count is great but sometimes his voice is too thin yet pretty. Fritz Ollendorf's Dottor Bartolo is very good, dark sometimes but very good.

The orchestra and the chorus are very well conducted by Maestro Alceo Galliera: good tempi and pretty good strenght. If you're getting into opera, this is the opera to start with and this is the version to listen.

Doing Rossini Right.......2007-05-22

My desert island list would include a recording of "Il Barbiere di Sevilia" but the choice of either this EMI set or RCA's Living Stereo Edition, would cause me to attempt smuggling in one or the other recordings of this work. My heart belongs to the Callas/Gobbi set because it was one of the first opera recordings I owned. What grabbed me as a pre-teen was that I could visualize the action through nothing more than the voices of the two lead singers and their ability to shade words. I was oblivious to the reservations many had about both singers in 1958. Gobbi's dry baritone and Callas's edgy and unsteady high notes were for me easy to excuse and I still feel the same way. The RCA set has Robert Merrill and Roberta Peters in their prime. Their voices are simply gorgeous and just as theatrically real as Gobbi/Callas. The RCA set is virtually uncut on 3 disks, the EMI set has some traditional cuts on 2 disks.
But the RCA set distances itself with the presence of coloratura lyric tenor, Cesare Valletti as Almaviva, not that Luigi Alva is second best but the RCA set reinstates Rossini's original closing to the final act with a show stopping coloratura tenor aria that would eventually end up as the closing aria for his Cinderella, "La Cenerentola". There is a passage here with music as fleet and difficult that I thought only a coloratura counter-tenor could sing. Valletti's voice is not as handsome as Alva's but the coloratura work is amazing.

I give both recordings four stars and as much as I dislike having more than version of an opera in my collection, these two recordings are recordings I turn to many times when I want to hear some extraordinary singing.

Now to sonics. Both recordings were made in 1958 but the RCA edition, the second CD edition of this recording, will be of interest to audiophile fans. The sound is splendid, open, with full fidelity. Some ensembles at full tilt distort a bit but the digital master was made using the original tapes on the original tape decks. RCA chose to not clean up the sound (tape hiss) for fear that the original fidelity and crispness would diminish the overall effect. They were right. The EMI remastering is good but I'm always cautious with these Callas Editions because EMI ruined several Callas mono recordings, mistaking the work of adventurous producers and engineers and even pitching some of the recordings incorrectly. But the sound is close to what I remembered with the LP editions. There is a hint of tape hiss, but I would rather have the hiss than the flat line noise reduction systems that deaden the brightness.

A Magnificent Performance !.......2007-05-12

I can only say that Tito Gobi has a voice and performance that is, in this opera, the very best that I have ever heard.

An iconic version of this opera.......2007-03-11

This is one of the great recordings of Rossini's "Il Barbiere di Siviglia." The cast is terrific: Maria Callas as Rosina (in her prime when her voice had not become balky), Tito Gobbi (as Figaro), Luigi Alva (as the Count), Fritz Ollendorff (as Bartolo), and Nicola Zaccaria (as Basilio). Alceo Galliera conducts the Philharmonia Orchestra and Chorus. A few comments to give a sense of the performance. However, suffice it to say that this is a version that still thrills.

Galliera conducts the well know overture with zest. This is an engaging version taken at a sprightly pace. It starts the opera off well.

"Ecco ridente" is an aria sung by Count Almaviva (Luigi Alva), as he tries to woo Rosina. This serenade is smoothly sung. Alva shows some vocal agility at the close of this aria.

Then, of course, there is Figaro's showpiece--"Largo al factotum." Gobbi has mastered this piece. Her throws off the phrases with panache and captures well the spirit of Figaro. An iconic version (an overused term, but accurate in this instance). The piece is taken at a quick pace, as it must be. There are nice touches here (note how Gobbi throws off "di qualita"). Gobbi easily handles the presto close to this work. All in all, an excellent version.

Callas is in good voice as she essays "Una voce poco fa." Later in her career, when she amped up her volume, some ugliness could creep in to her voice. Not here. This is a nice version of the piece. She displays some good coloratura technique in this aria. Good characterization, too. The cabaletta is well sung, with Callas showing off an agile voice. She hits the notes cleanly.

