Amor Loco

Track Listings
 
1. Tolete
2. Dos Mujeres
3. Loca
4. De Pena Muero
5. Buen Precio
6. Amor de Loco
7. Sufro Por Tí
8. Sin Ti No Vivo
9. Dejen Que Nos Amemos
10. Cuentale

Amor Loco,Teodoro Reyes,Platano (Universal),Latin,Latin Music,Puerto Rico,Tropical

Latin

Music

Jazz

Music

Amor Loco

Amor Loco
Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Average customer rating: 5 out of 5 stars
  • Refreshing and Surprising!
  • Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.
  • Best ever!!
 Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
GeneralGeneral | Soundtracks | Styles | Music
Bargain Box SetsBargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music
All Bargain TitlesAll Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music
The Decca Records StoreThe Decca Records Store | Specialty Stores | Music
Similar Items:
  1. Beethoven: Symphonies Nos. 1-9 (Fra)
  2. Wagner: Der Ring des Nibelungen
  3. Weber: Der Freischütz
  4. Mozart Opera Glyndebourne Collection: Cosi fan Tutte, Don Giovanni, Le Nozze di Figaro, Die Entfuhhrung aus dem Serail, Idomeneo, Die Zauberflote (6 DVDs)
  5. Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin

ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

5 out of 5 stars Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

5 out of 5 stars Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

5 out of 5 stars Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.
Donizetti: Anna Bolena
Average customer rating: 4 out of 5 stars
  • SILLS GOES FOR BROKE -------- AND SHE TRIUMPHS
  • Enough!
  • The best set available - wonderful
  • A great Anna
  • I've had it!
 Donizetti: Anna Bolena
G. Donizetti , and Beverly Sills
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

All Works by DonizettiAll Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
Sills, BeverlySills, Beverly | ( S ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
GeneralGeneral | Soundtracks | Styles | Music
The Decca Records StoreThe Decca Records Store | Specialty Stores | Music
Similar Items:
  1. Donizetti: Roberto Devereux (Elizabeth and Essex)
  2. Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
  3. Rossini: L'Assedio di Corinto

ASIN: B00005AWIL
Release Date: 2001-04-10

Tracks:

  1. Anna Bolena: Sinfonia
  2. Anna Bolena: Act One, Scene One - Introduzione
  3. Anna Bolena: Act One, Scene One - Ella di me, sollecita
  4. Anna Bolena: Act One, Scene One - Si taciturna e mesta
  5. Anna Bolena: Act One, Scene One - Deh! Non voler costringere
  6. Anna Bolena: Act One, Scene One - Copme, innocente giovane
  7. Anna Bolena: Act One, Scene One - Legger potessi in me! Non v'ha sguardo
  8. Anna Bolena: Act One, Scene One - O! qual parlar fu il suo!
  9. Anna Bolena: Act One, Scene One - Si: l'avrete
  10. Anna Bolena: Act One, Scene One - la mia fama e a pie dell'ara
  11. Anna Bolena: Act One, Scene One - Ella pure amor m offria
  12. Anna Bolena: Act One, Scene One - Ah! qual sia cercar non oso
  13. Anna Bolena: Act One, Scene Two - Chi veggo?...in Inghilterra
  14. Anna Bolena: Act One, Scene Two - Da quel di che, lei perduta
  15. Anna Bolena: Act One, Scene Two - Ah! cosi nei di ridenti
  16. Anna Bolena: Act One, Scene Two - Desta si tosto
  17. Anna Bolena: Act One, Scene Two - Io sentii sulla mio mano
  18. Anna Bolena: Act One, Scene Two - or che reso ai patri i lidi
  19. Anna Bolena: Act One, Scene Two - Questo di per noi spuntato

Tracks:

  1. Anna Bolena: Act One, Scene Three - E'sgombro il loco...
  2. Anna Bolena: Act One, Scene Three - Ah! parea che per incanto
  3. Anna Bolena: Act One, Scene Three - Basta...basta...tropp'oltre vai...
  4. Anna Bolena: Act One, Scene Three - Anna! - Riccardo!
  5. Anna Bolena: Act One, Scene Three - S'ei t'aborre, io t'amo ancora
  6. Anna Bolena: Act One, Scene Three - Ah!...per pieta del mio spavento
  7. Anna Bolena: Act One, Scene Three - Alcun potria ascoltarti
  8. Anna Bolena: Act One, Scene Three - Tace ognuno
  9. Anna Bolena: Act One, Scene Three - Il quegli sgardi impresso
  10. Anna Bolena: Act One, Scene Three - In separato carcere
  11. Anna Bolena: Act Two, Scene One - O! Dove mai ne andarono
  12. Anna Bolena: Act Two, Scene One - O mie fedeli
  13. Anna Bolena: Act Two, Scene One - Dio, che mi vedi in core
  14. Anna Bolena: Act Two, Scene One - Sul suo capo aggravi un Dio
  15. Anna Bolena: Act Two, Scene One - Dal mio cor punita io sono
  16. Anna Bolena: Act Two, Scene One - Va, infelice, e teco reca

Tracks:

  1. Anna Bolena: Act Two, Scene Two - Ebben? dinanzi ai giudici
  2. Anna Bolena: Act Two, Scene Two - Scostatevi...il Re giunge...
  3. Anna Bolena: Act Two, Scene Two - Ambo morrete
  4. Anna Bolena: Act Two, Scene Two - Al Consiglio sien tratti
  5. Anna Bolena: Act Two, Scene Two - Sposa a Percy
  6. Anna Bolena: Act Two, Scene Two - Per questa fiamma indomita
  7. Anna Bolena: Act Two, Scene Two - Stolta! non sai...
  8. Anna Bolena: Act Two, Scene Two - Ah! pensate che rivolti
  9. Anna Bolena: Act Two, Scene Three - Tu pur dannato a morte
  10. Anna Bolena: Act Two, Scene Three - Vive tu, te ne scongiuro
  11. Anna Bolena: Act Two, Scene Three - Nel veder la tua costanza
  12. Anna Bolena: Act Two, Scene Three - Chi puo vederla
  13. Anna Bolena: Act Two, Scene Three - Piangete voi?
  14. Anna Bolena: Act Two, Scene Three - Al dolce guidami castel natio
  15. Anna Bolena: Act Two, Scene Three - Qual mesto suon?...
  16. Anna Bolena: Act Two, Scene Three - Cielo, a'miei lunghi spasimi
  17. Anna Bolena: Act Two, Scene Three - Coppia iniqua

Customer Reviews:

5 out of 5 stars SILLS GOES FOR BROKE -------- AND SHE TRIUMPHS.......2006-04-17

I, being a great admirer of Callas, Caballe', Sutherland, and Sills, cannot understand why people so vehemently bash one of them in favor of the other. This does nothing to further the interest of music, and it reduces great operatic singing to the level of ice hockey. "Anna Bolena" is an opera that requires a very special type of soprano. It is, essentially, a florid bel canto opera for a considerably heavier voice than that associated with such bel canto heroines such as those encountered in "Puritani", "Sonnambula", and "Lucia". A great "Anna Bolena" should also be able to command Norma and Rossini's "Semiramide". Beverly Sills had a basically small voice, and she herself has admitted repeatedly that her undertaking Donizetti's Three Queens (Anna Bolena, Maria Stuarda, and Elizabeth in "Roberto Devereux) probably shortened her career by a decade. She was, of course, right. She certainly makes Anna Bolena a convincing vocal creation, and she sings with great conviction and involvement. But even so, there are moments when you know that she's pushing her resources to the virtual end of their endurance. She manufactures low chest tones that are completely out of allignment with the rest of her voice, and some of her top notes are nothing more than pitched screams. Of course, her passion and sincerity compensates for a lot of these deficiencies, and she emerges with a great success. I respect Sills, and have always felt that she was a little undone by her publicity machine, as well as the constant shadows of Callas, Sutherland, and Caballe. Truth to tell, all three had voices far more suited to these heavier bel canto roles. I'm not going to enter any fray and state any opinions here. Beverly Sills put forth a tremendous amount of skill and effort into roles like Anna Bolena, and she paid a vocal price, as one can hear on this recording. Still, I wouldn't be without this performance. Shirley Verrett is an outstanding Jane Seymour (she certainly could have sung Anna Bolena!), though I'm not sure that she and Sills blend all that well together. Whatever the case, let's give all these great sopranos a break and stop bashing them. My message to the bashers is: Callas, Sills, Caballe' & Sutherland have BEEN there and made it. What have YOU accomplished?

1 out of 5 stars Enough!.......2006-01-25

Will this awfully mellow coloratura chirper ever stop shrieking? Sills couldn't fit the role of Anna less! Maria Callas, La Divina, has always been, and will always remain the role's owner.
Incidentally, how can some people blatantly dare show their absolute ignorance? How can somebody call -and get away with it- Callas' soloists Nicola Rossi-Lemeni, Giulietta Simionato, and Gianni Raimondi "second rate"??? I guess you've neither listened to any of them nor heard of their superb and much acclaimed qualities as musicians!!!

5 out of 5 stars The best set available - wonderful.......2005-03-27

This is one of my favourite operas. I have heard the Callas, Sunderland (CD and DVD performances) and Gruberova (not to mention some live recordings).

Callas was breathtaking in her live performance from the 50's (especially in Act 3) BUT the sound quality is very poor indeed and the other soloists are second rate. The performance was also heavily cut. I only wish she had recorded the whole opera in the studio, instead of one or two arias.

Sunderland was well past her prime by the time she recorded her performance on CD. Her diction, never a strong point for her, is particularly 'woolly' and she has problems sustaining the higher register without strain. It is a pity she didn't record it much earlier in her career. Boynage conducts in a pedestrian manner too (compare the overture from Boynage and Rudel, Rudel makes the overture exciting and vibrant. Boynage conducts a somewhat flat and one dimensional rendition).

Gruberova's recording on CD is from a live performance and is truly aweful in places. I actually think it is one of the worst performances of anything I have ever heard 'recorded'. Don't touch it with a barge pole.

Then there is Sills performance. OK, I wish the voice was a little heavier at times but her singing is, as usual, beautiful. You feel that Anna Bolena is a role she loved, she conveys dramatic sincerity throughout. Rudel conducts his orchestral forces with such energy. Indeed, he is a major selling point of this set for me. He injects the performance with flair and gusto. Verrett, Burrows and Plishka don't put a foot wrong. A wonderful performance. I love this recording above all the others. Buy it. This set leaves the competition standing, (although, if you can tolerate the appalling sound, Callas' performance is fantastic too, however overall this set is far superior).

4 out of 5 stars A great Anna.......2004-05-20

I'm sorry if I hurt anyone. I was just so mad and angry because Callas got bashed so many times by a Sills-Fanatic. I deeply apologise. Sills has a very beautiful voice, one of the best lyric coloratura voices out there. I hope Bev's fans will forgive me. This is one of the best Annas ever.

1 out of 5 stars I've had it!.......2004-05-20

A Sills-Fanatic keeps bashing Callas with one star reviews in a row! I warned him that our patience is at its end! Now we'll retaliate! Sills is AWFUL as Anna Bolena, thin, sour, glassy and fake with no middle. A stupid coloratura chirper. Stop singing, Sills! My ears hurt, stop shrieking!
Bel Canto Arias; Vivica Genaux
Average customer rating: 4 out of 5 stars
  • Viveca sparkles
  • Pure pleasure....
  • More Bravura
  • Bel Canto Arias; Vivica Genaux
  • BRAVA! BRAVA! BRAVA!
 Bel Canto Arias; Vivica Genaux
Vivica Genaux , Gioachino Rossini , Gaetano Donizetti , John Nelson , and Ensemble Orchestral de Paris
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by DonizettiAll Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
All Works by RossiniAll Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Arias | Opera & Vocal | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
Similar Items:
  1. Vivica Genaux - Handel/Hasse: Opera Arias
  2. Arias for Farinelli
  3. HOMAGE: The Age of the Diva
  4. A. Scarlatti - La Santissima Trinità / Invernizzi · Gens · Genaux · Agnew · Abbondanza · Europa Galante · Biondi
  5. Tragédiennes

ASIN: B0000BWTK1
Release Date: 2003-09-16

Tracks:

  1. Nacqui All' Affanno
  2. Cruda Sorte! Amor Tiranno!
  3. Amici, In Ogni Evento...Pensa Alla Patria
  4. Nella Fatal Di Rimini
  5. Il Segreto Per Esser Felici
  6. Popolo, Amici, Sanguinosi Allori... Ah! Si, Da Tanti Affani
  7. E Sgombro Il Loco... Un Bacio, Un Bacio Ancora
  8. Mura Felici
  9. Eccomi Alfine In Babilonia... Ah! Quel Giorno Ognor Rammento
  10. Una Voce Poco Fa

Customer Reviews:

5 out of 5 stars Viveca sparkles.......2007-01-04

If you love Bel Canto and Mezzo Sopranos, you will love Vivica Genaux!

