Maria Elena

Track Listings

1. Oblivión

2. What Side Are You On

3. Friends

4. Magie d'Amour

5. Winner Takes It All

6. Nothe Che Se Ne Va

7. Only Crying

8. Falcon

9. Pied a Terre

10. Fade to Grey

11. Tracy's Theme

12. Green Leaves of Summer

13. Maria Elena

14. Lights of Rome

15. Monte Carlo

16. Plaza Washington

Maria Elena,Fausto Papetti,Kubaney,Easy Listening,Latin

Maria Elena

Tracks:

Maria Elena
Maran Cariua
Los Indios Danzan
A La Orilla Del Lago
Moonlight Serenade
Baion Bon
Pajaro Campana
Star Dust
Ternura
Ay Maria
Vals Criollo
Jungle Dream
Always In My Heart
Por Que Eres Asi?
Over The Rainbow
More Brandy-Please
Amapola
Wide Horizon
Moonlight And Shadows
You Belong To My Heart
Central Park
Magic Is The Moonlight
New Orleans
Maria My Own

Customer Reviews:

A walk down memory lane.......2007-01-27

This is music at it's very best!!!!!!Kick back and remember when.
I am almost 80 but this makes me feel like dancing all night.I will be watching the mailbox for this delivery.I will purchase this one for friends. My family loves to come for dinner and to listen to my music--wait until they hear this one.

memories.......2005-10-27

It was wonderful to listen to this music again. I hadn't heard anything from this duo in sooooo many years. Over the years I misplaced or lost my tape of the original Los Indios Tabajaras "Maria Elena". What a FIND! and to find it in a CD with a combination of 2 albums was even better. Iam so happy with my CD.

Songs my father taught me!.......2005-09-13

I too heard the LP Maria Elena through my father while I was growing up. When I came across this CD it brought back so many memories. Listening to the samples took me back so many years. I can't wait to get it!

Music hath charm to soothe the savage breast.......2005-07-23

I have listened to guitar all my life and heard a lot of great music. However, the music of Los Indios Tabajaras is ,unquestionably, the most exqusite I have ever heard.I don't know anything about the composition of music butI like what I hear. There are only a few who have the gift of being able to talk to many through their music.Los Indios are among that favored few.Thank God for C.D.s so that this genius will not be lost to future generations.

I have been searching for this for years!.......2003-10-02

Like one of the previous reviewers, I was introduced to this wonderful music through my father. We had a Scott stereo system at home with Tannoy speakers - and this music is some of my most favourite. I had the honour of seeing their farewell concert at Massey Hall in Toronto in the fall of 1979, and I cried all the way through it. I have looked for their recordings in CD's for years, and am happy at last to be able to purchase them. Is "Casually Classic" no longer available? How sad - it was one of their best. I danced to "Maria Elena" with my father at my wedding - it remains one of my most cherished moments. These artists will not pass our way again - do yourself and your CD collection a favour, and buy them - today.

Average customer rating:

Breathtaking
operatica "o"
First few songs are good, the rest are???
This is the pits. . . the absolute pits
Adding To My List Of Vices: A Continuation

O: Operatica, Vol. 1

Manufacturer: E-Magine Records
ProductGroup: Music
Binding: Audio CD

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Operatica: Shine
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Etterna
The Fifth Element: Original Motion Picture Soundtrack

ASIN: B00004Z42O
Release Date: 2000-10-03

Tracks:

Ave Maria
Vocalise
Melancholy Rose
L'Heure Exquise
O Del Mio Dolce Ardor
Charmed By A Rose
In The City
Get Off My Land
Dite Oime
Bachianas Brasileiras No.5
Maria's Dream (Instrumental)
Bonus Track

Customer Reviews:

Breathtaking.......2006-12-17

I bought this CD before it was even well-known, though I wonder how many people even know about it right now. This is truly a gem of a find. The fusion of electronica and opera is amazing and the vocals are haunting and beautiful. I have had several friends listen to this CD and all of them fall in love with it, just like I did when I first heard it. I have since bought Operatica: Shine and the more recent Operatica: Christmas Classics and I can truly say I am just as pleased with both follow-up albums. I listen to a variety of music and have a large collection, and this is one of my favourite CDs! Bravo to the creators, composers, vocalist(s) and artists that brought this compilation together.

operatica "o".......2005-09-19

I have this album and think it is unusually beautiful, innovative, a woman with a lovely voice.

Why is she not mentioned or given the credit she deserves, it would appear she is some kind of a secret!

Maureen O'Flynn is only mentioned in the booklet of credits in the jewel case itself, why?
Enter her name in the search in CDNOW and it comes up blank! Why?

First few songs are good, the rest are???.......2004-02-13

First few songs are good, but the rest of the album is no good!

This is the pits. . . the absolute pits.......2003-08-23

Maureen O'Flynn is a perfectly good singer, but whoever thought this "marriage" of opera and pop was a good idea is the same guy that thinks John Tesh is a great composer. People have simply stopped listening seriously to music, and it is a real shame. This recording is for the scrap heap. The accompaniment is cheesier than a big wedge of provolone. There isn't a single live musician in the studio with this young lady. The people who think this is good music are the same ones that aren't bothered by the prospect of a canned sound track in a Broadway show or the "pop stylings" of Charlotte Church. Go out and find some REAL MUSIC, people! It's there if you look. As the great American composer Charles Ives wrote: "Open your ears!"

Adding To My List Of Vices: A Continuation.......2003-05-05

When coupling sounds from two opposing polarities into one another and blending them into the perfect texturization of harmonics, one has to have a few things that fit nicely together in order to succeed. One has to first have a musical stylization that works when placed into an arena that isn't normally associated with its feel, making sure that the seams that could be ripe for the picking aren't taken advantage of. Next, one has to make sure that the voice behind the work, if there is a vocal combination in the work at all, is something that will work smoothly and will not let the vehicle of sense assailment down. Otherwise, the end result is painful and the art, it is merely noise. This is especially true when one is trying to fit a glove on the hand that isn't accustomed to wearing it, making certain that the fit is right and that the end result isn't too rudimentary because something was overlooked.

With Operatica: "O" Volume 1, the components come together fabulously and the seams don't really show at all except on the rarest of occasions (two songs out of eleven by my count, and perhaps that's more beat than anything), throwing a mixture of motions into a vocally moving ocean that would, on many occasions, be seen as items that wouldn't fit together. Here, the beautiful voice of Maureen O'Flynn mixes the operatic sounds I had never truly experienced into a sea of electronic beats, ambient rhythms, speaking pianos, and other vessels to compose the perfect structure. This takes a classical form and introduces it to a world that paints new scenes that couldn't have been painted otherwise, letting its audience ingest a spectrum of thoughts that they wouldn't intake normally. I, myself, was stunned to find that I was instantly addicted to the release, listening to it over and over again and wondering where Opera had been all of my life. Honestly, being a child of electronic music that drifts into heavier organisms of feeling, I never thought I would ever think such thoughts.

Tracks:

Maria Elania
Maria Cariua
Los Indios Danzan
A La Orillia Del Lago
Serenata Del Lago
Baion Bon
Pajara Campana
Poolvo De EstrellaStardust
Ternura
Ay Maria
Vals Criollo
Sueno Salvoje Jungle Dream

Customer Reviews:

A beautiful piece of work.......2006-11-06

Just buy this CD, pop it in and you will feel like you are in paradise. I can't say it any better than that. --AA

Maria Elena.......2005-09-09

Too much confusion with this seller on shipping --
delays, delays. I regret having to give this
kind of review -- rarely happens to me.