Finally, the wonderful sextet (this has to be one of the best ensemble pieces in all of opera!). "Fredda ed immobile" begins the fireworks. Everyone gets into the act here. This starts slowly and begins to accelerate, leading into "Ma signor. . .ma un dottor." This is rollicking and immense fun. The work shows great velocity as it unwinds. Callas' singing is infectious, but everyone is in the proper spirit.

And on it goes. This version features a terrific cast, led by a good conductor. To repeat, this is one of the most satisfying versions of "Il Barbiere di Siviglia" out there.

It's not just the stars, but the drama..........2004-12-22

Others have written of the undoubtedly great individual performances of most of the soloists in this recording. The most important feature of this opera in general, though, is the drama - it just doesn't work as highlights. At conveying the drama, this recording absolutely excels, primarily through the quality of the ensemble singing of the soloists. The finale of Act I is the finest piece of dramatic singing anywhere in my collection outside live recordings, and one I return to much more than the "lollipops". The timing is perfect, and the balance exceptional.

I suppose it is obligatory to mention a couple of negatives: firstly there is what sounds like some odd balance or microphone placement in some scenes (although my recording predates the nineties mastering mentioned by someone else here, so I'd be interested to see whether that has changed there). Secondly Callas' singing style doesn't really fit the Rosina part, for me. However, that is more than made up for the brilliance of her coloratura, evident particularly to my ears in the Finaletto to Act II. Could do with a bit more subtlety from the chorus in places, too, but the Chorus is often a weakness in recordings from this period.

This was the first opera I ever bought on CD, and therefore it must have been one of the first reissued on CD. I don't think it's been off the shelves ever since, so if you haven't got it, buy it.

Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin

Average customer rating:

Callas, di Stefano and Gobbi. Lucia di Lammermoor.
An actress, and a woman sings
Best Studio Recording
Lovely recording
Not THAT much shorter, the traditional cuts

Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata
Bellini: I Puritani
Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Maria Callas 100 Best Classics

ASIN: B00064N8S6
Release Date: 2005-01-11

Tracks:

Preludio
Percorrete Le Spiagge Vicine
Tu Sei Turbato!...E N'ho Ben Donde
Cruda, Funesta Smania
Il Tuo Dubbio E Omai Certezza
La Pietade In Suo Favore
Maestoso
Ancor Non Giunse!
Regnava Nel Silenzio
Quando Rapito In Estasi
Egli S'Avanza
Sulla Tomba Che Rinserra
Qui Di Sposa Eterna Fede
Ah, Talor Del Tuo Pensiero
Veranno E Te Sull'Aure

Tracks:

Moderato/Lucia Fra Poco A Te Verra
Appressati, Lucia
Il Pallor Fuesto, Orrendo...A Ragion Mi Fe' Spietato
Nobil Sposo...Cessa, Cessa!
Soffriva Nel Pianto
Che Fia?...Suonar Di Giubilo
Se Tradirmi Tu Potrai
Per Te D'Immenso Giubilo...Per Poco Fra Le Tenebre
Dov'E Lucia?...Qui Giungere Or La Vedrem
Ecco Il Tuo Sposo
Chi Mi Frena In Tal Momento
T'Allontana, Sciagurato...Rispettate In Me Di Dio
Sconsigliato! In Queste Porte Chi Ti Guida?
Esci, Fuggi, Il Furor Chem M'Accende
D'Immenso Giubilo
Ah!...Deh, Cessate Que! Contento!...Dalle Stanze Ove Lucia
Oh! Qual Funesto Avvenimento!
Oh Giusto Cielo!...Il Dolce Suono
Ohime! Sorge Il Tremendo
Ardon Gli Incensi; Splendon Le Sacre Faci
Spargi D'Amaro Pianto
Maestoso...Tombe Degli Avi Miei
Fra Poco A Me Ricovero
O, Meschina! O, Fato Orrendo!
Dove Corri, Sventurato?
Tu Che A Dio Spiegasti I'Ali
Che Facesti?

Customer Reviews:

Callas, di Stefano and Gobbi. Lucia di Lammermoor........2007-06-08

Beautiful recording, fabulous voices, Callas was at her very best in this period

An actress, and a woman sings .......2007-01-10

Befoe Maria came onto the scene in 1952, I actually believed that only the "whistling teakettle" type of voice could sing this type of work. When I actually heard a woman's voice, I was transformed from that day.