5 out of 5 stars Pure pleasure...........2006-05-19

I have her Farinelli CD, as well. I also saw her on A&E some time ago. My only criticism was her excessive chin movements but, then, I don't get all bent out of shape over Bartoli's grimaces -- and the voice is the thing, after all.

As for Fach, a singer doesn't need to enjoy merely one, although many are restricted to such. What I like about Genaux, aside from the absolutely beautiful tone, is that she is NOT mannered. She has just the right take on every one of these arias. Spare me from the singers who just MUST emote all over the place when simplicity and class are sufficient.

I've had this CD since for some time and decided to see what others thought of it -- I'm always interested in other opinions.

Nancy Eckert

4 out of 5 stars More Bravura.......2006-03-23

When I read a review stating that Vivica sang with two little volume on this recording, I found that very hard to believe. Everything I had previously heard of her showed a voice with unlimited power. However, when I purchased this set I agreed that Vivica sings with to little volume and possibly emotion. This is puzzling; I think it must have been an artistic decision that doesn't really work.

However, I can't agree with the other reviewer about this being the wrong repertoire. Most of Genaux's early roles were Rossini and her Bel Canto technique is superb. I love the selection of music, and despite the shortcomings, I really enjoy listening to this CD. I just wish she used a little more emotion and power in the parts that call for it.

3 out of 5 stars Bel Canto Arias; Vivica Genaux.......2005-09-26

Vivica Genaux seems to have a lovely personality not to mention an absolutely fabulous voice both live and on disc, but some of these arias just don't work for her voice, some are just too.....well.... Bel Canto but the arias by Rossini I liked, especially
"Una Voce Poco Fa".
I also feel I should mention that Vivica is NOT a soprano
as "Sergey Tsoy "Dallas Opera"" states in his review, but rather a Mezzo-soprano.

5 out of 5 stars BRAVA! BRAVA! BRAVA!.......2004-12-20

In my opinion, Vivica is a fantastic singer and an outstanding artist. I have heard her singing live in Rossini's La Cenerentola, and it was literally breathtaking. Many sopranos sing well and have beautiful voices, but it is perhaps their choice of vibrato which makes them sound extremely out of tune, weak, irritating, and just ugh! Also, many of them sing just loudly. I am not a singer, but to my ears, Vivica is absolutely the best soprano (or at least, one of a few) whom I have heard live - beautiful, pure, in tune (yes, fortunately and unfortunately it matters, too), great vibrato, wild tempi, rock-solid consistency of musical ideas, convincing stage presence, logical, elegant, and so forth. It is all these things add together, which make a true impression. I still wonder, how is it possible to sing with such clarity, presicion, and beauty? Because it is often either, or. But she somehow combines everything, and that's just marvelous. And also, her tonal quality is so fresh and sounds really out of the ordinary. Although I have never heard her CDs, I have no second thoughts about this particular one, which I have just bought and wait with great impatience until it arrives. Brava to Vivica, for, to my mind, her type of artistry comes in a truly short suply nowadays! It is my personal opinion.
Mozart: Don Giovanni
Average customer rating: 5 out of 5 stars
  • A great Don (except for the sound)
  • IT'S A GREAT ONE!
 Mozart: Don Giovanni

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
GermanGerman | Languages | Opera & Vocal | Styles | Music
GeneralGeneral | Soundtracks | Styles | Music
Similar Items:
  1. Mozart: Don Giovanni
  2. Mozart: Symphonies Nos 29, 35 (Haffner), 38 (Prague), 39, 40, and 41 (Jupiter)
  3. Mozart: Symphony #40/Piano Concerto #20/Serenades #10 'Gran Partita' & #13 'Eine Kleine Nachtmusik - Wilhelm Furtwangler, Berlin Philharmonic
  4. Mozart: Le Nozze di Figaro
  5. Verdi: La Traviata (Complete opera); Maria Callas; Alfredo Kraus

ASIN: B000BNV8E8
Release Date: 2006-01-10

Tracks:

  1. Sinfonia/Overture - Chor Der Wiener Staatsoper
  2. Notte E Giorno Faticar - Otto Edelmann
  3. Non Sperar, Se Non M'uccidi - Otto Edelmann
  4. Lasciala, Indegno!...Leporello, Ove Sei? - Various Artists
  5. Ma Qual Mai S'offre, Oh Dei - Anton Dermota
  6. Fuggi, Crudele, Fuggi! - Anton Dermota
  7. Orsu, Spicciati Presto - Otto Edelmann
  8. Ah, Chi Mi Dice Mai - Otto Edelmann
  9. Chi E La? - Otto Edelmann
  10. Madaminia, Il Catalogo E Questo - Otto Edelmann
  11. Giovinette, Che Fate All'amore - Walter Berry
  12. Manco Male E Partita - Various Artists
  13. Ho Capito, Signor, Si! - Walter Berry
  14. Alfin Siam Liberati - Cesare Siepi
  15. La Ci Darem la Mano - Cesare Siepi
  16. Fermati, Scellerato!...Ah! Fuggi Il Traditor! - Elisabeth Schwarzkopf
  17. Mi Par Ch'oggi Il Demonio Si Diverta...Non ti Fidar, O Misera...Povera Sventurata! - Various Artists
  18. Don Ottavio, Son Morta! - Anton Dermota
  19. Or Sai Chi L'onore - Elisabeth Grummer
  20. Come Mai Creder Deggio...Dalla Sua Pace - Anton Dermota
  21. Io Deggio Ad Ogni Patto - Otto Edelmann
  22. Finch'han Dal Vino - Cesare Siepi

Tracks:

  1. Massetto, Senti Un Po'! - Walter Berry
  2. Batti, Batti, O Bell Masetto...Guarda Un Po' - Walter Berry
  3. Presto, Presto, Pria Ch'ei Venga - Various Artists
  4. Tra Quest'arbori Celata - Walter Berry
  5. Bisogna Aver Coraggio - Various Artists
  6. Protegga Il Giusto Cielo - Elisabeth Schwarzkopf
  7. Riposate, Vezzose Raggzze - Various Artists
  8. Venite Pur Avanti - Various Artists
  9. Ecco Il Birbo Che T'ha Offesa! - Various Artists
  10. Trema, Trema, O Scellerato! - Various Artists
  11. Eh Via, Buffone, Non Mi Seccar...Leporello!...Signore? - Otto Edelmann
  12. Ah Taci, Ingisusto Core! - Otto Edelmann
  13. Amico, Che Ti Par? - Otto Edelmann
  14. Deh, Vieni Alla Finestra...V'e Gente Alla Finestra - Walter Berry
  15. Meta Di Voi Qua Vadano - Cesare Siepi
  16. Zitto, Iascia Ch'io Senta! - Walter Berry
  17. Verdrai, Carino, Se Sei Buonino - Erna Berger
  18. Di Molte Faci Il Lume...Sola, Sola In Buio Loco - Various Artists
  19. Mille torbidi Pensieri - Various Artists
  20. Dunque Quello Sei Tu...Ah, Pieta, Signori Miei!...Ferma, Perfido, Ferma! - Various Artists
  21. Il Mio Tesoro Intanto - Anton Dermota
  22. In Quali Eccessi, O Numi - Elisabeth Schwarzkopf
  23. Mi Tradi Quell'alama Ingrata - Elisabeth Schwarzkopf

Tracks:

  1. Ah, Ah, Ah, Questa E Buona - Otto Edelmann
  2. O Statua Gentilissima - Otto Edelmann
  3. Calmatevi, Idol Mio! - Anton Dermota
  4. Crudele? Ah No, Mio Bene! - Elisabeth Grummer
  5. Non Mi Dir, Bell'idol Mio - Elisabeth Grummer
  6. Gia La Mensa E Preparata - Otto Edelmann
  7. L'ultima Prova Dell'amor Mio - Elisabeth Schwarzkopf
  8. Che Grido E Questo Mai - Otto Edelmann
  9. Don Giovanni A Cenar Teco - Otto Edelmann
  10. Da Qual Tremore Insolito - Otto Edelmann
  11. Ah, Dov'e Il Perfido? - Various Artists
  12. Or Che tutti, O Mio Tesoro - Various Artists
  13. Questo E Il Fin - Various Artists

Customer Reviews:

5 out of 5 stars A great Don (except for the sound).......2007-06-27

I have to agree with the previous reviewer that as an operatic production, this recording is superb. The only downside is the sound quality, which probably could not be helped; one must simply take it on faith that EMI did their best to re-master the original tapes (though I feel that they may have overdone the bass parts in some places). The singers are superb, and you can hear the stage effects, which gives the recording a charming immediacy. Anyone who has only heard only modern recordings of the opera, which emphasize "period" instruments and tempos, should be warned that Furtwängler did not feel obliged to stick to any one particular set of tempi - he varies the speed quite a bit, even within particular numbers, but this reflects an overall aesthetic conception of the opera which he formed over many years (this recording was made in 1954, the year of his death) and which fits together perfectly in its own way.
Moreover, like the previous reviewer, I am glad that EMI is releasing this set for a reasonable price, and it is a good companion to the classic Giulini set (although I would recommend other versions of the opera as well - even some of the "period" interpretations).

5 out of 5 stars IT'S A GREAT ONE!.......2006-01-29

"Don Giovanni" is a very great, but difficult opera. It requires a charasmatic bass-baritone (or bass) for the title role, another equally great bass-baritone with a comic flair (for Leporello), two great leading sopranos for two very difficult roles (Donnas Anna and Elvira), a flawless lyric tenor (Don Octavio), and a pair of appealing younger singers for Zerlina and Massetto. It also doesn't hurt to have a sonorous Commandatore (a real bass)who can terrify Don Giovanni and take him to down at the end of the opera. This is an opera better left alone than presented even decently. The 1950's was a great time for Mozart singers, and many of them are right here on this live recording from Vienna in 1954. Cesere Siepi made the role of Don Giovanni his own and performed it many times (as well as on a commercial London recording which still is available). Elisabeth Schwarzkopf owned the role of Donna Elvira, and, in fact, can be heard on the EMI commercial recording made five years after this performance took place. Elisabeth Grummer was primarily a singer of the lighter Wagnerian roles, but her Donna Anna has power and passion. All of the other artists - Otto Edelmann, Erna Berger, Anton Dermota, Walter Berry, etc, were well known for their Mozart performances all through the decade. They mesh beautifully together in this performance, all under the exciting leadership of the legendary Wilhelm Furtwangler, who really finds the dramatic elements in this piece --- at the price of perhaps less emphasis on the lighter moments. Still, this is a towering performance, in excellent monophonic sound (yes, there are some stage noises, but no distortion or peaking). EMI has made it available at an incredibly low and wonderful price, and I can't see how anyone who loves Mozart would want to be without it under any circumstances. This is a great companion to the EMI Giulini set, and quite probably the superior of all the others.
It's a winner!
Verdi: Il Trovatore
Average customer rating: 4 out of 5 stars
  • A Worthy Trovatore
  • Strangely fascinating!
 Verdi: Il Trovatore

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
The Decca Records StoreThe Decca Records Store | Specialty Stores | Music
Similar Items:
  1. Cilea: Adriana Lecouvreur
  2. Verdi: La Forza del Destino
  3. Mascagni: Cavalleria Rusticana
  4. Puccini: La fanciulla del West
  5. Puccini: La Bohème (Tebaldi, Prandelli, Erede)

ASIN: B00006LENP
Release Date: 2003-02-11

Tracks:

  1. All'erta! All'erta! - Giorgio Tozzi
  2. Di Due Figli Vivea Padre Beato - Giorgio Tozzi
  3. Che Piu T'arresti?
  4. Tacea La Notte Placida E Bella In Ciel Sereno
  5. Di Tale Amor, Che Dirsi Mal Puo Dalla Parola
  6. Tace La Notte! ... Il Trovator! - Ugo Savarese
  7. Deserto Sulla Terra ... Anima Mia!
  8. Infida!...- Qual Voce! ... Di Geloso Amor Sprezzato ... Un Istante Almen Dia Loco il Tuo Sdegno Alla Ragione
  9. Vedi! Le Fosche Notturne Spoglie ... Chi Del Gitano I Giorni Abbella? (Anvil Chorus) - Coro Del Maggio Musicale Fiorentino
  10. Stride La Vampa! ... Mesta E La Tua Canzon - Mario Del Monaco
  11. Soli Or Siamo; Deh, Narra Quella Storia Funesta ... Condotta Ell'era In Ceppi - Mario Del Monaco
  12. Non Son Tuo Figlio? - Mario Del Monaco
  13. Mal Reggendo All'aspro Assalto ... L'usato Messo Ruiz Invia! - Mario Del Monaco
  14. Perigliarti Ancor Languente Per Cammin Selvaggio Ed Ermo! - Mario Del Monaco
  15. Tutto E Deserto - Giorgio Tozzi
  16. Il Balen Del Suo Sorriso ... Quel Suono! ... Ardir!... Andiam ... Per Me, Ora Fatale, I Tuoi Momenti Affretta - Giorgio Tozzi
  17. Ah!... Se L'erro T'ingombra, O Figlia D'Eva, I Rai ... Perche Piangete?
  18. E Deggio... E Posso Crederlo? ... Urgel Viva!