Los Indios.......2005-03-08

When I was a young girl living in belize I remember listening to Los Indios Tabajares and I have never heard such beautiful instrumentals since then. I have been trying to find this music for a long time now and a friend only just told me after all these years the name of the artists. i am so happy that i have found this music. It is the most beautiful instrumental music for easy listening and for cocktail parties etc etc. I am looking for the album that has a sunset on the album cover. I just can't remember the name of the album. This was around 1971 or so.

Life flows in circles.......2002-06-25

I was 18, and graduating from high school when a teacher lent me an album which I will never forget. In upstate New York's Adirondacks I never expected to hear such music, and thirty-three years later it is as magical and exquisite to my ears as the first note from Maria Elena I heard that summer. If you are a lover of classical music or contemporary, the arts or just excellent muscianship, this is a must-have for the CD collection. An absolute must.

Elegant Symplicity.......2000-03-15

It is well-nigh impossible to find music that can function as a sophistocated background to a dinner party and/or that can be very much enjoyed when listened to with a critical ear. Superb musicianship; inventive, and so beautifully structured that it weaves a romantic spell. I play "Jungle Dream" over and over. Until you hear Indios Tabajaras, you would never believe that two guitars can do what these accomplish.

Average customer rating:

The best Spanish kid's songs

Canciones Para Chicos
Maria-Elena Walsh
Manufacturer: Sony Bmg
ProductGroup: Music
Binding: Audio CD

General | Latin Music | Styles | Music
ASIN: B000268PAO
Release Date: 2007-03-02

Tracks:

Manuelita La Tortuga
Don Enrique Del Menique
Cancion De Tomar El Te
Familia Polillal
Twist Del Mono Liso
Cancion De Titeres
Chacarera De Los Gatos
Cancion Del Jacaranda
Marcha De Osias
Baguala De Juan Poquito
Reino Del Reves
Cancion Del Pescador
Vaca Estudiosa
Cancion Del Jardinero
Mona Jacinta
Cancion De La Vacuna
Reina Batata
En El Pais De Nomeacuerdo
Show De Perro Salchicha
Adivinador

Customer Reviews:

The best Spanish kid's songs.......2007-07-09

I love this CD! I grew up in Argentina listening to these songs, and now I bought this CD for my children to grow up listening to it. Maria Elena Walsh is so creative in her lyrics! Maria Elena Walsh herself sings the songs in this CD, which I was very happy about (the product information wasn't clear on that).

Average customer rating:

Mellow Magic
Anhelo
A large voice sings small
A Cura for Heartache
Jose Cura's voice is truly magnificent!

Anhelo: Argentinian Songs

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Jose Cura - Puccini Arias / Domingo
Boleros
Verismo
Artist Portrait Jose Cura
Verdi Arias

ASIN: B00000DGWU
Release Date: 1998-11-03

Tracks:

Preludio a los Sonetos de Amor y Muerte
La rosa y el sauce
Se equivoco la paloma
El unico camino
Elegia para un gorrion
Campanilla, adonde vas?
Riqueza
Soneto 4
Anhelo
Caminito
Nocturno
Milonga
Cancion del arbol del olvido
Alfonsina y el mar
Cancion del carretero
Cancion de Perico
Adios Nonino
Desde el fondo de ti
Postal de guerra
Sonetos de Amor y Muerte

Amazon.com

So often, operatic crossover discs seem to be devised according to marketing surveys, with the star swooping into the recording studio between engagements with minimum thought or care. Jose Cura's first crossover disc, Anhelo, is quite the exception. The tenor not only sings but has orchestrated and conducted several numbers as well, which is only the most tangible evidence of the thought and feeling he's put into this. The emphasis is on ballads--which is only fitting for an album whose title means intense, suffocating desire--though there are also folk-like songs and instrumental cuts, one of which Cura composed himself in a neo-Puccinian style. Some of the songs have orchestrations, but the instrumentation is mostly spare: often acoustic guitar or piano and, in one cut, only solo voice. Cura may not have the most flexible instrument, yet he scales it down extremely well here. Clearly, this disc didn't just arise out of a career strategy but as a sincere desire to communicate. And it does. --David Patrick Stearns

Customer Reviews:

Mellow Magic.......2005-12-16

In this exquisite CD of Argentine music, you will not hear Jose Cura sing with the full power of his magnificent operatic voice, but rather with a gentle beauty that is captivating. He shows us his heart in these songs, and what he is capable of doing artistically as well as his commitment to excellence, beyond his career as an international opera superstar. The repertoire consists of music by 20th and 21st century composers: Cura himself (2 tracks), Carlos Guastavino (8), Carlos Lopez Buchardo (2), and Julian Aguirre, Alberto Muzzio, Jorge Cardozo, Alberto Ginastera, Ariel Ramirez, Astor Piazzolla, Hilda Herrera, and Maria Elena Walsh each contributing one selection apiece.

The arrangements (by Cura) and musicianship are superb, featuring the brilliant talents of Eduardo Delgado (piano) and Ernesto Bitetti (guitar). Cura also conducts, and also had a hand in the design of the booklet insert, which has terrific liner notes, recording info, and lyrics in Spanish, English and French. There are also lots of photographs, and one of Cura as a toddler at the piano that is priceless.

There are 4 instrumentals on the CD, and the transcription of Piazzolla's "Adios Nonino" for piano quintet is stupendous, and another big favorite is Ginastera's "Cancion del arbol del olvido." There is nostalgia, sweet simplicity, and a purity to this album that may not appeal to those who like their music always on full throttle, but it is rich with a depth of soul and emotion, and is a rare encounter in this age of sound overkill. Total playing time is 62'08.

Anhelo.......2001-11-20

I discovered Jose Cura through Sarah Brightman's "Time to Say Goodbye." What a find I made! This man has the most expressive voice. Full of emotion and grandure, but not to the point of being ridiculous.

"Anhelo" is the perfect introduction to this wonderful man's voice. It is traditional Argentine music. The first time I heard "La Rosa" I was literally crying by the time it was over. The production is not over the top. You can hear Jose, without fighting the orchestra. Even if you don't speak Spanish, you can understand what he's singing through the emotion he gives each song.

Where most operatic voices do not understand that not every song is an aria, Jose does. He, like Sarah Brightman, can sing the opera with the "pop." Pick up this CD, with the bath and wine ready!

A large voice sings small.......2001-06-01

Many opera singers cannot seem to make their voices fit small or popular-type songs. The great Placido Domingo's pop albums are all disappointing: overproduced and underfelt. Jose Cura, on the other hand, gives these small songs from his homeland a warm, heartfelt treatment. The spare, always apt accompaniment adds to the poetic quality of the whole. This CD is a treasure.

A Cura for Heartache.......1999-09-23

Musical wonderman José Cura conducts himself in this splendid collections of art songs from his native Argentina. Wrapping his big, rich, meltingly warm barti-tenor voice around each ballad of heartache and romantic longing, Cura beautifully conveys the emotion at the heart of the song; it's meaning comes clear even for us listeners who aren't up on our Spanish. Especially impressive are his top notes, which he deploys either forcefully or very soft and intimate, like a lover's whisper in one's ear. Superb support from Ernesto Bitetti and Eduardo Delgado on guitar and piano contribute to the aura of closeness surrounding this disc. Simply put, ANHELO is a beautiful album and one which deserves a place any serious music lover's collection. ¡Viva El Cura!