Best Studio Recording.......2006-11-01

Without a doubt this is the best studio recording of the opera hands down. Callas, Di Stefano and Gobbi are in fine form and Serafin keeps things going at a good pace. The best RECORDING of the opera is of course the 1955 Berlin performance with Karajan conducting. The sound is quite good as Callas bootlegs go and everybody is ON FIRE. One of those magical moments that thankfully somebody taped. If you MUST have your stereo, go with the first Sutherland recording or the Gruberova/Kraus/Rescigno.

Lovely recording.......2005-03-30

I'm a huge bel canto fan and Lucia is one of my top 3 operas. (The others are NORMA and ANNA BOLENA) There is no other Lucia like Callas. Nobody embodies the melancholy, the tragic, fragile beauty and the torment of this doomed heroine more than she. And her coloratura and E-flats glitter and sparkle but never sound senseless or bland. Her partners (di Stefano, Gobbi) are in pristine form and Serafin conducts bel canto with unmatched perfection. This is THE Lucia to buy! A steal, grab it while you can!

Not THAT much shorter, the traditional cuts.......2005-03-17

One can say whatever one likes but IMHO that short review below doesn't do justice to the brilliance of this recording which is not 30 minutes shorter than the Sutherland-recording from 1971. The traditional cuts don't harm the score (The only addition I'd like to see would be the tower-scene), on the contrary, they focus the drama and don't prolong it unnecessarily. The three leads are in brilliant form, the conductor is unmatched. Brava! Brava! Bravissima!

Canciones Clasicas de Marco Antonio Solis

Average customer rating:

Buenas Canciones malos Arreglos
Not Impressed

Canciones Clasicas de Marco Antonio Solis
Tito Nieves
Manufacturer: La Calle Records
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

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Salsa | Latin Music | Styles | Music

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La Llave De Mi Corazon
Como Ama una Mujer
Arroz Con Habichuela
Decisión Unámine
A Punto a Estrallar

ASIN: B000MM1FBO
Release Date: 2007-02-27

Tracks:

MQue Tu Amigo
Cuando Te Acuerdes de M
Peor de Mis Fracasos
Si Te Pudiera Mentir
O Me Voy O Te Vas
Que Me Quedo Contigo
CFui a Enamorarme de Ti
Quime
Tu Cel
Si No Te Hubieras Ido

Customer Reviews:

Buenas Canciones malos Arreglos.......2007-05-09

Aqui parece que empezo una ola de artistas de salsa haciendo grabaciones de otros cantantes de otros generos. Como el disco de Ismael Miranda que lanzo al principios del 2007, las canciones son romanticas pero los arreglos musicales ponen a uno dormir. Esta formula la experimento Tommy Olivencia en la decada de los 80, con "Lo Dudo" y "El Camionero" cantando Frankie Ruiz y "12 Rosas" y "Lobo Domesticado" cantado por Hector Tricoche, cual tambien interpreto canciones similares como solista con "Tomame O Dejame", "Hasta Que Olvides" y "Laura No Esta". Incluso Sergio George, cual tomo las riendas como productor en algunos temas de las recientes grabaciones de Ismael Miranda y Tito Nieves, no le funciono igual cuando hizo las mismas tareas con Marc Anthony en 1993 con "Hasta Que Te Conoci" y la India en 1994 con "Nunca Voy A Olvidarte".
En fin sin van a regrabar baladas para ponerlas en salsa, hay que hacer mas agresivos en los arreglos musicales, no hacer algo instananeo como se ha hecho en esta decada con muchos artistas que graban canciones en baladas y las regraban las mismas en version tropical, sacandole peste a la cancion. Eso ya esta saturado.

Not Impressed.......2007-03-29

I am a "Tito Nieves" fan i think he is a great salsa singer. But lately his musical productions are not considered the best in my opinion. His most recent falls in the same catagory, not impressed at all. I heard it once and i haven't heard it again. I am losing the anticipation when i hear he's coming out with a new recording. In my opinion he must do some thing better than what he's doing now. "Tito don't forget the TRUE SALSEROS.

Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan

Average customer rating:

The Brown-Wrapped Version Just as Good
Va, vecchio John. Go, old Jack, go thy ways
Indispensable--will we ever see its like again?
The benchmark Falstaff
Best falstaff in the world.

Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Giuseppe Verdi , Herbert von Karajan , Tito Gobbi , Elisabeth Schwarzkopf , Philharmonia Orchestra and Chorus , Nan Merriman , Anna Moffo , Rolando Panerai , Fedora Barbieri , Tomaso Spataro , Nicola Zaccaria , and Luigi Alva
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin

ASIN: B00000K4GH
Release Date: 1999-09-21

Tracks:

Falstaff: Act One - Part One: Falstaff!...Ola!
Falstaff: Act One - Part One: So che se andiam, la notte
Falstaff: Act One - Part One: Ma empo d'assttigliar l'ingegno
Falstaff: Act One - Part One: L'onore! Ladri!... lo stesso, si, io, io
Falstaff: Act One - Part Two: Alice!... Med!... Nannetta!
Falstaff: Act One - Part Two: Fulgida Alice! amor t'offro
Falstaff: Act One - Part Two: Ripeti...In due parole
Falstaff: Act One - Part Two: Pst, pst, Nannetta!...Vien qua...Labbra di foco!
Falstaff: Act One - Part Two: Falstaff m'ha conzonata
Falstaff: Act One - Part Two: Torno all'assalto...Torna alla gara
Falstaff: Act One - Part Two: Udrai quanta egli sfoggia magniloquenza altera
Falstaff: Act One - Part Two: Del tuo barbaro dignostico
Falstaff: Act Two - Part One: Siam pentiti e contriti
Falstaff: Act Two - Part One: Reverenza!
Falstaff: Act Two - Part One: Va, vecchio John
Falstaff: Act Two - Part One: Signore, v'assista il cielo!
Falstaff: Act Two - Part One: Ve lo dir' Windsor una dama
Falstaff: Act Two - Part One: Lo conoscete?...Il diavolo lo porti all'inferno
Falstaff: Act Two - Part One: E sogno? o realt
Falstaff: Act Two - Part One: Eccomi qua. Son pronto

Tracks:

Falstaff: Act Two - Part Two: Presenteremo un 'bill' per una tassa al parlamento
Falstaff: Act Two - Part Two: Giunta all'albergo della Giarrettiera
Falstaff: Act Two - Part Two: Gaie comari di Windsor! E I'ora!
Falstaff: Act Two - Part Two: Alfin t'ho colto,raggiante fior
Falstaff: Act Two - Part Two: T'immagino fregiata del mio stemma
Falstaff: Act Two - Part Two: Quand'ero paggio del Duca di Norfolk
Falstaff: Act Two - Part Two: Vien qua. Che chiasso!
Falstaff: Act Two - Part Two: Al ladro!
Falstaff: Act Two - Part Two: Facciamo le viste d'attendere ai panni
Falstaff: Act Two - Part Two: Bella! ridente!
Falstaff: Act Three - Part One: Ehi! taverniere!...lo, dunque, avro vissuto tanti anni
Falstaff: Act Three - Part One: Buono. Ber del vin dolce
Falstaff: Act Three - Part One: Reverenza! La bella Alice...
Falstaff: Act Three - Part One: T'aspetterl Parco Real
Falstaff: Act Three - Part One: Brava! Quelle corna saranno la mia gioia!
Falstaff: Act Three - Part One: Avrn me dei putti
Falstaff: Act Three - Part Two: Dal labbro il canto estasiato vola
Falstaff: Act Three - Part Two: Nossignore! tu indossa questa cappa
Falstaff: Act Three - Part Two: Una, due, tre, quattro, cinque, sei
Falstaff: Act Three - Part Two: Ninfe! Elfi! Silfi! Doridi! Sirene!
Falstaff: Act Three - Part Two: Sul fil d'un saffio etesio
Falstaff: Alto l
Falstaff: Act Three - Part Two: Ahimu puzzi come una puzzola
Falstaff: Act Three - Part Two: Un poco di pausa
Falstaff: Act Three - Part Two: Ogni sorta di gente dozzinale
Falstaff: Act Three - Part Two: Un coro e terniniam la scena...tutto nel mondo urla

Amazon.com essential recording

This Karajan Falstaff has much to recommend it: Fedora Barbieri's Mistress Quickly is a force of nature, Elisabeth Schwarzkopf, only slightly affected, is a liquid, appealing Alice Ford, and Luigi Alva and the young Anna Moffo are ideal as the young lovers, Fenton and Nanetta. But the star--as it should be--is Tito Gobbi in the title role. As is usual with this great singing actor, his characterization comes from within--his is a Falstaff born to be deflated, arrogant and self-deluding on a level that is actually funny. And the nice surprise is what good voice Gobbi's in--he's in charge of all of his vocal colors here and he uses all of them well. Karajan's touch is light and, yes, funny, and he treats the opera as the divine ensemble work it is, all leading up to a superb final scene. A good time is had by all--listeners included. --Robert Levine