Tracks:

  1. Or Co' Dadi, Ma Fra Poco Giocherem Ben Altro Gioco - Giorgio Tozzi
  2. Squilli, Echeggi La Tromba Guerriera - Giorgio Tozzi
  3. In Braccio Al Mio Rival! ... Che Fu? ... Innanzi, O Strega - Giulietta Simionato
  4. Giorni Poveri Vivea ... Tu Vedi Chi L'infame, Orribil Opra Commettea ... Deh, Rallentate, O Barbari, Le Acerbe Mie Ritorte - Giulietta Simionato
  5. Quale D'armi Fragor Poc'anzi Intesi?
  6. Ah! Si, Ben Mio; Coll'essere Io Tuo, Tu Mia Consorte - Mario Del Monaco
  7. L'onda De' Suoni Mistici ... La Zingara, Vieni, Tra Ceppi Mira
  8. Di Quella Pira L'orrendo Foco ... All'armi! All'armi!
  9. Siam Giunti: Ecco La Torre
  10. D'amor Sull'ali Rosee Vanne, Sospir Dolente
  11. Miserere ... Quel Suon, Quelle Preci Solenni ... Ah, Che La Morte Ognora E Tarda Nel Venir
  12. Tu Vedrai Che Amore In Terra Mai Del Mio Non Fu Piu Forte
  13. Udiste? Come Albeggi, La Scure Al Figlio, Ed Alla Madre Il Rogo - Ugo Savarese
  14. A Te Davanti. - Qual Voce!
  15. Mira, Di Acerbe Lagrime Spargo Al Tuo Piede Un Rio
  16. (Vivra!... Contende Il Giubilo I Detti A Me, Signore...)
  17. Madre?... Non Dormi? ... Vedi?... Le Sue Fosche Impronte - Mario Del Monaco
  18. Si; La Stanchezza M'opprime, O Figlio - Mario Del Monaco
  19. Che!... Non M'inganna Quel Fioco Lume?
  20. Parlar Non Vuoi?
  21. Ti Scosta... - Non Respingermi
  22. Prima Che D'altri Vivere... Io Volli Tua Morir! ... Sia Tratto Al Ceppo!

Customer Reviews:

4 out of 5 stars A Worthy Trovatore.......2006-05-13

I decided to buy a used copy of this half century old Trovatore on the strength of the earlier review posting. I'm certainly glad I did.

First, there is the pleasure of hearing Tebaldi in a role that wasn't central to her repertory. Having heard her Violetta on an early '50s Decca recording of Traviata I was not expecting much in the way of florid singing. I was pleasantly surprised. True, some of the runs are sketchy and the tone isn't always ideally equalized when she goes for the high notes, but Tebaldi isn't far behind the fabled Milanov, a favorite in this role. Tebaldi's italianate timbre is a decided plus. A few days ago I played the first act aria and cabaletta for some friends without any identification. After some puzzled looks, someone commented that whoever it was, she was great and though she sounded like Tebaldi, the florid singing was too good for it to be her. Needless to say, they were all pleasantly surprised.

I think Simionato is simply the finest Azucena on disc - whether here or in the legendary Salzburg broadcast of a few years later.

Del Monaco isn't an intellectual tenor by any stretch of the imagination, but this is elemental, viscerally exciting singing. I'll give up the subtle nuances for a vital, heroic Manrico like this.

Savarese is a competant Di Luna. He's certainly not offensive, but there's not much here to convince the listener he belongs in the company of the great exponents of the role. I have to admit that I think the role's showpiece, "Il balen" is a problem for any interpreter. I think organ grinder every time I hear it.

It's always a pleasure to hear the young Tozzi's richly overtoned voice as Ferrando.

Erede is no Karajan (or Mehta) but he gives us a well routined reading of the score. Finally, the sonics of this 1956 recording are very impressive early vintage stereo. Despite its occasional flaws, I quickly have become very attached to this venerable Trovatore.

4 out of 5 stars Strangely fascinating!.......2004-01-01

This old Trovatore recording has aspects that would normally make one avoid it. However, I find myself listening to it more and more and actually enjoying it more than other, more popular recordings of this opera.

Mario Del Monaco is, as expected, a heroic Manrico. He rarely sings piano and knows little about elegant phrasing but the sheer vigour and ring of his voice strikes in magnificiently! Only F. Corelli equals Mario in force and exciting high notes. Musically, Corelli is certainly more creative but I've always found Del Monaco's voice more handsome. Tastes differ, though. Del Monaco is particularly thrilling in "mal reggendo, all'aspro assalto", "ah! Si, ben mio" and "Di quella pira" even if he could hold the last note longer in the cabaletta.

The casting of Renata Tebaldi as Leonora is for most opera fans controversial. She is a spinto with little agilty; it's interesting to see what such a voice can offer. Indeed, she barely manages the florid parts and the highest notes sound effortfull. In this part she's nowhere near Caballe, Milanov, Callas or even Price. However, there are other moments that no other soprano in my experience has ever sung so idiomatically. In "mira, di acerbe lagrime" for example, the way she sings those long phrases using her glorious spinto instrument is unique. She firmly grasps each note and the result is intoxicating! Same with Miserere and the proceeding Manrico - Leonora encounter. Dramatically her outbreaks are few. However, Tebaldi was THE FIRST who made me realise that Leonora is a woman in love!

If one can argue about the performances of Tebaldi and Del Monaco, little can be said about Simionato's Acuzena. Along with Barbieri and Cossotto she's one of the best interpreters of this wonderful role, probably Verdi's greatest mezzo part. The weakest link of the cast is Ugo Savarese's routine Conte di Luna. If only Bastianini had joined this recording instead. Tozzi does an OK job as Ferrando. Erede conducts well but nothing really memorable. Decca's early stereo sound certainly impresses; pity that EMI and RCA didn't adopt stereo so early as well.

On the whole, this set won't beat famous Trovatores like Karajan's live performance but it will always attract my attention!
Verdi: Ernani
Average customer rating: 4.5 out of 5 stars
  • Early Verdi at its best
  • Verdi's Ernani
 Verdi: Ernani

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Caballe, MontserratCaballe, Montserrat | Divas | Opera & Vocal | Styles | Music
Vocal Works by VerdiVocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music
Similar Items:
  1. Donizetti: Roberto Devereux
  2. Verdi: La Forza del Destino
  3. Verdi - Giovanna d'Arco (Joan of Arc)/ Caballé · Domingo · Milnes · LSO · Levine
  4. Rossini - Guillaume Tell / Bacquier, Caballé, Gedda, Mesplé, Kovacs, Howell, RPO, Gardelli
  5. Eugene Onegin

ASIN: B000000UO3
Release Date: 1997-09-16

Tracks:

  1. Ernani: Preludio
  2. Ernani - Act One - Scene One: 'Evviva!...Beviamo!'
  3. Ernani - Act One - Scene One: 'Merce, diletti amici...Come rugiada al cespite'
  4. Ernani - Act One - Scene One: 'Dell' esilio nel dolore'
  5. Ernani - Act One - Scene Two: 'Surta e la notte'
  6. Ernani - Act One - Scene Two: 'Ernani!...Ernani, involami'
  7. Ernani - Act One - Scene Two: 'Tutto sprezzo che d'Ernani'
  8. Ernani - Act One - Scene Two: 'Qui mi trasse amor possente'
  9. Ernani - Act One - Scene Two: 'Da quel di' che t'ho vedurta'
  10. Ernani - Act One - Scene Two: 'Tu se' Ernani!...'
  11. Ernani - Act One - Scene Two: 'Che mak vegg'io!...Infelice!...e tuo credevi'
  12. Ernani - Act One - Scene Two: 'Vedi come il buon vegliardo' - Bruno Prevedi - Ernani
  13. Ernani - Act Two: 'Esultiamo!...Letizia ne innorndi' - Bruno Prevedi - Ernani
  14. Ernani - Act Two: 'Oro, quant'oro ogni avido' - Bruno Prevedi - Ernani
  15. Ernani - Act Two: 'Tu perfida...' - Bruno Prevedi - Ernani
  16. Ernani - Act Two: 'No, vendetta piu tremenda' - Boris Christoff - Silva

Tracks:

  1. Ernani - Act Two: 'Cugino, a che munito'
  2. Ernani - Act Two: 'Lo vedremo, veglio audace'
  3. Ernani - Act Two: 'Vieni meco, sol di rose'
  4. Ernani - Act Two: 'A te...scegli...seguimi'
  5. Ernani - Act Three: 'E questo il loco?...'
  6. Ernani - Act Three: 'Gran Dio!'
  7. Ernani - Act Three: 'Oh de' verd'anni miei'
  8. Ernani - Act Three: Un patto, un giuramento...Si ridesti il Leon di Castiglia'
  9. Ernani - Act Three: 'Oh sommo Carlo'
  10. Ernani - Act Four: 'Oh come felici...gioiscon gli sposi'
  11. Ernani - Act Four: 'Tutto ora race intorno'

Customer Reviews:

4 out of 5 stars Early Verdi at its best.......2001-03-13

This recording finds Caballe in the very best voice, and Christoff at the top of his game. The tenor, Bruno Prevdi, was one of those three or four year sensations, and, listening to this recording, I am not at all sure what all the fuss was about. He does very little with the music except sing it, and the tone isn't all that great either. Peter Glossop is the Don Carlo. While not in the league of the Italians who have recorded this role, he is more than adaquate in it. You will take this recording from your shelf many times because Caballe and Christoff are in it--they make this recording more than worth the little bit of money it costs.