Jose Cura's voice is truly magnificent!.......1999-09-22

I bought this CD after I heard Jose on Sarah Brighman's "Time to Say Goodbye." His voice is always so powerful, yet sweet that moves the hearts of those who listen to his music. He has truly put his heart into this CD. His feelings about Argentina is clearly reflected in all the songs that he included on this CD. HE will be the greatest tenor!!! He has all the qualities that a truly great tenor should! Let's wait for Jose's career to shine like no one else's.

Anne Sofie von Otter - The Artist's Album

Average customer rating:

One of my favorite recordings
Beautiful voice, beautiful music
Anne Sofie von Otter- The Artist's Album
A fantastic CD collection of arias!!
Amazing versatility and unparalleled emotion

Anne Sofie von Otter - The Artist's Album
Gustav Mahler , Johannes Brahms , Edvard Grieg , Richard Strauss , Erich Wolfgang Korngold , Robert Schumann , Kurt Weill , Ture Rangstrom , Hugo Alfven , Maurice Delage , Gabriel Fauré , Franz Schubert , George Frideric Handel , Wolfgang Amadeus Mozart , Claudio Monteverdi , Christoph Willibald Gluck , Pyotr Il'yich Tchaikovsky , Gioachino Rossini , Hannover North German Radio Orchestra , Dresden Staatskapelle , Frankfurt Opera House and Museum Orchestra , John Eliot Gardiner , Reinhard Goebel , Trevor Pinnock , Marc Minkowski , James Levine , Cord Garben , and Ralf Gothoni
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Anne Sofie von Otter - Love's Twilight (Late Romantic Songs by Berg, Korngold, Strauss)
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Peter Lieberson: Neruda Songs
Lorraine Hunt Lieberson: Handel Arias

ASIN: B00000613V
Release Date: 1998-04-14

Tracks:

Serenade
Sonntag, Op. 47 No.3
Elsk, Op. 67 No. 5
Meinem Kinde, Op. 37 No. 3
Gefasster Abschied, Op. 14 no. 4
Lust der Sturmnacht, Op. 35 No. 1
Dein Angesicht, Op. 127 No. 2
One Touch of Venus: I'm A Stranger Here Myself
Berlin im Licht
Vingar i natten
Skogen sover, Op. 28 No. 6
Lahore: Lahore: 'Un sapin isole se dresse'
La Bonne Chanson, Op. 61: 'La lune blanche luit dans les bois'
Der Wanderer an den Mond, D 870
An Silvia, D891
Il pianot di Maria: 'Giunta l'ora fatal' HWV 234: 'Se d'un Dio fui fatta Madre'
'Komm, liebe Zither' K. 351, 367
Don Giovanni: 'In quali eccessi' - 'Mi tradi', No. 21B: Accompanied Recitative And Aria
La Clemenza di Tito: 'Quello di Tito e il volto!', No. 18 Trio
L'Incoronazione di Poppea: 'A Dio Roma!, a Dio, patria! amici, a Dio!'
Ariodante: 'Tu, preparati a morire', Aria
Paride ed Elena: 'Oh, del mio dolce ardor': Aria
5 Lieder: Liebst du um Schonheit
Eugene Onegin: 'Kak ya lublyu pod zvuki pesen etikh' - 'Uzh kak po mostu, mostochku': Scene And Aria
La Cenerentolla: 'Nacqui all'affanno

Customer Reviews:

One of my favorite recordings.......2005-10-01

This recording is sublime!!! This is a compilation of Anne Sofie von Otter's favorite pieces. She chose such diverse and lovely music. Her diction is incredible. Her expressive voice moved me to tears in "A dio Roma," by Monteverdi. Her Handelian arias were also wonderful. My favorites from this CD are: all of the German lieder pieces, "A dio Roma" (Monteverdi), "Un sapin isole' se dresse" (Lahore), "I'm a Stranger Here Myself" (Weill), "In quali eccessi...Mi tradi" (Mozart), and "Non piu mesta" (Rossini). She is such an amazing Lyric Mezzo soprano. I love her so much. I also reccomend the Mass in C minor with Anne Sofie von Otter and Kiri te Kanawa, Cosi fan tutte with Renee Fleming (Mozart), and Ariodante (Handel). I strongly advise anyone to purchase this recording!!!

Beautiful voice, beautiful music.......2005-09-10

Superior quality recording! Gorgeous vocal production and sound. Terrific choice of material. Top of the line recording.

Anne Sofie von Otter- The Artist's Album.......2005-08-06

Some of the songs are a little too obscure for me, but I like her singing. However, I like Renee Fleming's singing better.

A fantastic CD collection of arias!!.......2005-01-06

Anne Sofie Von Otter's mezzo voice is amazing!! Her selections of Handel's Ariodante and Rossini's La Cenerentola were amazing!! This CD is amazing and if you're a huge fan of Von Otter, you should get this CD!!

Amazing versatility and unparalleled emotion.......2004-02-09

OK, so I own almost everything she's done. I am particularly fond of songs/lieder and, having listened to a great number of both male and female song singers, I can find no singer in the same universe. The intelligence of her approach, the control of her vocal color and vibrato to match the notes and lyrics, the playfulness with which she approaches the music are without equal.
This is an interesting disc and I didn't buy it until recently since I already had a lot of it and prefer songs to arias. But it was quite a revelation. The Handel and Weill are wonderful. For something completely different, try the Delage "Lahore" Track 12. Eerie and beautiful.
If Track #11, Skogen Sover, doesn't make you cry you have no heart. It may be the most beautiful use of the human voice I've ever heard. Listen carefully to the way she changes vowel sounds in the word 'juninatt' throwing in the 'n' both times so you barely hear it and it doesn't disrupt the vowel color change. At the end, turn up the volume and listen to her fade out with no vibrato until she's barely audible, then add just a touch of vibrato as she finishes with the final 't' of 'juninatt'.
There may be better aria singers, with some voices better for some types of opera. But this woman's incredible versatility is well-reflected here and a delight to listen to. Even a Rossini at the end, gynmastics and all. Has there ever been a singer with a wider repertoire matched with such gorgeous emotion? Now, if we could only get the UK version of this disc, with more and different offerings, here on Amazon USA...
A great intro to this powerful, emotional singer. Take it as a starter and buy the full discs that have the tracks you like best. You'll be captivated and not disappointed.

Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Average customer rating:

A Classic Set
Callas is okay- Price the ONLY VERDI SOPRANO????
An excellent "Forza" but not the best all round performance
Brilliant Forza and a stupid reviewer
Brilliant - But I also love Tebaldi

Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music

Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan
Puccini: Manon Lescaut (complete opera) with Maria Callas, Giuseppe di Stefano, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
Verdi: Aida (complete opera) with Maria Callas, Richard Tucker, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B000002RY5
Release Date: 1997-08-19

Tracks:

La forza del destino: Sinfonia
La forza del destino: Act One: Buona notte, mia figlia (Leonora)
La forza del destino: Act One: Temea restasse qui fino a domani! (Leonora)
La forza del destino: Act One: Me pellgrina ed orfana (Leonora)
La forza del destino: Act One: M'aiuti, signorina, piu presto andrem (Leonora)
La forza del destino: Act One: Ah, per sempre, o mio bell'angiol (Alvaro, Leonora)
La forza del destino: Act One: Vil seduttor! Infame figlia! (Leonora, Alvaro)
La forza del destino: Act Two: Scene One: Hola, hola, hola! Ben giungi, o mulattier
La forza del destino: Act Two: Scene One: La cena e pronta (Carlo)
La forza del destino: Act Two: Scene One: Che vedo! Mio fratello! (Leonora, Carlo)
La forza del destino: Act Two: Scene One: Viva la guerra! (All)
La forza del destino: Act Two: Scene One: Al suon del tamburo (All)
La forza del destino: Act Two: Scene One: Padre Eterno Signor (Leonora, Carlo)
La forza del destino: Act Two: Scene One: Viva la buona compagnia! (Carlo, Preziosilla)
La forza del destino: Act Two: Scene One: Poich'e imberbe l'incognito (Carlo)
La forza del destino: Act Two: Scene One: Son Pereda, son ricco d'onore (Carlo)
La forza del destino: Act Two: Scene One: Sta bene (Preziosilla, Carlo)
La forza del destino: Act Two: Scene Two: Sono giunta! Grazie, o Dio! (Leonora)
La forza del destino: Act Two: Scene Two: Madre, pietosa Vergine (Leonora)
La forza del destino: Act Two: Scene Two: Chi siete? (Melitone, Leonora)
La forza del destino: Act Two: Scene Two: Chi mi cerca? (Guardiano, Leonora, Melitone)
La forza del destino: Act Two: Scene Two: Infelice, delusa, rejetta (Leonora, Guardiano)
La forza del destino: Act Two: Scene Two: Il santo nome di Dio Signore sia benedetto (Guardiano)
La forza del destino: Act Two: Scene Two: La Vergine degli Angeli (Guardino, Leonora, All)

Tracks:

La forza del destino: Act Three: Scene One: Attenti al gioco, attenti, attenti al gioco
La forza del destino: Act Three: Scene One: La vita e inferno all'infelice
La forza del destino: Act Three: Scene One: O tu che in seno agli angeli (Alvaro)
La forza del destino: Act Three: Scene One: Al tradimento! (Carlo, Alvaro)
La forza del destino: Act Three: Scene One: All'armi!
La forza del destino: Act Three: Scene Two: Arde la mischia!: Piano...qui posi...approntisi il mio letto (Alvaro, Carlo)
La forza del destino: Act Three: Scene Two: Solenne in quest'ora (Alvaro, Carlo)
La forza del destino: Act Three: Scene Two: Morir! Tremenda cosa!
La forza del destino: Act Three: Scene Two: Urna fetale del mio destino (Carlo)
La forza del destino: Act Three: Scene Two: E s'altra prova rinvenir potessi? (Carlo)
La forza del destino: Act Three: Scene Three: Compagni, sostiamo
La forza del destino: Act Three: Scene Three: Ne gustar m'e dato un'ora di quiete (Alvaro, Carlo)
La forza del destino: Act Three: Scene Three: Lorche pifferi e tamburi par che assordino la terra (Preziosilla)
La forza del destino: Act Three: Scene Three: Qua, vivandiere, un sorso
La forza del destino: Act Three: Scene Three: A buon mercato chi vuol comprare?
La forza del destino: Act Three: Scene Three: Pane, pan per carita!
La forza del destino: Act Three: Scene Three: Nella guerra e la follia (Preziosilla)
La forza del destino: Act Three: Scene Three: Toh! Toh! Poffare il mondo! Che tempone! (Melitone, Preziosilla)
La forza del destino: Act Three: Scene Three: Rataplan, rataplan, della gloria (Preziosilla)

Tracks:

La forza del destino: Act Four: Scene One: Fate la carita, e un'ora che aspettiamo! (Melitone, Guardiano)
La forza del destino: Act Four: Scene One: Giunge qualcuno, aprite (Guardiano, Melitone)
La forza del destino: Act Four: Scene One: Invano Alvaro ti celasti al mondo
La forza del destino: Act Four: Scene One: Le minaccie, i fieri accenti (Alvaro, Carlo)
La forza del destino: Act Four: Scene Two: Pace, pace mio Dio! (Leonora)
La forza del destino: Act Four: Scene Two: Io muoio! Confessione! (Carlo, Alvaro, Leonora)
La forza del destino: Act Four: Scene Two: Non imprecare, umiliati a Lui ch'e guisto e santo (Guardiano, Leonora, Alvaro)

Amazon.com

If it were not for Maria Callas, we would all think that La Forza del Destino is essentially a prime exercise and showcase for great soprano voices, with a few goodies thrown in for the rest of the cast and the chorus. In this recording, Callas's voice is not technically great, though it is usually good.She makes most of her points by other means: close attention to the value of words, subtle nuances of tone and phrasing, an uncompromising determination to confront the emotions in the text and convey them honestly and strongly, even when they reach a terrifying intensity. We have here, under the absurdities of plot, a compelling psychological portrait of a woman driven beyond her limits--a woman whose brother wants to kill her lover, who has killed her father. The supporting cast is skilled and Serafin shapes a powerful interpretation. -- Joe McLellan

Customer Reviews:

A Classic Set.......2006-11-09

Despite the few cuts and the mono recording this is still one of the most desirable sets of "La Forza del Destino". The main reason is of course Maria Callas's traversal of the role of Leonora. She was still in pretty good voice at this stage in her career and, though there are moments more comfortably vocalised by some of her rivals ("la vergine degli angeli" for instance), she is the complete Verdi heroine. No other soprano sets before us so well a character torn between conflicting feelings in the first act - on the one hand, love and filial duty, and on the other, love for Don Alvaro. Her very first utterances have a thrill unmatched on other recordings. Later, in the second scene of Act II, she is absolutely superb. Whenever she is before the microphone, we are aware of the greatness of the score as music drama. Here she is helped immeasurably by Serafin's command of the dramatic impulse of the music, and the magisterial, kindly and protective Padre Guardiano of Nicola Rossi-Lemeni. Others may have sung the role with better technique and more beautiful tone, but few, if any, are more interesting in the role. Of the other principals, Richard Tucker is almost their equal. With a voice so splendid and so suitable for the role, it seems a pity that he occasionally feels the need to make up for the fact that he is not Italian, by breaking the line of his singing with unmusical aspirate and sobs. In all other respects he is ideal. Carlo Tagliabue is a little past his best (he was 56 at the time of the recording), but he sings with authority, if without great immagination. Elena Nicolai is, if not the best or most accurate of Peziosillas, at least a spirited and involved performer. Both Plinio Clabassi as Il Marchese di Calatrava and Renato Capecchi as Melitone give strong accounts of their roles.
I have never quite been able to understand why in some of EMI's Callas recordings from this time the mono sound is pretty open and in others quite constricted. This, like the De Sabata "Tosca" is really pretty good. I hardly missed stero at all. And Serafin is superb. He is still, to my mind, a severely underrated conductor. Seen as a singer's conductor, he is somehow thought of as being a little anonymous, but for me, he allows the music and the drama to unfold in a completely natural way, without drawing too much attention to himself, as so many modern conductors tend to do. His "Otello", after all, is considered one of the best conducted versions in the catalogue.
As the previous reviewer noted, this is probably the most expensive way of acquiring this set, but it does come with full notes, libretto and translation. If they are not important to you, you may wish to wait until it is issued at super bargain price, as it inevitably will be, by Naxos, Regis and EMI themselves.

Callas is okay- Price the ONLY VERDI SOPRANO????.......2006-09-06

Callas, not my favorite, could sing Verdi well so could Leontyne Price. Any statements suggesting that these were the only Verdi sopranos - Opera Lover's refusal to acknowledge anyone but Price suggests either very limited listening experience- what about Ponselle, or Milanov or poor hearing.
In this role Tebaldi is as good as I ever heard although she did not sing as much Verdi as the above mentioned divas. CAVEAT!!!! Unfortunately, I did not hear Ponselle either live or in the whole opera or all bets might be off with Tebaldi. Ponselle was a unique vocal and dramatic presence.