Customer Reviews:

The Brown-Wrapped Version Just as Good.......2007-06-12

Now that this is available in the lower-priced brown-wrapped version (shades of an old LP or even 78 sleeve), expect no less in this superb recording. The only sacrifice is the lack of a libretto -- but that's available from EMI at its website. And at this incredibly low price of about $14 (same as the Gobbi-Callas TOSCA) everything that counts is still there -- in spades.

Va, vecchio John. Go, old Jack, go thy ways.......2006-05-08

.
Source: Studio recording made at Kingsway Hall, London on June 21-23 and June 25-29, 1956. Originally issued by EMI on Lps in 1957.

Sound: The booklet accompanying this issue has this to say: "This recording was made in 1956 in the early days of stereo. As a consequence, the listener may notice some slight technical flaws that derive from the original tapes." This set was digitally remastered in 1999 with considerable success. Audiophiles who spend far more time listening to hisses and joins than they do to performances may cavil, but it sounds fine to me.

Cast: Sir John Falstaff - Tito Gobbi; Ford - Rolando Panerai; Alice Ford - Elisabeth Schwarzkopf; Nanetta Ford - Anna Moffo; Meg Page - Nan Merriman; Mistress Quickly - Fedora Barbieri; Fenton - Luigi Alva; Dr. Cajus - Tomaso Spataro; Bardolfo - Renato Ercolani; Pistola - Nicola Zaccaria. Conductor: Herbert von Karajan with the Philharmonia Orchestra and Chorus. Producer: Walter Legge.

Format: Disk 1 - Act I, Part One, tracks 1-4; Act I, Part Two, tracks 5-12; Act II, Part One, tracks 13-20;55:04. Disk 2 - Act II, Part Two, tracks 1-10; Act III, Part One, tracks 11-16; Act III, Part Two, tracks 17-26; 64:38.

Documentation: Libretto in German, Italian, English and French. Short synopsis of the plot. Photographs of the conductor (of course!) and the principal singers. Track list that identifies characters singing, provides timings and the page of the libretto on which the text is to be found. Richard Osborne contributed a brief history of the opera and a gush of adulation for von Karajan. (Not recommended for readers who must control the sugar in their diet.)

Let me be up front with this: I consider "Falstaff" to be one of the two greatest operas ever written. I am fully aware that it is not and has never been especially popular with audiences and I think that a dirty rotten shame.

This is far and away the best stereo "Falstaff." No subsequently recorded Jack Falstaff approached Gobbi in the part: Taddei in Karajan's second stereo version was caught too late in his career; Terfel lost the character amid the mugging; Evans was good but no match for Gobbi in either voice or style; Fischer-Dieskau was inherently mismatched and miscast in Italian opera.

No subsequent recording musters an ensemble of singers that even comes close to the 1956 cast assembled by producer Walter Legge. Beside the extraordinary Gobbi were the equally impressive Panerai as Ford and Anna Moffo as Nanetta Ford. Luigi Alva was certainly one of the best light tenors of the day. Merriman was an old pro as Meg Page, having served under Toscanini in the same role. Barbieri was a tremendous Mistress Quickly. Her hilarious variations on the greeting, "Reverenza," ring in the mind. Schwarzkopf was an exquisite and sharp-witted Alice Ford.

Legge and von Karajan put in a great deal of time and work into preparation of this performance and it all appears in the sound of the set. Seldom has any conductor achieved such accuracy and unanimity of purpose. The Philharmonia Orchestra was at its peak of prowess and sounds tremendous.

All these things fully justify a five star rating.

That said, I feel bound to point out that while Karajan's 1956 recording is the best stereo performance, it is not the best recorded performance. Karajan's handling of any opera always requires something of an acquired taste. The ensemble is good but not perfect. Alva was a fine technician but he lacked fire. Cesare Valetti would have been preferable and Ferruccio Tagliavini better yet. Schwarzkopf, Walter Legge's wife, was wonderful, but no-one would ever mistake her for a true Italian soprano or a natural Verdian. Tebaldi was tied to rival Decca Records and therefore unavailable, but there were other full-voiced sopranos at the time, such as Antonietta Stella or Caterina Mancini. Or Callas.