5 out of 5 stars Verdi's Ernani.......2001-02-07

Verdi has given us a virtual songfest!!!This two disc CD has a wonderful ensemble. I really enjoyed hearing Monserat Caballe in this recording. Her lower register or "chest tones" make you really appreciate her great range. It is a good CD to have in your car when you take that long commute.......... it is a real bargain!!!!!
Gaetano Donizetti - Maria Stuarda
Average customer rating: 4.5 out of 5 stars
  • Royal cat fight (II)
  • Give and take from Caballe's earlier Stuarda
  • Extremely good!
 Gaetano Donizetti - Maria Stuarda
Gaetano Donizetti
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

All Works by DonizettiAll Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Similar Items:
  1. Donizetti - Lucrezia Borgia / Caballé · Vanzo · Paskalis · Perlea

ASIN: B00005OC5V
Release Date: 2001-11-06

Tracks:

  1. Act One: Qui Si Attenda
  2. Act One: Si, Vuol Di Francia... Ah, Quando All'ara
  3. Act One: Ah, Dal Ciel Discenda
  4. Act One: Ah, Rimiro Il Bel Sembiante
  5. Act One: Sei Tu Confuso?
  6. Act One: Era D'amor L'immagine
  7. Act Two: Allenta Il Pie', Regina
  8. Act Two: Oh Nube! Che Lieve
  9. Act Two: Non M'inganna La Gioia?
  10. Act Two: Da Tutti Abbandonata
  11. Act Two: Qual Loco E Questo?
  12. Act Two: E Sempre La Stessa
  13. Act Two: Morta Al Mondo
  14. Act Two: Figlia Impura Di Bolena

Tracks:

  1. Act Three: E Pensi? E Tardi?
  2. Act Three: Quella Vita A Me Funesta
  3. Act Three: Deh! Per Pieta Sospendi
  4. Act Three: La Perfida Insultarmi
  5. Act Three: Quando Di Luce Rosea
  6. Act Three: Un'altra Colpa
  7. Act Three: Vedeste? Vedemmo
  8. Act Three: Anna...
  9. Act Three: Deh! Tu Di Un Umile
  10. Act Three: Di Un Cor Che More
  11. Act Three: Ah! Se Un Giorno

Customer Reviews:

5 out of 5 stars Royal cat fight (II).......2006-01-11

Source: Live recording made in Paris on March 26, 1972.

Sound: Pretty good 1970s live mono. The French audience is generally well-disciplined, except for one or two spectacularly ill-timed and unwelcome coughs. At appropriate places, their applause and cheers are pleasingly enthusiastic.

Format: Disk 1, Act I, tracks 1-6; Act II, tracks 7-14. Disk 2, Act III, tracks 1-11.

Cast: Elisabetta, Regina d'Inghliterra - Michele Vilma Menendez; Maria Stuarda, Regina di Scozia - Montserrat Caballe; Roberto, Conte di Leicester - Jose Carreras; Lord Guglielmo Cecil - Enrique Serra; Anna Kennedy - Ruth Bezinian; Giorgio Talbot - Maurizio Mazzieri. Conductor: Nello Santi with the Lyric Orchestra and Chorus of the ORTF.

Documentation: No libretto. Track list does not show timings or identify singers. Short synopses of the history of the opera and its plot. (The cover portrait shows an attractive, if stolid young woman. She is painted in a magnificently rendered gown that is both provincial and out-of-fashion. The lady is not Mary, Queen of Scots, but a member of the previous generation, Anne of Cleves. She had married Henry VIII, survived both the marriage and the man, and by a remarkable piece of Parliamentary double-think became in English law both a princess of England and Henry VIII's "sister." Contemporary references to Anne insist on her lack of beauty, while Mary's contemporaries regarded her as gorgeous. Oddly, all the portraits show Anne to be quite good-looking and Mary to be rather plain.)

This is a historical opera that in good Nineteenth Century style, rides roughshod over mere, dreary factual verisimilitude. It is based on a play by Schiller, that same bright spark who perpetrated a play in which Joan of Arc dies heroically after a final success on the battlefield (set very effectively to music by Verdi as "Giovanna d'Arco.")

The heart of the play, occupying Act II of the opera, is an extended scene in which the two queens meet and trade insults while Lord Leicester, the true and loyal lover of the Queen of Scots, looks on ineffectually. It hardly needs to be said that all this is what we here in the Frozen North call pure bumph. Dramatic potential notwithstanding, there is not a shred of evidence that such a meeting ever took place. Considering Queen Bess' habitual avoidance of irretrievable decisions, even to the point of refusing to name a successor, it is probable that such a meeting was never even given serious consideration.

And Leicester as the true lover of Mary Stuart? Not a chance! Leicester, although not highest in feudal rank, was the premiere nobleman in Elizabeth's glittering court. He was a true denizen of the Renaissance, a complex mixture of ability, self-interest, chivalry and deviousness. It is true that there had been some plans on the part of Elizabeth to advance him, willy-nilly, to serve as a consort to Mary when she still ruled in Scotland. The Queen eventually sent an Anglo-Scottish noble named Darnley instead. Young Darnley married Mary Stuart, fathered James VI of Scotland (who would eventually become James I of England), jealously slew a favorite of the Queen of Scots and, in return, got himself gorily slaughtered--just another ordinary Renaissance career. Leicester, throughout, had his eyes on a higher thing, the hand of Queen Elizabeth, herself. He never achieved it, but his maneuverings may--or may not--have included the murder of his inconvenient wife along the way.

Turning from history to opera, I believe that I can safely say that I hold a minority view when I state that I prefer the comedies of Donizetti to his dramas. As Donizetti's dramas go, however, his 1835 "Maria Stuarda" is top notch, and outshone only by the evergreen "Lucia," also from 1835. "Maria Stuarda" is a two-prima donna extravaganza centered on a knock-down, drag-out, hissing, screaming cat fight between two historic Queens. Honestly, except for a little mud wrestling, what more could anyone want?

The star of this recording is unquestionably Montserrat Caballe. Opera fans, by their very nature, are prone to nitpick and draw ultra-fine distinctions, to give wholly undue weight to stunt-singing, to trifling trills and interpolated notes flying high above the staff. It is perfectly proper that they should do so, but the detailed analysis (i.e., fault finding) should not obscure the plain fact that Caballe's Maria offers abundant riches of big-time, full-voiced, down-and-dirty, diva singing seldom matched by anyone, anywhere, at any time. Caballe is strongly seconded by Carreras, who gives the audience all that they want and more.

Caballe and Carreras are in good voice and are captured in good sound in a good opera. These two performers offer singing of such power and beauty that there really isn't any logical rating to give the recording other than five stars.

Having said that, as an opera fan, myself, I shall now nitpick. This performance is very good, but it remains some steps away from perfection. Brilliant as Montserrat Caballe was, she was always a bit too much of a lady to seize onto the ultimate in characterization. The two queens should work themselves into a frenzy of mutual loathing. Maria sneers at the daughter of Anne Boleyn, calling her "vil bastarda." I can recall restaurants in which waitresses--ahem--wait staff have asked me whether I wanted a cup of coffee with more hostility than Caballe's Maria hurls at Elisabetta.

José Carreras is a good tenor--a fabulously good tenor--but I always want to shake him and say, "Don't do that!" How I wish I could be his voice coach just long enough to tell him to relax a little. Just look at any video of Carreras. Every muscle in his upper body is tense and his throat is held in absolute rigidity. As he became older, his notes would often come to a too-abrupt close because of that rigidity. Carreras seems to have viewed singing as a job of work to faced manfully and seriously. I have no objection to a good work-ethic, but I hear little or no joy in the man's singing, only an earnestness that shades perilously toward ponderousness.

Elisabetta, the English Queen, was portrayed by Michele Vilma Menendez. Ms. Menendez was all right in her way, not bad at all, as a matter of fact--but she was clearly not in the class of her two stellar colleagues. Their quite extraordinary abilities made her, I think, sound worse to some reviewers than she really was.

All that aside, this is a fine recording at a bargain price. Every fan should have it.

4 out of 5 stars Give and take from Caballe's earlier Stuarda.......2005-08-08

Caballe's '71 Maria Stuarda (the first Stuarda available by opera d'oro) is my main standard of comparison for this '72 performance. The grand lady is still in good voice despite a couple of awkward high notes (hardly noticeable though). Her portrait of the sad queen is more seductive and a bit self-indulgent this time whereas at La Scala she sounded more innocent and the characterisation came across as more spontaneous. In Paris she is more exciting however. I find both performances good so don't hesitate to listen to either. Shame she didn't do Bolena at this stage of her career.

What we miss on this recording is a good Elisabetta. Michele Vilma gulps, wobbles and messes up the fioritura throughout the performance. With all these problems there's hardly any room for drama (or more for that matter). I wish Cossotto had considered this part. She would have been an excellent competition for Verrett's very impressive performance at La Scala.

We've lost a great Elisabetta but at least gained a luxurious Roberto. This Roberto sounds less congenial than Roberto Devereux for the young Carreras but his most handsome voice compensates for any strains. And as always with this tenor, his phrasing is perfect. Mazzieri is a fine, less famous bass who sings with style and stands out from the rest of the cast.

I found maestro Santi more interesting than Cillario at La Scala but then again, the sound of the Scala performance is inferior to this Paris one (which is very good) so I might have missed some of Cillario's details. Cheap recording, cheap booklet as usual.

5 out of 5 stars Extremely good!.......2005-03-17

If you want to buy a Maria Stuarda recording, buy one with Caballe. I really don't understand why it is so underrated. People seam to like only Sills' interpretation, ignoring her way-too-light voice. Opera isn't all E-flats and other high notes. Caballe's only problem is that she can't produce a trill.(But she sang some almost, if not completely authentic trills in L'altra Notte In Fondo Al Mare, which can be found in the Caballe Great Opera Divas Disc.) And I think we can forgive this, regarding all the other qualities. Such refinement, purity, phrasing, pianissimos... Her high notes sound too strident ant caustic to some, but this is very subjective. They are not like the high notes that are generally considered to be beautiful, but in the right context they blend spectacularly: something between singing and screaming, hysteric, and in the same time pure.(High E-flat on the 1979 Stuarda performance on Munich) Some say "...when she gets excited, the result is wild and ugly..." Pity on them. There are different kinds of drama. It is not forbidden to like Callas and Caballe in the same time. Just listen to her "Figlia Impura Di Bolena" and feel the tension!
Don Giovanni: Lepovello's Revenge (Soundtrack)
Average customer rating: 5 out of 5 stars
  • A Showcase of DH's Mozart.
  • Masterful Don Giovanni
  • what a thrill !
 Don Giovanni: Lepovello's Revenge (Soundtrack)

Manufacturer: Cbc
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Hvorostovsky, DmitriHvorostovsky, Dmitri | ( H ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
GermanGerman | Languages | Opera & Vocal | Styles | Music
Movie SoundtracksMovie Soundtracks | Soundtracks | Styles | Music
GeneralGeneral | Soundtracks | Styles | Music
Similar Items:
  1. Arie Antiche [Australia]
  2. I Met You, My Love
  3. Dmitri Hvorostovsky - Tchaikovsky & Verdi Arias
  4. Kalinka: Russian Folk Songs
  5. Dmitri Hvorostovsky - Russian Songs of the War Years

ASIN: B000051W06
Release Date: 2000-11-21

Customer Reviews:

5 out of 5 stars A Showcase of DH's Mozart........2007-02-09

If Don Giovanni wasn't casted by Mozart with sufficient solo arias, this soundtrack made it up by having the same singer singing the part of Leporello as well.
In recent years DH has focused primarily on his native Russian reportoire. In part, this is a true loss to operatic fans.
Here in Don Giovanni, DH demonstrates what a versatile singer he is.
Personally I find his timbre suits the role of Don Giovanni more than Leporello. Even so, in terms of singing, the great solo arias of Leporello were handled very well too in this recording.
If the orchestra is not as first rate as other top-notch ones, and the rest of the cast less well-known, the singers of Zerlina and Commendatore did come up with more than competent performances alongside with DH.
Just for the sake of a truly good baritone singing a truly great opera, this soundtrack is a must to own.

5 out of 5 stars Masterful Don Giovanni.......2002-03-21

I'd say Hvorostovsky makes the best Don Giovanni there is. Despite his temperament fits more to Verdi than Mozart, I really love his exquisite lyric baritone voice in Mozart. I was extremely impressed when I heard him sung the Count at Salzburg back in 95. He is my favorite Mozart interpreter ever since. I don't think anybody else could quite pull off "La ci darem" and "Serenade" so seductively as Hvorostovsky does. His "Champagne aria" is at most perfect tempo, and even Lepollero's "Catalogo aria" sounds so sensuous. This is the only recording of his Mozart. I should be thankful to have this at all since he sung both Giovanni and Leporello. What a clever idea!

The film version of "Lepollero's Revenge is quite a treat.
Dmitri's portrayal of both Don Giovanni and Lepollero is absolutely charming. He showed his comical skills so well.