An excellent "Forza" but not the best all round performance.......2006-08-24

I'm saddened by the intemperate nature of some of the preceding reviews of this recording, so let's try to keep it objective and fair. First, no-one inflects the text and caresses those glorious melodies as affectingly as Callas although Price in 1964 and Tebaldi in the (pretty raw!) live Mitropoulos recording run her close. The infamous "flap" in Callas' voice is only occasionally in evidence and she more than compensates with heart-wrenching portamenti and thrilling excursions into her lower register. Tucker is very, very good, if occasionally guilty of his besetting fault of being too lachrimose, but the top rings out magnificently. The rest of the cast, with the exception of Capecchi's firm, characterful Melitone, is not up to their standard, though Nicolai is wholly acceptable in the essentially irritating role of Preziosilla, with her silly tub-thumping music. Tagliabue is clearly past his best but does not disgrace himself, despite some rather nasal, laboured sounds. My one real bugbear is Rossi-Lemeni; I have never understood why he was so esteemed. The voice is woolly, unsteady, lacking centre and without the true bass gravitas the role of Padre Guardiano requires - although he certainly sounds old! Serafin's conducting is typically well-judged, in turn both pacy and intense as this gloomily beautiful music demands and you soon forget that the recording is mono, the sound being so clear, clean and brilliant. My favourite "Forza" is still the 1964 Schippers for the all-round excellence of the cast, though the 1947 Marinuzzi (available cheaply on Naxos) is worth having as it's a real period recording with a pulsating sense of live theatre about it (and you can hear Tancredi Pasero sing the role of Padre Guardiano as it should be sung). The above-mentioned live Mitropoulos contains the single most exciting piece of tenor singing I have ever heard in Del Monaco's "O tu che in seno" - the audience go wild and start mooing their appreciation like demented cattle - so you have quite a choice, the Schippers being the safest.

Brilliant Forza and a stupid reviewer.......2004-11-22

What does such drivel give you? Do you have to bash a devoted artist in order to have a life? What a shame this is! This Sills-sycophant accuses Callas' fans of bashing while HE is the one who posts profane, unmusical and tasteless nonsense. I've worked with singers and conductors for over 50 years and am appalled by such awful manners and stupidity. This is a great La Forza del Destino. Even IF one were not to "get" Callas, how [...] he rate the work of a Tullio Serafin who experienced Verdi himself in such a horrenduous way? Go, listen to your Sills and leave the reviewing to those who have taste and musical knowledge!

Brilliant - But I also love Tebaldi.......2004-10-18

The Callas-Forza is brilliant. Wonderful. But Callas was neither a mezzo (Well, with an F in her throat?) nor was her voice ugly IMHO but had a very unique beauty to it, very bittersweet, not all whipped cream like Tebaldi or today Fleming. But hey, I love many flavours. That's why I can heartily recommend both sopranos' Leonoras here.

The Hugo Wolf Society - The Complete Edition 1931-1938

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The Hugo Wolf Society Recordings
"Even little things can delight us."
"Even little things can delight us."
Wolf sung by various Lieder singers

The Hugo Wolf Society - The Complete Edition 1931-1938

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Wolf: Italienisches Liederbuch
Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin
Wolf: Lieder (Elisabeth Schwarzkopf, Gerald Moore)
Mussorgsky: Kovanshchina - Abbado
Great Recordings Of The Century - Schubert: Winterreise / Hotter, Moore

ASIN: B000009OQC
Release Date: 2002-11-05

Tracks:

Moerike-Lieder: 8. Begegnung
Moerike-Lieder: 38. Lied vom Winde
Moerike-Lieder: 15. Auf einer Wanderung
Moerike-Lieder: 41. Rat einer Alten
Spanisches Liederbuch: 12. In dem Schatten meiner Locken
Moerike-Lieder: 37. Heimweh (Anders wird die Welt)
Spanisches Liederbuch: 4. Die ihr schwebet um diese Palmen
Spanisches Liederbuch: 6. Ach, des Knaben Augen
Spanisches Liederbuch: Nun wandre, Maria
Moerike-Lieder: 46. Gesang Weylas
Spanisches Liederbuch: 9. Herr, was traegt der Boden hier
Italiensches Liederbuch: 1. Auch kleine Dinge
Moerike-Lieder: 7. Das verlassene Maegdlein
Eichendorff-Lieder: 4. Das Staendchen
Spanisches Liederbuch: Wenn du zu den Blumen gehst
Italiensches Liederbuch: 34. Und steht Ihr frueh am Morgen auf
Italiensches Liederbuch: 16. Ihr jungen Leute
Italiensches Liederbuch: 10. Du denkst mit einem Faedchen
Italiensches Liederbuch: 12. Nein, junger Herr
Goethe-Lieder: 1-3 Drei Harfenspieler: 1: Wer sich der Einsamkeit ergibt
Goethe-Lieder: 1-3 Drei Harfenspieler: 2: An die Tueren will ich schleichen
Goethe-Lieder: 1-3 Drei Harfenspieler: 3: Wer nie sein Brot
Goethe-Lieder: 1-3 Drei Harfenspieler: 29. Anakreons Grab
Goethe-Lieder: 1-3 Drei Harfenspieler: 15. Cophtisches Lied 2 (Geh! Gehorche)
Goethe-Lieder: 1-3 Drei Harfenspieler: 21. Genialisch Treiben
Goethe-Lieder: 1-3 Drei Harfenspieler: 11. Der Rattenfenger
Goethe-Lieder: 1-3 Drei Harfenspieler: 19. Epiphanias
Goethe-Lieder: 1-3 Drei Harfenspieler: 26. Die Sproede
Goethe-Lieder: 1-3 Drei Harfenspieler: 27. Die Bekehrte
Goethe-Lieder: 1-3 Drei Harfenspieler: 24. Blumengruss
Goethe-Lieder: 1-3 Drei Harfenspieler: 25. Gleich und gleich
Goethe-Lieder: 1-3 Drei Harfenspieler: 28. Fruehling uebers Jahr

Tracks:

Goethe-Lieder: 49. Prometheus
Goethe-Lieder: 50. Ganymed
Goethe-Lieder: 18. Beherzigung
1-3 Drei Gedichte von Michelangelo: 1: Wohl denk' ich oft
1-3 Drei Gedichte von Michelangelo: 2: Alles endet, was entstehet
1-3 Drei Gedichte von Michelangelo: 3: Fuehlt meine Seele
Moerike-Lieder: 19. Um Mitternacht
Moerike-Lieder: 42. Erstes Liebeslied eines Maedchens
Moerike-Lieder: 45. Nixe Binsefuss
Spanisches Liederbuch: Moegen alle boesen Zungen
Spanisches Liederbuch: 24. Koepfchen, Koepfchen, nicht gewimmert
Spanisches Liederbuch: 11. Klinge, klinge, mein Pandero
Spanisches Liederbuch: 26. Bitt ihn, o Mutter
Italiensches Liederbuch: 6. Wer rief dich denn?
Italiensches Liederbuch: 25. Mein Liebster hat zu Tische mich geladen
Italiensches Liederbuch: 43. Schweig einmal still
Italiensches Liederbuch: 35. Benedeit die sel'ge Mutter
Italiensches Liederbuch: 7. Der Mond hat eine schwere Klag' erhoben
Italiensches Liederbuch: 27. Schon streckt' ich aus im Bett die mueden Glieder
Goethe-Lieder: 51. Grenzen der Menschheit
Italiensches Liederbuch: 32. Was soll der Zorn, mein Schatz
Italiensches Liederbuch: 24. Ich esse nun mein Brot nicht trocken mehr
Italiensches Liederbuch: 31. Wie soll ich froehlich sein
Italiensches Liederbuch: 11. Wie lange schon war immer mein Verlangen
Italiensches Liederbuch: 28. Du sagst mir, dass ich keine Fuerstin sei
Italiensches Liederbuch: 26. Ich liess mir sagen
Italiensches Liederbuch: 29. Wohl kenn' ich Euren Stand
Italiensches Liederbuch: 21. Man sagt mir, deine Mutter woll' es nicht
Italiensches Liederbuch: 36. Wenn du, mein Liebster, steigst zum Himmel auf