The best performance is Toscanini's 1950 mono version with Giuseppe Valdengo as the Fat Knight. (Some would argue that Toscanini's pre-war "Falstaff" is better still, but time and recording technology put that one out of the running as far as I am concerned.) Toscanini's cast is very nearly a match for Karajan's and his earthy, fiery conducting makes Herr Doktor K's seem restrained and over-refined.

A 1949 performance, in mono naturally, has strong claim to be regarded as at least an equal of the 1956 Karajan. It was led by Mario Rossi, a conductor who could find the fun in the score that sometimes eluded Karajan. It's excellent all-Italian cast included the Falstaff of the young Giuseppe Taddei, who understood the character as well as Gobbi and possessed a better singing voice.

Indispensable--will we ever see its like again?.......2005-09-29

The legendary producer Walter Legge was adored by musical artists because he demanded only the very best from them and ignored any resistance from corporate higher-ups complaining about costs or from the artists themselves, who often wound up recording late in the day after dozens of takes. Now we can be grateful that Legge went the extra mile. His opera recordings, especially the ones under Karajan, have rarely been equalled and never surpassed. In later lifeKarajan himself tried to repeat these early triumphs but never succeeded in artistic terms.

The other reviewers here have pointed out all there is to say in praise of this classic EMI Falstaff. The only reservation would be with Gobbi's voice, which isn't plush or rich and exhibits a fast beat. These shortcomings are more than compensated for by his vocal acting.

For what it's worth, Karajan recorded a second Falstaff on Philips with an aging Giuseppe Taddei in the lead, and it was not half as successful overall. Other eminent conductors, among them Giulini, Bernstein, and Abbado, have tried to find magic in this elusive score. The Giulini is too straitlaced, the Bernstein has a woefully wrong Fischer-Dieskau in the lead, and the Abbado showcases Bryn Tefel's signature portrayal, currently the best in the world if you like his extreme overacting, but the rest of the cast is forgettable. Karajan and Legge got everything right five decades ago, and in that they are unique.

The benchmark Falstaff.......2004-07-16

Reference recordings are the touchstone by which all others are judged. The Callas-Gobbi Tosca is the universal example of a recording whose excellence so towers over the field as to bend the artistic vision of every subsequent laborer in the operatic vineyard in homage, conciously or not. Such recordings are extremely rare. Perhaps two dozen at best. By such rigorous standards this 1956 recording of Verdi's miraculous final Opera falls short of attaining the lofty status of Reference recording. Rather, it occupies that second tier of presumptive best for a large number (but not all!) of Opera devotees to whom the status of favorite recording is defended with a rabid zeal best reserved for fanatic warriors and religious zealots. Opera fans are a tough crew prepared to defend their favorites with a level of Mutually Assured Destruction not seen since the Cold War. It can get positively radioactive in the lobby of the Met between acts. I know. I've seen it.

There is a Golden-Age warmth to this recording. EMI had perfected the business of Vocal recordings in the 1950's. Something in the water, perhaps. One can hear it in all
of EMI's classic Opera recordings of the era. Even the ones in Mono (for which we can thank Producer Walter Legge's alleged hatred of stereophonic sound). Recorded in London's Kingway Hall in June 1956 there is a Midsummer's magic in the sparkle with which Gobbi inhabits the role of Falstaff. Recording during those long days was an inspiration not to be ignored. Everything about this Opera screams "more light!" As if the 80 year old Verdi willed himself youth through art. Karajan in his youth - well before illness slowed him considerably - had a clarity of style I have always admired. Listen to the way the woodwinds cavort throughout this recording. They seem to speak, commenting on the action. Sometimes they merge with women's voices with truly magical effect. Afterall, this is an Opera of texture, of delicacy of sound prefiguring Webern by 30 years. In this it is truly modern: pointing the way to a new century while simultaneously (and literally) ending an era.

Sure it's tuneful. The tunes are shorter. It's as simple as that. Don't be put off by the lack of bang-up aria. The entire Opera is a song. Schwarzkopf, Merriman and Moffo (What a cast!) are suberb. They have rarely sounded so youthful yet wise. Vocal quality (to my ear at least) sounds easy and natural for each member of the cast. I cannot find a hint of Scarpia in Gobbi's performance. That's quite a feat since Gobbi