He'll sing Don Giovanni at the Met next season and The Marriage of Figaro at Paris, so he keeps the balance in between various Verdi productions.

5 out of 5 stars what a thrill !.......2001-12-16

To hear my favorite singer perform my favorite opera is a treat indeed, and through the the magic of modern technology, we get to hear him do duets with himself, as both the Don, and Leporello. This dual casting, as the booklet says about this hour long film, "...alludes to the notion that the Don and his servant are alter-egos, opposite sides of the the same person".

One of the reasons I like this CD is that I get to hear all the parts of this opera (including the overture) that delight me, all on one disc...also the recitativos, which are sometimes the most delectable of all...and Hvorostovsky does them so well, with his flawless Italian.
I also love the trio "Al taci, ingiusto core", and the sestetto "Sola, sola in buio loco". Of the lovely melodic arias, the "La ci darem la mano" duet, and the beautiful Serenata are wonderful, and perfectly suited for his rich baritone.

In the cast there's Dominique Labelle (Donna Anna), Gary Relyea (Commendatore), Liesel Fedkenheuer (Donna Elvira), Michael Colvin (Ottavio), Krisztina Szabo (Zerlina), and Alain Coulombe (Masetto), and though they may not be of Hvorostovsky's stature (few singers are !), they do an excellent job of backing him here. I especially like Relyea, and he gets to sing in what for me is one of the greatest scenes in all opera, the final trio, starting with the Commendatore's "Don Giovanni, a cenar teco"...now to hope this film becomes available on video !
Itinerary of a Genius
Average customer rating: 5 out of 5 stars
  • a must have for all the Piazzollists
 Itinerary of a Genius
Astor Piazzolla
Manufacturer: Milan Records
ProductGroup: Music
Binding: Audio CD

ArgentinaArgentina | South & Central America | International | Styles | Music
GeneralGeneral | International | Styles | Music
TangoTango | Latin Music | Styles | Music
GeneralGeneral | Soundtracks | Styles | Music
Similar Items:
  1. Tango: Zero Hour
  2. The Rough Dancer and the Cyclical Night (Tango Apasionado)

ASIN: B000068Q1X
Release Date: 2002-07-23

Tracks:

  1. Adios Nonino
  2. Libertango
  3. Buenos Aires hora cero
  4. Tres minutos con la realidad
  5. Verano Porteno
  6. Doble concierto para Bandoneon, Guitarra y Orquesta de Cuerdos - "Hommage a Liege" Tango
  7. Vuelvo al Sur
  8. Tanguedia III
  9. Milonga del Angel
  10. Concierto de Nacar 3rd mvt allegro marcato
  11. Decarissimo
  12. Duo de Amor
  13. Ballada para un loco
  14. November 1987 - Opus
  15. July 1987 - Les Trottoirs de Buenos Aires - Euphonia Argentina
  16. March 21, 1981 - Interactualites

Customer Reviews:

5 out of 5 stars a must have for all the Piazzollists.......2004-06-23

This is one of my favorite Piazzolla recordings. Be ready to embarke on a beautiful journey through Europe and Argentina. For the pluralists Piazzolla's language is the Lingua-Franca !
The Best of the Complete Mozart Edition (Box Set)
Average customer rating: 5 out of 5 stars
  • This is it -- the best condensed collection!
  • The definitive collection--worth the effort.
  • Superb!
  • Go no further than this loving compilation
  • Mozart Goo
 The Best of the Complete Mozart Edition (Box Set)

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

DancesDances | Ballets & Dances | Classical | Styles | Music
MinuetsMinuets | Ballets & Dances | Classical | Styles | Music
QuartetsQuartets | Chamber Music | Classical | Styles | Music
QuintetsQuintets | Chamber Music | Classical | Styles | Music
TriosTrios | Chamber Music | Classical | Styles | Music
GeneralGeneral | Chamber Music | Classical | Styles | Music
All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
ConcertinosConcertinos | Concertos | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
DivertimentosDivertimentos | Serenades & Divertimentos | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Sonatas | Forms & Genres | Classical | Styles | Music
SonatinasSonatinas | Sonatas | Forms & Genres | Classical | Styles | Music
ClassicalClassical | Symphonies | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Vocal & SongVocal & Song | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music | Cantatas | Romances
RequiemsRequiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music
General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General ContemporaryGeneral Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
French HornFrench Horn | Brass | Instruments | Classical | Styles | Music
OrganOrgan | Keyboard | Instruments | Classical | Styles | Music
PianoPiano | Keyboard | Instruments | Classical | Styles | Music
ClarinetClarinet | Reeds & Winds | Instruments | Classical | Styles | Music
ViolinViolin | Strings | Instruments | Classical | Styles | Music
Braun, HansBraun, Hans | ( B ) | Featured Performers, A-Z | Classical | Styles | Music
London Philharmonic OrchestraLondon Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
Pressler, MenahemPressler, Menahem | ( P ) | Featured Performers, A-Z | Classical | Styles | Music
Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Sacred & Religious | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
GermanGerman | Languages | Opera & Vocal | Styles | Music
MassesMasses | Vocal Non-Opera | Opera & Vocal | Styles | Music
MotetsMotets | Vocal Non-Opera | Opera & Vocal | Styles | Music
OratoriosOratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
RequiemsRequiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ClassicalClassical | Box Sets | Stores | Music
ASIN: B0000041C7
Release Date: 1995-11-14

Tracks:

  1. Symphony No. 39 In E Flat, K. 543: 1. Adagio - Allegro - Academy Of St. Martin In The Fields
  2. Symphony No. 39 In E Flat, K. 543: 2. Andante con moto - Academy Of St. Martin In The Fields
  3. Symphony No. 39 In E Flat, K. 543: 3. Menuetto. Allegretto - Academy Of St. Martin In The Fields
  4. Symphony No. 39 In E Flat, K. 543: 4. Finale. Allegro - Academy Of St. Martin In The Fields
  5. Symphony No. 31 In D, K. 297-300A 'Paris': 1. Allegro assai - Academy Of St. Martin In The Fields
  6. Symphony No. 31 In D, K. 297-300A 'Paris': 2. Andante - Academy Of St. Martin In The Fields
  7. Symphony No. 31 In D, K. 297-300A 'Paris': 3. Allegro - Academy Of St. Martin In The Fields
  8. Symphony No. 31 In D, K. 297-300A 'Paris': 2. Andante (Alternative) - Academy Of St. Martin In The Fields
  9. Symphony No. 36 In C, K. 425 'Linz': 1. Adagio - Allegro spiritoso - Academy Of St. Martin In The Fields
  10. Symphony No. 36 In C, K. 425 'Linz': 2. Poco adagio - Academy Of St. Martin In The Fields
  11. Symphony No. 36 In C, K. 425 'Linz': 3. Menuetto - Academy Of St. Martin In The Fields
  12. Symphony No. 36 In C, K. 425 'Linz': 4. Finale. Presto - Academy Of St. Martin In The Fields

Tracks:

  1. Symphony No. 40 In G Minor, K. 550: 1. Molto allegro - Academy Of St. Martin In The Fields
  2. Symphony No. 40 In G Minor, K. 550: 2. Andante - Academy Of St. Martin In The Fields
  3. Symphony No. 40 In G Minor, K. 550: 3. Menuetto. Allegretto - Academy Of St. Martin In The Fields
  4. Symphony No. 40 In G Minor, K. 550: 4. Finale. Allegro assai - Academy Of St. Martin In The Fields
  5. Symphony No. 25 In G Minor, K. 183 - 173dB: 1. Allegro con brio - Academy Of St. Martin In The Fields
  6. Symphony No. 25 In G Minor, K. 183 - 173dB: 2. Andante - Academy Of St. Martin In The Fields
  7. Symphony No. 25 In G Minor, K. 183 - 173dB: 3. Menuetto - Academy Of St. Martin In The Fields
  8. Symphony No. 25 In G Minor, K. 183 - 173dB: 4. Allegro - Academy Of St. Martin In The Fields
  9. Symphony No. 38 In D, K. 504 'Prague': 1. Adagio - Allegro - Academy Of St. Martin In The Fields
  10. Symphony No. 38 In D, K. 504 'Prague': 2. Andante - Academy Of St. Martin In The Fields
  11. Symphony No. 38 In D, K. 504 'Prague': 3. Finale. Presto. - Academy Of St. Martin In The Fields
  12. German Dance In C, K. 602 No. 3: 'Die Leyerer' - Wiener Mozart-Ensemble

Tracks:

  1. Symphony No. 41 In C, K. 551 'Jupiter': 1. Allegro vivace - Academy Of St. Martin In The Fields
  2. Symphony No. 41 In C, K. 551 'Jupiter': 2. Andante cantabile - Academy Of St. Martin In The Fields
  3. Symphony No. 41 In C, K. 551 'Jupiter': 3. Menuetto. Allegretto - Academy Of St. Martin In The Fields
  4. Symphony No. 41 In C, K. 551 'Jupiter': 4. Molto allegro - Academy Of St. Martin In The Fields
  5. Symphony No. 29 In A, K. 201-186a: 1. Allegro moderato - Academy Of St. Martin In The Fields
  6. Symphony No. 29 In A, K. 201-186a: 2. Andante - Academy Of St. Martin In The Fields
  7. Symphony No. 29 In A, K. 201-186a: 3. Menuetto - Academy Of St. Martin In The Fields
  8. Symphony No. 29 In A, K. 201-186a: 4. Allegro con spirito - Academy Of St. Martin In The Fields
  9. Symphony No. 35 I D, K. 385 'Haffner': 1. Allegro con spirito - Academy Of St. Martin In The Fields
  10. Symphony No. 35 I D, K. 385 'Haffner': 2. (Andante) - Academy Of St. Martin In The Fields
  11. Symphony No. 35 I D, K. 385 'Haffner': 3. Menuetto - Academy Of St. Martin In The Fields
  12. Symphony No. 35 I D, K. 385 'Haffner': 4. Finale. Presto - Academy Of St. Martin In The Fields
  13. German Dance In C, K. 605 No. 3: Trio: 'The Sleigh Ride' - Wiener Mozart Emsemble

Tracks:

  1. 'Eine kleine Nachtmusik', K. 525: Serenade In G - 1. Allegro - Academy Of St. Martin In The Fields
  2. 'Eine kleine Nachtmusik', K. 525: Serenade In G - 2. Romance. Andante - Academy Of St. Martin In The Fields
  3. 'Eine kleine Nachtmusik', K. 525: Serenade In G - 3. Menuetto. Allegretto - Academy Of St. Martin In The Fields
  4. 'Eine kleine Nachtmusik', K. 525: Serenade In G - 4. Rondo. Allegro - Academy Of St. Martin In The Fields
  5. Serenade In D, K. 239 'Serenata notturna': 1. Marcia. Maestoso. - Academy Of St. Martin In The Fields
  6. Serenade In D, K. 239 'Serenata notturna': 2. . Menuetto - Academy Of St. Martin In The Fields
  7. Serenade In D, K. 239 'Serenata notturna': 3. Rondeau. Allegretto - Adagio - Allegretto - Stephen Shingles
  8. Divertimento In F, K. 247: 4. Adagio - Academy Of St. Martin In The Fields
  9. Notturno In D, K. 286 For Four Orchestras: 1. Andante - Academy Of St. Martin In The Fields
  10. Notturno In D, K. 286 For Four Orchestras: 2. Allegretto grazioso - Academy Of St. Martin In The Fields
  11. Notturno In D, K. 286 For Four Orchestras: 3. Menuetto - Academy Of St. Martin In The Fields
  12. Serenade In C Minor, K. 288-384a 'Nacht-Musique': 1. Allegro - Holliger Wind Ensemble
  13. Serenade In C Minor, K. 288-384a 'Nacht-Musique': 2. Andante - Holliger Wind Ensemble
  14. Serenade In C Minor, K. 288-384a 'Nacht-Musique': 3. Menuetto in canone - Holliger Wind Ensemble
  15. Serenade In C Minor, K. 288-384a 'Nacht-Musique': 4. Allegro - Holliger Wind Ensemble

Tracks:

  1. Serenade In B Flat, K. 361-370a 'Gran Partita': 1. Largo - Academy Of St. Martin In The Fields
  2. Serenade In B Flat, K. 361-370a 'Gran Partita': Allegro molto - Academy Of St. Martin In The Fields
  3. Serenade In B Flat, K. 361-370a 'Gran Partita': 2. Menuetto - Trio I-II - Academy Of St. Martin In The Fields
  4. Serenade In B Flat, K. 361-370a 'Gran Partita': 3. Adagio - Academy Of St. Martin In The Fields
  5. Serenade In B Flat, K. 361-370a 'Gran Partita': 4. Menuetto. Allegretto - Trio I-II - Academy Of St. Martin In The Fields
  6. Serenade In B Flat, K. 361-370a 'Gran Partita': 5. Romanze. Adagio - Allegretto - Adagio - Academy Of St. Martin In The Fields
  7. Serenade In B Flat, K. 361-370a 'Gran Partita': 6. Thema mit Variationen. Andante - Academy Of St. Martin In The Fields
  8. Serenade In B Flat, K. 361-370a 'Gran Partita': 7. FInale. Molto allegro - Academy Of St. Martin In The Fields
  9. Adagio In F, K. 410-484d - Holliger Wind Ensemble
  10. Serenade In E Flat, K. 375: 1. Allegro maestoso - Holliger Wind Ensemble
  11. Serenade In E Flat, K. 375: 2. Menuetto - Holliger Wind Ensemble
  12. Serenade In E Flat, K. 375: 3. Adagio - Holliger Wind Ensemble
  13. Serenade In E Flat, K. 375: 4. Menuetto - Holliger Wind Ensemble
  14. Serenade In E Flat, K. 375: 5. Finale. Allegro - Holliger Wind Ensemble

Tracks:

  1. Piano Concerto No. 10 In E Flat, K. 365-316a (For Two Pianos And Orchestra): 1. Allegro - Alfred Brendel
  2. Piano Concerto No. 10 In E Flat, K. 365-316a (For Two Pianos And Orchestra): 2. Andante - Alfred Brendel
  3. Piano Concerto No. 10 In E Flat, K. 365-316a (For Two Pianos And Orchestra): 3. Rondeaux. Allegro - Alfred Brendel
  4. Piano Concerto No. 6 In B Flat, K. 238: 1. Allegro aperto - Alfred Brendel
  5. Piano Concerto No. 6 In B Flat, K. 238: 2. (Andante un poco adagio) - Alfred Brendel
  6. Piano Concerto No. 6 In B Flat, K. 238: 3. Rondeau. Allegro - Alfred Brendel
  7. Piano Concerto No. 9 In E Flat, K. 271: 1. Allegro - Alfred Brendel
  8. Piano Concerto No. 9 In E Flat, K. 271: 2. Andantino - Alfred Brendel
  9. Piano Concerto No. 9 In E Flat, K. 271: 3. Rondeau. Presto - Alfred Brendel

Tracks:

  1. Piano Concerto No. 20 In D Minor, K. 466: 1. Allegro - Alfred Brendel
  2. Piano Concerto No. 20 In D Minor, K. 466: 2. Romance - Alfred Brendel
  3. Piano Concerto No. 20 In D Minor, K. 466: 3. Rondo. Allegro assai - Alfred Brendel
  4. Sonata In C Minor, K. 457: 1. Molto allegro - Alfred Brendel
  5. Sonata In C Minor, K. 457: 2. Adagio - Alfred Brendel
  6. Sonata In C Minor, K. 457: 3. Allegro assai - Alfred Brendel
  7. Piano Concerto No. 21 In C, K. 467: 1. (Allegro) - Alfred Brendel
  8. Sonata In C Minor, K. 457: 2. Andante - Alfred Brendel
  9. Sonata In C Minor, K. 457: 3. Allegro vivace assai - Alfred Brendel

Tracks:

  1. Piano Concerto No. 23 In A, K. 488: 1. Allegro - Alfred Brendel
  2. Piano Concerto No. 23 In A, K. 488: 2. Adagio - Alfred Brendel
  3. Piano Concerto No. 23 In A, K. 488: 3. Allegro assai - Alfred Brendel
  4. Sonata In B Flat, K. 333-315c: 1. Allegro - Alfred Brendel
  5. Sonata In B Flat, K. 333-315c: 2. Andante cantabile - Alfred Brendel
  6. Sonata In B Flat, K. 333-315c: 3. Allegretto grazioso - Alfred Brendel
  7. Piano Concerto No. 26 In D, K. 537 'Coronation': 1. Allegro - Alfred Brendel
  8. Piano Concerto No. 26 In D, K. 537 'Coronation': 2. (Larghetto) - Alfred Brendel
  9. Piano Concerto No. 26 In D, K. 537 'Coronation': 3. (Allegretto) - Alfred Brendel

Tracks:

  1. Violin Concerto No. 3 In G, K. 216: 1. Allegro - Henryk Szeryng
  2. Violin Concerto No. 3 In G, K. 216: 2. Adagio - Henryk Szeryng
  3. Violin Concerto No. 3 In G, K. 216: 3. Rondeau. Allegro - Henryk Szeryng
  4. Violin Concerto No. 4 In D, K. 218: 1. Allegro - Henryk Szeryng
  5. Violin Concerto No. 4 In D, K. 218: 2. Andante cantabile - Henryk Szeryng
  6. Violin Concerto No. 4 In D, K. 218: 3. Rondeau. Andante grazioso - Henryk Szeryng
  7. Violin Concerto No. 5 In A, K. 219: 1. Allegro aperto - Henryk Szeryng
  8. Violin Concerto No. 5 In A, K. 219: 2. Adagio - Henryk Szeryng
  9. Violin Concerto No. 5 In A, K. 219: 3. Rondeau. Tempo di menuetto - Henryk Szeryng

Tracks:

  1. Clarinet Concerto In A, K. 622: 1. Allegro - Karl Leister
  2. Clarinet Concerto In A, K. 622: 2. Adagio - Karl Leister
  3. Clarinet Concerto In A, K. 622: 3. Rondo. Allegro - Karl Leister
  4. Concerto In C, K. 299-297c For Flute, Harp And Orchestra: 1. Allegro - Irena Grafenauer
  5. Concerto In C, K. 299-297c For Flute, Harp And Orchestra: 2. Andantino - Irena Grafenauer
  6. Concerto In C, K. 299-297c For Flute, Harp And Orchestra: 3. Rondeau. Allegro - Irena Grafenauer
  7. Horn Concerto In E Flat, K. 495: 1. Allegro moderato - Peter Damm
  8. Horn Concerto In E Flat, K. 495: 2. Romanza. Andante - Peter Damm
  9. Horn Concerto In E Flat, K. 495: 3. Rondo. Allegro vivace - Peter Damm
  10. Rondo In E Flat, K. 371 For Horn And Orchestra - Timothy Brown

Tracks:

  1. Clarinet Quintet In A, K. 581: 1. Allegro - Academy Of St. Martin In The Fields
  2. Clarinet Quintet In A, K. 581: 2. Larghetto - Academy Of St. Martin In The Fields
  3. Clarinet Quintet In A, K. 581: 3. Menuetto - Academy Of St. Martin In The Fields
  4. Clarinet Quintet In A, K. 581: 4. Allegretto con variazioni - Academy Of St. Martin In The Fields
  5. Movement In B Flat, K. App. 91-516c (For Clarinet, Basset Horn, Violin, Viola And Cello) - Academy Of St. Martin In The Fields
  6. Movement In F, K. App. 90/580b - Academy Of St. Martin In The Fields
  7. Flute Quartet In D, K. 285: 1. Allegro - Academy Of St. Martin In The Fields
  8. Flute Quartet In D, K. 285: 2. Adagio - - Academy Of St. Martin In The Fields
  9. Flute Quartet In D, K. 285: 3. Rondeau - Academy Of St. Martin In The Fields
  10. Oboe Quartet In F, K. 370-368b: 1. Allegro - Academy Of St. Martin In The Fields
  11. Oboe Quartet In F, K. 370-368b: 2. Adagio - Academy Of St. Martin In The Fields
  12. Oboe Quartet In F, K. 370-368b: 3. Rondeau. Allegro - Academy Of St. Martin In The Fields
  13. From 'A Musical Joke', K. 522: 4. Presto - Academy Of St. Martin In The Fields

Tracks:

  1. String Quintet [No. 3] In G Minor, K. 516: 1. Allegro - Arthur Grumiaux
  2. String Quintet [No. 3] In G Minor, K. 516: 2. Menuetto. Allegretto - Arthur Grumiaux
  3. String Quintet [No. 3] In G Minor, K. 516: 3. Adagio ma non troppo - Arthur Grumiaux
  4. String Quintet [No. 3] In G Minor, K. 516: 4. Adagio - Allegro - Arthur Grumiaux
  5. Divertimento (Trio For Strings) In E Flat, K. 563: 1. Allegro - Grumiaux Trio
  6. Divertimento (Trio For Strings) In E Flat, K. 563: 2. Adagio - Grumiaux Trio
  7. Divertimento (Trio For Strings) In E Flat, K. 563: 3. Menuetto. Allegretto - Trio - Grumiaux Trio
  8. Divertimento (Trio For Strings) In E Flat, K. 563: 4. Andante - Grumiaux Trio
  9. Divertimento (Trio For Strings) In E Flat, K. 563: 5. Menuetto. Allegretto - Trio I-II - Grumiaux Trio
  10. Divertimento (Trio For Strings) In E Flat, K. 563: 6. Allegro - Grumiaux Trio
  11. Movement In G, K. App. 66-562e For Violin And Cello: Allegro - Academy Of St. Martin In The Fields

Tracks:

  1. String Quartet No. 15 In D Minor, K. 421-417b: 1. Allegro moderato - Quartetto Italiano
  2. String Quartet No. 15 In D Minor, K. 421-417b: 2. Andante - Quartetto Italiano
  3. String Quartet No. 15 In D Minor, K. 421-417b: 3. Menuetto. Allegretto - Quartetto Italiano
  4. String Quartet No. 15 In D Minor, K. 421-417b: 4. Allegretto ma non troppo - Piu allegro - Quartetto Italiano
  5. String Quartet No. 17 In B Flat, K. 458 'The Hunt': 1. Allegro vivace assai - Quartetto Italiano
  6. String Quartet No. 17 In B Flat, K. 458 'The Hunt': 2. Menuetto. Moderato - Quartetto Italiano
  7. String Quartet No. 17 In B Flat, K. 458 'The Hunt': 3. Adagio - Quartetto Italiano
  8. String Quartet No. 17 In B Flat, K. 458 'The Hunt': 4. Allegro assai - Quartetto Italiano
  9. Allegretto In B Flat, K. App. 68-589a (For String Quarter) - Academy Of St. Martin In The Fields
  10. Adagio And Rondo In C, K. 617 (For Glass Harmonica, Flute, Oboe, Viola And Cello): 1. Adagio - Jean Decroos
  11. Adagio And Rondo In C, K. 617 (For Glass Harmonica, Flute, Oboe, Viola And Cello): 2. Rondo - Jean Decroos

Tracks:

  1. Piano Quintet In E Flat, K. 452 (For Piano, Oboe, Clarinet, Horn And Bassoon): 1. Largo - Allegro moderato - Alfred Brendel
  2. Piano Quintet In E Flat, K. 452 (For Piano, Oboe, Clarinet, Horn And Bassoon): 2. Larghetto - Alfred Brendel
  3. Piano Quintet In E Flat, K. 452 (For Piano, Oboe, Clarinet, Horn And Bassoon): 3. Allegretto - Alfred Brendel
  4. Larghetto In B Flat, 452a-App. 54 (For Piano, Oboe, Clarinet, Bassett Horn And Bassoon): Larghetto - Mitsuko Uchida
  5. Piano Quartet In G Minor, K. 478: 1. Allegro - Bruno Giuranna
  6. Piano Quartet In G Minor, K. 478: 2. Andante - Bruno Giuranna
  7. Piano Quartet In G Minor, K. 478: 3. Rondo. Allegro moderato - Bruno Giuranna
  8. Trio In E Flat, K. 498 (For Piano, Clarinet And Viola 'Kegelstatt'): 1. Andante - Jack Brymer
  9. Trio In E Flat, K. 498 (For Piano, Clarinet And Viola 'Kegelstatt'): 2. Menuetto - Jack Brymer
  10. Trio In E Flat, K. 498 (For Piano, Clarinet And Viola 'Kegelstatt'): 3. Rondeaux. Allegretto - Jack Brymer