Tracks:

Italiensches Liederbuch: 20. Mein Liebster singt am Haus im Mondenscheine
Italiensches Liederbuch: 40. O waer' dein Haus durchsichtig wie ein Glas
Italiensches Liederbuch: 39. Gesegnet sei das Gruen
Italiensches Liederbuch: 2. Mir ward gesagt, du reisest in die Ferne
Italiensches Liederbuch: 15. Mein Liebster ist so klein
Italiensches Liederbuch: 46. Ich hab' in Penna einen Liebster wohnen
Italiensches Liederbuch: 4. Gesegnet sei, durch den die Welt entstund
Italiensches Liederbuch: 3. Ihr seid die Allerschoenste
Italiensches Liederbuch: 13. Hoffaertig seid Ihr, schoenes Kind
Italiensches Liederbuch: 9. Dass doch gemalt all deine Reize waeren
Italiensches Liederbuch: 17. Und willst du deinen Liebsten sterben sehen
Italiensches Liederbuch: 38. Wenn du mich mit den Augen streifst
Italiensches Liederbuch: 41. Heut Nacht erhob ich mich, um Mitternacht
Italiensches Liederbuch: 22. Ein Staendchen Euch zu bringen
Italiensches Liederbuch: 8. Nun lass uns Frieden schliessen
Italiensches Liederbuch: 19. Wir haben beide lange Zeit geschwiegen
Italiensches Liederbuch: 14. Geselle, woll'n wir uns in Kutten huellen
Italiensches Liederbuch: 18. Heb auf dein blondes Haupt
Italiensches Liederbuch: 33. Sterb' ich, so huellt in Blumen meine Glieder
Italiensches Liederbuch: 37. Wie viele Zeit verlor ich
Italiensches Liederbuch: 23. Was fuer ein Lied soll dir gesungen werden
Spanisches Liederbuch: 7. Muehvoll komm' ich und beladen
Spanisches Liederbuch: 15. Auf dem gruenen Balkon
Spanisches Liederbuch: 14. Treibe nur mit Lieben Spott
Spanisches Liederbuch: 29. Trau nicht der Liebe
Spanisches Liederbuch: 38. Sie blasen zum Abmarsch
Sechs Gedichte: 3. Biterolf (Im Lager von Akkon 1190)
Moerike-Lieder: 22. Seufzer
Moerike-Lieder: 28. Gebet
Moerike-Lieder: 23. Auf ein altes Bild
Moerike-Lieder: 32. An die Geliebte
Moerike-Lieder: 12. Verborgenheit
Moerike-Lieder: 39. Denk es, o Seele!
Moerike-Lieder: 51. Bei einer Trauung
3. Ein Stuendlein wohl vor Tag
Moerike-Lieder: 16. Elfenlied

Tracks:

Sechs Alte Weisen: 6. Wie glaenzt der helle Mond
Goethe-Lieder: 14. Cophtisches Lied 1
Eichendorff-Lieder: 2. Der Musikant
Eichendorff-Lieder: 5. Der Soldat
Eichendorff-Lieder: 9. Der Schreckenberger
Moerike-Lieder: 44. Der Feuerreiter
Drei Gedichte von Robert Reinick: 1. Gesellenlied (Kein Meister faellt)
Goethe-Lieder: 5. Mignon 1 (Heiss mich nicht reden)
Goethe-Lieder: 7. Mignon 3 (So lasst mich scheinen)
Moerike-Lieder: 29. An den Schlaf
Moerike-Lieder: 36. Liebe wohl
Spanisches Liederbuch: 30. Ach, im Maien war's
Spanisches Liederbuch: 21. Herz, verzage nicht geschwind
Moerike-Lieder: 30. Neue Liebe
Moerike-Lieder: 48. Storchenbotschaft
Spanisches Liederbuch: 32. Dereinst, dereinst, Gedanke mein
Spanisches Liederbuch: 31. Alle gingen, Herz, zur Ruh
Spanisches Liederbuch: 33. Tief im Herzen trag' ich Pein
Sechs Gedichte: 6. Zur Ruh, zur Ruh
Spanisches Liederbuch: 34. Komm, o Tod, von Nacht umgeben
Sechs Lieder fuer eine Frauenstimme: 4. Wiegenlied (Im Sommer)
Sechs Lieder fuer eine Frauenstimme: 5. Wiegenlied (Im Winter)
Moerike-Lieder: 20. Auf eine Christblume I (Tochter des Walds)
Moerike-Lieder: 24. In der Fruehe
Moerike-Lieder: 25. Schlafendes Jesuskind

Tracks:

Goethe-Lieder: 20. Sankt Nepomuks Vorabend
Goethe-Lieder: 12. Ritter Kurts Brautfahrt
Moerike-Lieder: 47. Die Geister am Mummelsee
Moerike-Lieder: 10. Fussreise
Moerike-Lieder: 43. Lied eines Verliebten
Moerike-Lieder: 25. Schlafendes Jesuskind
Moerike-Lieder: 4. Jaegerlied
Moerike-Lieder: 17. Der Gaertner
Moerike-Lieder: 50. Auftrag
Moerike-Lieder: 9. Nimmersatte Liebe
Spanisches Liederbuch: 44. Geh, Geliebter, geh jetzt!
Goethe-Lieder: 10. Der Saenger
Eichendorff-Lieder: 13. Der Scholar
Eichendorff-Lieder: 14. Der verzweifelte Liebhaber
Eichendorff-Lieder: 15. Unfall
Vier Gedichte: 1. Wo wird einst (Heine)
Vier Gedichte: 3. Sonne der Schlummerlosen
Vier Gedichte: 4. Keine gleicht von allen Schoenen
Eichendorff-Lieder: 1. Der Freund
Eichendorff-Lieder: 2. Der Musikant
Sechs Gedichte: 1. Waechterlied auf der Wartburg
Moerike-Lieder: 40. Der Jaeger
Goethe-Lieder: 32. Phaenomen
Eichendorff-Lieder: 3. Verschwiegene Liebe
Vier Gedichte: 1. Wo wird einst (Heine)
Ueber Nacht (Sturm)

Amazon.com

EMI's "society" subscription editions in the 1930s yielded a wealth of recordings long considered gramophone classics, such as the present collection of roughly half of Hugo Wolf's lieder output. Each song occupies its own specific world, due to Wolf's resourceful word setting and his avoidance of anything generic. In turn, the performers illuminate each song's felicities with effortless authority, and they avoid overpointing or enacting. Full texts and translations are included. Ernest Newman's penetrating annotations for the original 78 albums, reprinted in EMI's 1981 LP reissue, are absent. --Jed Distler

Customer Reviews:

The Hugo Wolf Society Recordings.......2005-12-28

The songs of Hugo Wolf (1860 -- 1903)combine great attention to textual detail with closely intertwined writing for the voice and the piano. In this small form, Wolf was a master and took song in a different direction from that of Schubert, Schumann and Brahms. He wrote most of his songs in bursts of activity in five large collections, devoted to the poetry of Morike, Eichendorff, Goethe, and to collections of Spanish and Italian texts. He also composed a number of songs in shorter sets.