Tracks:

  1. Sonata In E Minor, K. 304-300c (For Piano And Violin): 1. Allegro - Arthur Grumiaux
  2. Sonata In E Minor, K. 304-300c (For Piano And Violin): 2. Tempo di menuetto - Arthur Grumiaux
  3. Sonata In F, K. 377-374e (For Piano And Violin): 1. Allegro - Arthur Grumiaux
  4. Sonata In F, K. 377-374e (For Piano And Violin): 2. Tema [con variazioni] - Arthur Grumiaux
  5. Sonata In F, K. 377-374e (For Piano And Violin): Tema - Arthur Grumiaux
  6. Sonata In F, K. 377-374e (For Piano And Violin): Variazione I - Arthur Grumiaux
  7. Sonata In F, K. 377-374e (For Piano And Violin): Variazione II - Arthur Grumiaux
  8. Sonata In F, K. 377-374e (For Piano And Violin): Variazione III - Arthur Grumiaux
  9. Sonata In F, K. 377-374e (For Piano And Violin): Variazone IV - Arthur Grumiaux
  10. Sonata In F, K. 377-374e (For Piano And Violin): Variazone V - Arthur Grumiaux
  11. Sonata In F, K. 377-374e (For Piano And Violin): 3. Tempo di menuetto - Arthur Grumiaux
  12. Sonata In B Flat, K. 378-317d (For Piano And Violin): 1. Allegro moderato - Arthur Grumiaux
  13. Sonata In B Flat, K. 378-317d (For Piano And Violin): 2. Andantino sostenuto e cantibile - Arthur Grumiaux
  14. Sonata In B Flat, K. 378-317d (For Piano And Violin): 3. Rondo. Allegro - Arthur Grumiaux
  15. Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Tema - Arthur Grumiaux
  16. Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione I - Arthur Grumiaux
  17. Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione II - Arthur Grumiaux
  18. Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione III - Arthur Grumiaux
  19. Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione IV - Arthur Grumiaux
  20. Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione V - Arthur Grumiaux
  21. Six Variations In G Minor, K. 360-374b (On 'Helas, j'ai erdu mon amant' For Piano And Violin): Variazione VI - Arthur Grumiaux
  22. Sonata In A, K. 526 (For Piano And Violin): 1. Allegro molto - Arthur Grumiaux
  23. Sonata In A, K. 526 (For Piano And Violin): 2. Andante - Arthur Grumiaux
  24. Sonata In A, K. 526 (For Piano And Violin): 3. Presto - Arthur Grumiaux

Tracks:

  1. Sonata In A Minor, K. 310-300d: 1. Allegro maestoso - Mitsuko Uchida
  2. Sonata In A Minor, K. 310-300d: 2. Andante cantabile con espressione - Mitsuko Uchida
  3. Sonata In A Minor, K. 310-300d: 3. Presto - Mitsuko Uchida
  4. Sonata In A, K. 331-300i: 1. Tema (Andante grazioso) - Mitsuko Uchida
  5. Sonata In A, K. 331-300i: 2. Menuetto - Mitsuko Uchida
  6. Sonata In A, K. 331-300i: 3. Alla turca. Allegretto - Mitsuko Uchida
  7. Sonata In C, K. 545: 1. Allegro - Mitsuko Uchida
  8. Sonata In C, K. 545: 2. Andante - Mitsuko Uchida
  9. Sonata In C, K. 545: 3. Rondo - Mitsuko Uchida
  10. Sonata In D, K. 576: 1. Allegro - Mitsuko Uchida
  11. Sonata In D, K. 576: 2. Adagio - Mitsuko Uchida
  12. Sonata In D, K. 576: 3. Allegretto - Mitsuko Uchida
  13. Minuet In D, K. 355 - Mitsuko Uchida

Tracks:

  1. Exsultate, jubilate, K. 165-158a: Exsultate, jubilate - Kiri Te Kanawa
  2. Exsultate, jubilate, K. 165-158a: Fulget amica dies - Kiri Te Kanawa
  3. Exsultate, jubilate, K. 165-158a: Tu virginum corona - Kiri Te Kanawa
  4. Exsultate, jubilate, K. 165-158a: Alleluja - Kiri Te Kanawa
  5. Mass In C, K. 317 'Coronation': Kyrie - Michael G. Gormley
  6. Mass In C, K. 317 'Coronation': Gloria - Michael G. Gormley
  7. Mass In C, K. 317 'Coronation': Credo - Michael G. Gormley
  8. Mass In C, K. 317 'Coronation': Santcus - Michael G. Gormley
  9. Mass In C, K. 317 'Coronation': Benedictus - Michael G. Gormley
  10. Mass In C, K. 317 'Coronation': Agnus Dei - Michael G. Gormley
  11. Church Sonata No. 16 In C, K. 329 - Helmut Winschermann
  12. Vesperae solennes de Dominica, K. 321: Laudate Dominum - Herbert Kegel
  13. Missa [solemnis] In C, K. 337: Kyrie - Aldo Baldin
  14. Missa [solemnis] In C, K. 337: Gloria - Aldo Baldin
  15. Missa [solemnis] In C, K. 337: Credo - Aldo Baldin
  16. Missa [solemnis] In C, K. 337: Sanctus - Aldo Baldin
  17. Missa [solemnis] In C, K. 337: Benedictus - Aldo Baldin
  18. Missa [solemnis] In C, K. 337: Agnus Dei - Aldo Baldin
  19. Vesperae solennes de Confessore, K. 339: Laudate Dominum - Kiri Te Kanawa

Tracks:

  1. Ave verum corpus, K. 618 - John Constable
  2. Maurerisch Trauermusik K. 477-479a - Statatskapelle Dresden
  3. Kyrie In D Minor, K. 341-368a - John Constable
  4. Adagio und Fugue In C Minor, K. 546: Adagio - Staatskapelle Dresden
  5. Adagio und Fugue In C Minor, K. 546: Fugue - Staatskapelle Dresden
  6. Requiem In D Minor, K. 626: Introitus: Requiem - Francisco Araiza
  7. Requiem In D Minor, K. 626: Kyrie - Francisco Araiza
  8. Requiem In D Minor, K. 626: Sequentia: Dies irae - Francisco Araiza
  9. Requiem In D Minor, K. 626: Tuba mirum - Francisco Araiza
  10. Requiem In D Minor, K. 626: Rex tremendae - Francisco Araiza
  11. Requiem In D Minor, K. 626: Recordare - Francisco Araiza
  12. Requiem In D Minor, K. 626: Confutatis - Francisco Araiza
  13. Requiem In D Minor, K. 626: Lacrimosa - Francisco Araiza
  14. Requiem In D Minor, K. 626: Ofertorium: Domine Jesu - Francisco Araiza
  15. Requiem In D Minor, K. 626: Hostias - Francisco Araiza
  16. Requiem In D Minor, K. 626: Sanctus - Francisco Araiza
  17. Requiem In D Minor, K. 626: Benedictus - Francisco Araiza
  18. Requiem In D Minor, K. 626: Agnus Dei - Francisco Araiza
  19. Requiem In D Minor, K. 626: Communio: Lux aeterna - Francisco Araiza

Tracks:

  1. Concert Arias: 'Voi avete un cor fedele', K. 217 - Edith Mathis
  2. Concert Arias: 'Misera, dove son!' ...- 'Ah! non son io che parlo, K. 369 - Edith Mathis
  3. Concert Arias: 'Ch'io mi scordi di te?'...- 'Non temer, amato bene', K. 505 - Leopold Hager
  4. Concert Arias: 'Un moto di gioia mi sento', K. 579 - Eva Lind
  5. Concert Arias: 'Chi sa, chi sa, qual sia', K. 582 - Lucia Popp
  6. Concert Arias: 'Vado, ma dove?' oh Dei!', K. 583 - Edith Mathis
  7. Concert Arias: 'Un bacio di mano', K. 541 - Walter Berry
  8. Concert Arias: 'Dan Bandel', K. 441 - Anton Scharinger
  9. Concert Arias: 'Caro mio Druck und Schluck', K. App. 5 - Anton Scharinger
  10. Concert Arias: 'Leck mich im Arsch', K. 231 - Klaus von Wildemann
  11. Concert Arias: 'Bona nox! bist a rechta Ox', K. 561 - Klaus von Wildemann
  12. Concert Arias: 'V'amo di core', K. 348 - Klaus von Wildemann
  13. Concert Arias: 'Mi lagnero tacendo', K. 437 - Klaus von Wildemann
  14. Lieder: 'Das Veilchen', K. 476 - Dalton Baldwin
  15. Lieder: 'Der Zauberer', K. 472 - Dalton Baldwin
  16. Lieder: 'Die Alte', K. 517 - Dalton Baldwin
  17. Lieder: 'Die Vershweigung', K. 518 - Dalton Baldwin
  18. Lieder: 'Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte', K. 520 - Dalton Baldwin
  19. Lieder: 'Abendempfindung', K. 523 - Dalton Baldwin
  20. Lieder: 'Das Traumbild', K. 530 - Dalton Baldwin
  21. Lieder: 'Die kleine Spinnerin', K. 531 - Dalton Baldwin
  22. Lieder: 'Un moto di gioia', K. 579 - Dalton Baldwin
  23. Lieder: 'Sehnsucht nach dem Fruhling', K. 596 - Dalton Baldwin

Tracks:

  1. Idomeneo, K. 366 (Highlights): Overture - John Constable
  2. Idomeneo, K. 366 (Highlights): Act One: 'Quando avran fine omai' (Ilia) - John Constable
  3. Idomeneo, K. 366 (Highlights): Act One: 'Padre, germani, addio!' (Ilia) - John Constable
  4. Idomeneo, K. 366 (Highlights): Act One: 'Estinto e Idomeneo?' (Elettra) - John Constable
  5. Idomeneo, K. 366 (Highlights): Act One: 'Tutte nel cor vi sento' (Elettra) - John Constable
  6. Idomeneo, K. 366 (Highlights): Act One: 'Pieta! Numi,pieta!' - John Constable
  7. Idomeneo, K. 366 (Highlights): Act One: 'Eccoci salvi alfin' (Idomeneo) - John Constable
  8. Idomeneo, K. 366 (Highlights): Act One: 'Vedrommi intorno' (Idomeneo) - John Constable
  9. Idomeneo, K. 366 (Highlights): Act One: 'Il padre adorato' (Idamente) - John Constable
  10. Idomeneo, K. 366 (Highlights): Act Two: 'Fuor del mar' (Idomeneo) - John Constable
  11. Idomeneo, K. 366 (Highlights): Act Two: 'Placido e il mar' - John Constable
  12. Idomeneo, K. 366 (Highlights): Act Two: 'Vattene prence' (Idomeneo, Idamante) - John Constable
  13. Idomeneo, K. 366 (Highlights): Act Two: 'Pria di partir, o Dio!' (Idamante, Elettra, Idomeneo) - John Constable
  14. Idomeneo, K. 366 (Highlights): Act Two: 'Qual nuovo terrore!' - John Constable
  15. Idomeneo, K. 366 (Highlights): Act Two: 'Eccoti in me, barbaro Nume!' (Idomeneo) - John Constable
  16. Idomeneo, K. 366 (Highlights): Act Two: 'Corriamo, fuggiamo' - John Constable
  17. Idomeneo, K. 366 (Highlights): Act Three: 'Zeffiretti Iusinghieri' (Ilia) - John Constable
  18. Idomeneo, K. 366 (Highlights): Act Three: 'Andro ramingo e solo' (Idamente, Ilia, Idomeneo, Elettra) - John Constable
  19. Idomeneo, K. 366 (Highlights): Act Three: 'Accogli, oh re del mar' (Idomeneo) - John Constable
  20. Idomeneo, K. 366 (Highlights): Act Three: 'Ha vinto amore' (The Voice) - John Constable
  21. Idomeneo, K. 366 (Highlights): Act Three: 'O ciel pietoso!' (Idomeneo, Idamante, Ilia, Arbace, Elettra) - John Constable
  22. Idomeneo, K. 366 (Highlights): Act Three: 'D'Oreste e d'Aiace' (Elettra) - John Constable
  23. Idomeneo, K. 366 (Highlights): Act Three: 'Scenda Amor, scenda Imeneo' - John Constable