In the early 1930s, a young Walter Legge began a project of recording Wolf songs on a subscribtion basis to be limited to 500 sets. The recording industry was relatively new, and Wolf, then as now, too little appreciated. The result was an extensive series of recordings of issued between 1931 and 1938 consisting of 145 songs, about one-half Wolf's output, performed by fourteen singers. The Hugo Wolf Society recordings remain a high moment in the recording of song. They were remastered on LPs and, in 1998, in this 5 CD collection which includes previously unreleased selections.

The Wolf Society collection offers an unparalleled opportunity to get to know Wolf's songs performed by artists of the past that might otherwise be unfamiliar to many listeners. The performers include mezzo-soprano Elena Gerhardt, who recorded the initial volume for the society, baritones Herbert Janssen, Gerhard Husch, tenors John McCormack, Karl Erb, and Helge Roswaenge, the basses Alexander Kipnis, Frederich Schorr, and Ludwig Weber, and sopranos Alexandra Trianti, Elizabeth Rethberg, Ria Ginster, Marta Fuchs, and Tiana Lemnitz. The pianists include Conrad Bos, Gerald Moore, Michael Raucheisen, Hans Udo Muller, and Ernest Victor Wolff.

The singers perform in a variety of styles from the highly operatic to the quietly lyrical. There is a Wagnerian performance of Goethe's "Prometheus" by Friedrich Schorr with the London Symphony Orchestra -- the only track using an orchestral accompaniment. The Irish tenor John McCormack shows a more lyrical approach in his renowned performance of Goethe's poem "Ganymed". The sopranos, Alexandra Trianti, Ria Ginster, and Tiana Lemitz have light, clear, bell-like voices. I find the singers on this compilation take a much more individualized, idiosyncratic, and romantic approach to song than do their modern counterparts, who sometimes seem restrained and chaste by comparison.

Each of Wolf's great collections of songs is well-represented. Elena Gerhardt performs songs from each of Wolf's five books, with the exception of the Goethe songs. The young Alexander Kipnis gives a powerful reading of Wolf's three songs from Michaelangelo. The third CD in this collection features many songs from the Italian songbook performed by soprano Ginster, baritone Husch, and bass Kipnis together with recordings from the Spanish songbook by sopranos Rethberg and Ginster and baritone Husch. There are lovely performances by soprano Tiana Lemnitz in the previously uncollected supplementary material, which also includes several Eichendorff songs and a performance of the Goethe-song "Phanomen" by Alexander Kipnis.

There is a great amount of material in this collection, with each of the 5 CDs including in excess of 70 minutes of music. Most of Wolf's songs are highly concentrated and intense. They may prove difficult to the listener coming to them knowing only the lyricism of Schubert. I would not recommend trying to rush through this set at one or two hearings. It is best to take this music in small sections and to listen with text in hand. The compilation includes texts and translations for each of the songs together with good notes about the Wolf Society recording project. There is little discussion about Wolf or about the songs themselves.

This is an essential collection for those who love song, historical recordings, and the music of Hugo Wolf.

Robin Friedman

"Even little things can delight us.".......2003-06-02

If these six words give an approximate translation of the song "Auch kleine Dinge", then they might also describe a music lover's reaction as he makes a journey of exploration through the hundreds of little songs composed by Hugo Wolf.

Walter Legge, a very young EMI record producer in the 1930s, first made such a journey possible when he pioneered the Hugo Wolf Society and began releasing the volumes now reissued in this boxed set. Many singers were invited to participate. Legge's choice of singers was sometimes idiosyncratic. You might wonder how an Irish tenor, a Ukrainian bass and a Greek soprano were admitted to the roster. The results, however, especially in the case of the contributions of John McCormack and Alexander Kipnis, prove the sureness of his instincts.

About half Wolf's songs were made available in the original issue, between 1931 and 1938. With this reissue comes unused and hitherto unissued recordings, many by Tiana Lemnitz and Herbert Jannsen. So there is now more to discover and exploration is made easier for us in 2003 than it was in the 1930s. The remastering has improved the sound, Legge's widow Dame Elisabeth Schwarzkopf is able to provide a perceptive introduction in an accompanying booklet, and the texts of the songs are now provided in German and English.

"Even little things can delight us.".......2003-06-02

If these six words give an approximate translation of the song titled "Auch kleine Dinge", then they might also describe a music lover's reaction as he makes a journey of exploration through the hundreds of little songs composed by Hugo Wolf.

Wolf sung by various Lieder singers.......2000-08-15

This is an extraordinary collection of Wolf songs. It is frustrating that the project was not completed, as the quality of what was recorded is so extraordinarily revelatory. My personal favourites are the Michelangelo settings sung by the bass Alexander Kipnis, although he uncharacteristically makes some textual errors. The contributions of Hüsch are numerous and thoughtfully sung, and Karl Erb, Herbert Janssen, Ludwig Weber, Rita Ginster and Marta Fuchs are all caught on extraordinary form, with accompanists of admittedly variable quality, ranging from the sublime Gerald Moore to some very interesting contributions from some accompanists who did not really capture the true essence of Lieder accompanying, which surely cannot permit the piano to be subservient to the voice!

These precious recordings offer us so much. They are a document of a golden age of Lieder singing, and they are superb recitals, sung by a variety of voices, never allowing the listener to tire of listening to a single voice for too long. They are also, of course, examples of some of the most wonderful Lieder writing of any time. These 5 cds are a must for a Lieder specialist, and can open new doors to the novice. Buy them, and never regret having this treasure trove which will give you pleasure all your life.

12 Lindas Cubanas
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12 Lindas Cubanas
Celia Cruz (Author); Blanca Rosa Gil (Author); Olga Guillot (Author); Celeste Mendoza (Author); La Lupe (Author); Elena Burke (Author); Gina Leon (Author); Xiomara Alfaro (Author); Maria Teresa Vera (Author); Paulina Alvarez (Author)
Manufacturer: Teca Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009NQS04
Release Date: 1999-01-01

Verdi: Rigoletto / Cappuccilli, Cotrubas, Domingo, Ghiaurov, Obraztsova, Moll; Giulini
Average customer rating:

A star-studded achievement: one of Giulini's best

A lovely performance, but rather sober and lacking a charismatic Rigoletto

Wonderful story, fabulous duets, marvelous singing

A Solid Recording of a Beloved Opera

Outstanding!