Tracks:

  1. The Abduction From The Serail, K. 384 (Highlights): Overture - Christiane Eda-Pierre (Konstanze)
  2. The Abduction From The Serail, K. 384 (Highlights): Act One: 'Hier soll ich dich denn sehen' (Belmonte) - Christiane Eda-Pierre (Konstanze)
  3. The Abduction From The Serail, K. 384 (Highlights): Act One: 'Solche hergelaufne Laffen' (Osmin) - Christiane Eda-Pierre (Konstanze)
  4. The Abduction From The Serail, K. 384 (Highlights): Act One: 'Konstanze, dich wiederzusehen' - 'O wie angstlich, o wie feurig' (Belmonte) - Christiane Eda-Pierre (Konstanze)
  5. The Abduction From The Serail, K. 384 (Highlights): Act One: 'Singt dem grossen Bassa Lieder' - Christiane Eda-Pierre (Konstanze)
  6. The Abduction From The Serail, K. 384 (Highlights): Act One: 'Ach ich liebte, war so glucklich' (Konstanze) - Christiane Eda-Pierre (Konstanze)
  7. The Abduction From The Serail, K. 384 (Highlights): Act One: 'Marsch! Trollt euch fort!' (Osmin, Belmonte, Pedrillo) - Christiane Eda-Pierre (Konstanze)
  8. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Durch Zartlichkiet und Schmeicheln' (Blonde) - Christiane Eda-Pierre (Konstanze)
  9. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Welcher Dummer herrscht in meiner Seele' (Konstanze) - Christiane Eda-Pierre (Konstanze)
  10. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Traurigkeit ward mir zum Lose' - Christiane Eda-Pierre (Konstanze)
  11. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Matern aller Arten' (Konstanze) - Christiane Eda-Pierre (Konstanze)
  12. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Welche Wonne, welche Lust' (Blonde) - Christiane Eda-Pierre (Konstanze)
  13. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Frisch zum Kampfe' (Pedrillo) - Christiane Eda-Pierre (Konstanze)
  14. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Vivat Baccus! Bacchus lebe!' (Pedrillo, Osmin) - Christiane Eda-Pierre (Konstanze)
  15. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Ach Belmonte! Ach, mein Leben' - Christiane Eda-Pierre (Konstanze)
  16. The Abduction From The Serail, K. 384 (Highlights): Act Two: 'Wenn unsrer Ehre wegen' (Konstanze, Blonde, Belmonte, Pedrillo) - Christiane Eda-Pierre (Konstanze)
  17. The Abduction From The Serail, K. 384 (Highlights): Act Three: 'In Mohrenland gefangen war' (Pedrillo, Belmonte) - Christiane Eda-Pierre (Konstanze)
  18. The Abduction From The Serail, K. 384 (Highlights): Act Three: 'Ha, wie will ich triumphieren' (Osmin) - Christiane Eda-Pierre (Konstanze)
  19. The Abduction From The Serail, K. 384 (Highlights): Act Three: 'Nie werd' ich deine Huld verkennen' (Belmonte, Konstanze, Pedrillo, Blonde, Osmin) - Christiane Eda-Pierre (Konstanze)

Tracks:

  1. Le Nozze Di Figaro, K. 492 (Highlights): Overture - John Constable
  2. Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Cinque... dieci...centi...' - 'Cosa stai misurando' (Figaro, Susanna) - John Constable
  3. Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Se vuol ballare' (Figaro) - John Constable
  4. Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'La vendetta, oh, la vendetta' (Bartolo) - John Constable
  5. Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Non so piu cosa son, cosa faccio' (Cherubino) - John Constable
  6. Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Cosa sento! tosto andante' (Count, Basilio, Susanna) - John Constable
  7. Le Nozze Di Figaro, K. 492 (Highlights): Act One: 'Non piu andrai' (Figaro) - John Constable
  8. Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Porgi amor' (Countess) - John Constable
  9. Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Voi che sapete' (Cherubino) - John Constable
  10. Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Susanna, or via, sortite' (Count, Countess, Susanna) - John Constable
  11. Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Aprite, presto, aprite' (Susanna, Cheubino) - John Constable
  12. Le Nozze Di Figaro, K. 492 (Highlights): Act Two: 'Voi signor, che giusto siete' (Marcellina, Basilio, Bartolo, Count, Susanna, Countess, Figaro) - John Constable
  13. Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Crudel! Perche finora' (Count, Susanna) - John Constable
  14. Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Hai gia vinta la causa' - 'Vedro mentr'io sospiro' (Count) - John Constable
  15. Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'E Susann non vien!' - 'Dove sono i bei momenti' (Countess) - John Constable
  16. Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Riconosci in questo amplesso' (Marcellina, Figaro, Bartolo, Don Curzio, Count, Susanna) - John Constable
  17. Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Canzonetta sull'aria': 'Che soave zeffiretto' (Countess, Susanna) - John Constable
  18. Le Nozze Di Figaro, K. 492 (Highlights): Act Three: 'Ricevete, o padroncina' - John Constable
  19. Le Nozze Di Figaro, K. 492 (Highlights): Act Four: 'L'ho perduta' (Barbarina) - John Constable
  20. Le Nozze Di Figaro, K. 492 (Highlights): Act Four: 'Aprite un po' quegli occhi' (Figaro) - John Constable
  21. Le Nozze Di Figaro, K. 492 (Highlights): Act Four: 'Giunse alfin il momento' - 'Deh vieni, non tardar' (Susanna) - John Constable
  22. Le Nozze Di Figaro, K. 492 (Highlights): Act Four: 'Gente, gente all'armi' (Count, Figaro, Don Curzio, Basilio, Antonio, Bartolo, Susanna) - John Constable

Tracks:

  1. Don Giovanni, K. 527: Overture - John Constable
  2. Don Giovanni, K. 527: Act One: 'Notte e giorno faticar' (Leporello) - 'Leporello, ove sei?' (Don Giovanni, Leporello) - John Constable
  3. Don Giovanni, K. 527: Act One: 'Madamina, il catalogo e questo' (Leporello) - John Constable
  4. Don Giovanni, K. 527: Act One: 'La ci darem la mano' (Don Giovanni, Zerlina) - John Constable
  5. Don Giovanni, K. 527: Act One: 'Non ti fidar, o misera' (Donna Elvira, Donna Anna, Don Ottavio, Don Giovanni) - John Constable
  6. Don Giovanni, K. 527: Act One: 'Don Ottavio, son orta' (Donna Anna, Don Ottavio) - John Constable
  7. Don Giovanni, K. 527: Act One: 'Or sai chi l'onore' (Donna Anna) - John Constable
  8. Don Giovanni, K. 527: Act One: 'Dalla sua pace', K. 540a (Don Ottavio) - John Constable
  9. Don Giovanni, K. 527: Act One: 'Fin ch'han dal vino' (Don Giovanni) - John Constable
  10. Don Giovanni, K. 527: Act One: 'Batti, batti, o bel Masetto' (Zerlina) - John Constable
  11. Don Giovanni, K. 527: Act Two: 'Eh via, buffone' (Don Giovanni, Leporello) - John Constable
  12. Don Giovanni, K. 527: Act Two: 'Ah! taci, ingiusto core' - John Constable
  13. Don Giovanni, K. 527: Act Two: 'Deh! vieni alla finestra' (Don Giovanni) - John Constable
  14. Don Giovanni, K. 527: Act Two: 'Vedrai, carino' (Zerlina) - John Constable
  15. Don Giovanni, K. 527: Act Two: 'Sola, sola in buio loco' (Donna Elvira, Leporello, Don Ottavio, Donna Anna, Zerlina, Masetto) - John Constable
  16. Don Giovanni, K. 527: Act Two: 'Il mio tesoro intanto' (Don Ottavio) - John Constable
  17. Don Giovanni, K. 527: Act Two: 'In quali eccessi, o Numi!' - John Constable
  18. Don Giovanni, K. 527: Act Two: 'Mi tradi quell'alma ingrata' (Donna Elvira) - John Constable
  19. Don Giovanni, K. 527: Act Two: 'Don Gionanni, a cenar teco' (Il Commendatore, Don Giovanni, Leporello) - John Constable
  20. Don Giovanni, K. 527: Act Two: 'Questo e il fin di chi fa mal!' (Donna Elvira, Donna Anna, Zerlina, Don Ottavio, Leporello, Masetto) - John Constable

Tracks:

  1. Cost Fan Tutte, K. 588: Overture - John Constable
  2. Cost Fan Tutte, K. 588: Act One: 'La mia Dorabella' (Ferrando, Guglielmo, Don Alfonso) - John Constable
  3. Cost Fan Tutte, K. 588: Act One: 'Ah, guarda sorella' (Fiordiligi, Dorabella) - John Constable
  4. Cost Fan Tutte, K. 588: Act One: 'Vorrei dir, e cor non ho' (Don Alfonso) - John Constable
  5. Cost Fan Tutte, K. 588: Act One: 'Sento, o Dio, che questo piede' (Guglielmo, Ferrando, Don Alfonso, Fiordiligi, Dorabella) - John Constable
  6. Cost Fan Tutte, K. 588: Act One: 'Di scrivermi ogni giorno' - Bella vita militar' (Fiordiligi, Dorabella, Guglielmo, Ferrando, Don Alfonso) - John Constable
  7. Cost Fan Tutte, K. 588: Act One: 'Soave sia il vento' (Fiordiligi, Dorabella, Don Alfonso) - John Constable
  8. Cost Fan Tutte, K. 588: Act One: 'Ah, scostati!' - Smanie implacabili' (Dorabella) - John Constable
  9. Cost Fan Tutte, K. 588: Act One: 'In uomini, in soldati' (Despina) - John Constable
  10. Cost Fan Tutte, K. 588: Act One: 'Alla bella Despinetta' (Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella) - John Constable
  11. Cost Fan Tutte, K. 588: Act One: 'Come scoglio' (Fiordiligi) - John Constable
  12. Cost Fan Tutte, K. 588: Act One: ''Non siate ritrosi' (Guglielmo) - John Constable
  13. Cost Fan Tutte, K. 588: Act One: 'E voi ridete' (Don Alfonso, Ferrando, Guglielmo) - John Constable
  14. Cost Fan Tutte, K. 588: Act One: 'Un 'aura amorosa' (Ferrando) - John Constable
  15. Cost Fan Tutte, K. 588: Act Two: 'Una donna a quindici anni' (Despina) - John Constable
  16. Cost Fan Tutte, K. 588: Act Two: 'Predero quel brunettino' (Dorabella, Fiordiligi) - John Constable
  17. Cost Fan Tutte, K. 588: Act Two: 'La mano a me date' (Don Alfonso, Ferrando, Guglielmo, Despina) - John Constable
  18. Cost Fan Tutte, K. 588: Act Two: 'Il core vi dono' (Guglielmo, Dorabella) - John Constable
  19. Cost Fan Tutte, K. 588: Act Two: 'Per pieta, ben mio, perdona' (Fiordiligi) - John Constable
  20. Cost Fan Tutte, K. 588: Act Two: 'Donne mie, la fate a tanti' (Guglielmo) - John Constable
  21. Cost Fan Tutte, K. 588: Act Two: 'Volgi a me pietoso il ciglio' (Ferrando, Fiordiligi) - John Constable
  22. Cost Fan Tutte, K. 588: Act Two: 'Tutti accusan le donne' (Don Alfonso) - John Constable
  23. Cost Fan Tutte, K. 588: Act Two: 'Fortunato l'uom che prende' (All) - John Constable

Tracks:

  1. The Magic Flute, K. 620 (Highlights): Overture - Mikael Melbye (Papageno)
  2. The Magic Flute, K. 620 (Highlights): Act One: 'Der Vogelfanger bin ich ja' (Papageno) - Mikael Melbye (Papageno)
  3. The Magic Flute, K. 620 (Highl