Verdi: Rigoletto / Cappuccilli, Cotrubas, Domingo, Ghiaurov, Obraztsova, Moll; Giulini
Giuseppe Verdi , Wiener Philharmoniker , Carlo Maria Giulini , Piero Cappuccilli , Plécido Domingo , Vienna State Opera Choir , Ileana Cotrubas , Nicolai Ghiaurov , Elena Obraztsova , Kurt Moll , and Luigi De Corato
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini

Verdi: La Forza del Destino

Verdi - Simon Boccanegra / Freni, Cappuccilli, Carreras, Ghiaurov, van Dam, Foiani, Teatro alla Scala, Abbado

Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan

Bizet: Carmen

ASIN: B00000J9HF
Release Date: 1999-06-15

Tracks:

N. 1 Preludio
N. 2 Introduzione: Act One: 'Della mia bella incognita borghese'
N. 2 Introduzione: Act One: 'Questa o quella'
N. 2 Introduzione: Act One: 'Ch'io gli parli'
N. 3 Duetto: Act One: 'Quel vecchio maledivami'
N. 4 Scene e Duetto: Act One: 'Pari siamo!...io la lingua'
N. 4 Scene e Duetto: Act One: 'Figlia!...' - 'Mio padre!'
N. 4 Scene e Duetto: Act One: 'Gia da tre lune son qui venuta'
N. 5 Scene e Duetto: Act One: 'Giovanna, ho dei rimorsi!'
N. 5 Scene e Duetto: Act One: 'E il sol dell'anima'
N. 5 Scene e Duetto: Act One: 'Che m'ami, deh, ripetimi'
N. 6 Aria: Act One: 'Gualtier Malde...Caro nome che il mio cor'
N. 7 Finale Primo: Act One: 'Riedo!...perche?' - 'Silenzio..all'opra'
N. 7 Finale Primo: Act One: 'Zitti, zitti, muoviamo a vendetta'

Tracks:

N. 8 Scena ed Aria: Act Two: 'Ella mi fu rapita!'
N. 8 Scena ed Aria: Act Two: 'Parmi veder le lagrime'
N. 8 Scena ed Aria: Act Two: 'Duca, duca!' - 'Ebben?'
N. 8 Scena ed Aria: Act Two: 'Possente amor mi chiama'
N. 9 Scena ed Aria: Act Two: 'Povero Rigoletto
N. 9 Scena ed Aria: Act Two: 'Cortigiani, vil razza dannata'
N. 10 Scena e Duetto: Act Two: 'Mio padre!' - 'Dio! mia Gilda!'
N. 10 Scena e Duetto: Act Two: 'Tutte le feste al tempio'
N. 10 Scena e Duetto: Act Two: 'Ah! Solo per me l'infamia'
N. 10 Scena e Duetto: Act Two: 'Poiche fosti invano da me maledetto
N. 11 Scena e Canzone: Act Three: 'E l'ami?' - 'Sempre'
N. 11 Scena e Canzone: Act Three: 'La donna e mobile'
N. 12 Quartetto: Act Three: 'Un di, se ben rammentomi'
N. 12 Quartetto: Act Three: 'Bella figlia dell'amore'
N. 12 Quartetto: Act Three: 'M'odi! ritorna a casa'
N. 13 Scena, Terzetto e Tempesta - 'Venti scudi hai tu detto?': Act Three: 'Maddalena? - 'Aspettate'
N. 13 Scena, Terzetto e Tempesta - 'Venti scudi hai tu detto?': Act Three: 'E amabile invero cotal giovinotto'
N. 14 Scena e Duetto Finale: Act Three: 'Della vendetta alfin giunge l'istante!'
N. 14 Scena e Duetto Finale: Act Three: 'Chi e mai, chi e qui in sua vece?'
N. 14 Scena e Duetto Finale: Act Three: 'V'ho ingannato...colpevole fui'

Customer Reviews:

A star-studded achievement: one of Giulini's best.......2007-07-11

Piero Cappuccilli is a baritone whose smooth, rich, bel canto voice can be noted for its intense humanity and personality, and while this facet did wonders in such roles as Rodrigo, Marchese di Posa, Simon Boccanegra, Macbeth, and Amonasro, it has a particular appeal in a role like Rigoletto. Rigoletto is normally approached as a horrid, contemptible blackguard whose sole redeeming quality is his, eventually, lethal love for his daughter. Cappuccilli reforms this approach and gifts the demented Rigoletto with a singularly human performance; this has an expectedly profound effect. His Act I lament ("Pari siamo! ... io la lingua, egli ha il pugnale") and his Act II outburst ("Cortigiani, vil razza dannata," in which Cappuccilli presents Rigoletto in an indescribable fury which melts into lambasted and befuddled defeat) are two examples of this amazing achievement.

Romanian soprano Ileana Cotrubas boasted a clear, crystalline, virginal coloratura voice that one hears far too infrequently; her performance as Violetta Valéry (in the historic Carlos Kleiber 1977 recording of La Traviata) is regarded as one of the finest ever sung. Her performance of "Gualtier Maldè ... Caro nome che il mio cor" (probably Verdi's greatest aria for the soprano voice, excluding "O patria mia" and "Sempre libera") is comparable only to that of Dame Joan Sutherland. She blends with Cappuccilli very favorably in their Act I duets ("Figlia!" ... "Mio padre!" and "Ah, veglia, o donna questo fiore"); in the Act II vengeance scene ("Sì, vendetta, tremenda vendetta," in which she, the human angel, begs the bloodthirsty Rigoletto to forgive the Duke); and in the Act III death scene ("V'ho ingannato...colpevole fui," in which her Gilda serenely dies and Rigoletto is left childless, alone, and stricken into insanity). She is also a favorable match for Domingo's Duca (he was Alfredo Germont in the aforementioned Kleiber recording) in their bubbly, hormonal Act I duet ("Addio...speranza ed anima").

The role of il Duca di Mantova was a comfort role for nearly all of the distinguished tenors. From the Great Enrico Caruso, Mario Lanza, and Benjamino Gigli, to Carlo Bergonzi (Kleiber), Mario del Monaco (Erede), Jussi Björling (Perlea), Nicolai Gedda (Pradelli), and Alfredo Kraus (Rudel), to Giuseppe di Stefano (Serafin), Luciano Pavarotti (Bonynge and Chailly), José Carreras (Rudel), and Neil Shicoff (Sinopoli), nearly all the inimitable voices of the tenor register have molded their own versions of "La donna è mobile." However, few if any have ever captured the pure sex appeal and sensual intensity of the unscrupulous nobleman as ably as Plácido Domingo. His "Questo o quella" is a lyrical, jaunty Verdian hymn for philanderers; he is irresistible in his wooing ("È il sol dell'anima, la vita è amore") to the extent to which one can fully understand how Gilda was so ravenously enamored with him. His Act II yearning ("Ella mi fu rapita ... Parmi veder le lagrime") is weakened somewhat by a disappointing "Possente amor mio chiama" (Domingo is giddy enough, but his failure to hit the high note at the end forces the aria to fizzle out to a dead end).

The "supporting" singers are a collective landmark in choice casting. Nicolai Ghiaurov is a sly, silver-tongued gangster as the Burgundian Sparafucile; his introduction ("Sparafucil mi nomino") draws out like a dragon's growl. Elena Obraztsova possesses a vinegary, slightly mordacious voice; this makes her a somewhat doubtful choice for the role of the buxom gypsy Maddalena, but she is charming and epicurean throughout, especially in her Act III duet with Domingo ("Un dì, se ben rammentomi"). Kurt Moll is a rampaging gryphon as the brutally wronged father, il Conte di Monterone. The expertise of his Act I curse ("Novello insulto!") should come as no surprise from a bass who has erected his career upon performances as Sarastro, Baron Ochs, König Marke, and Gurnemanz. Hanna Schwarz is an indulgence as the maid, Giovanna, and Olive Fredricks is a honey-voiced Countess Ceprano.

Rigoletto is, by no means, a showcase for an orchestra; Verdi injected much more of his energy into the vocal half of this opera. However, Carlo Maria Giulini and the Wiener Philharmoniker deliver a performance of considerable depth. The Prelude possesses an air of immense melancholy injected with bursts of fury like lighting in a swirling, foggy thundercloud; the motif of Monterone's curse runs throughout, and Giulini is careful to sustain, nearly always, a doomful atmosphere, even in the midst of the most melodically stratospheric moments. The "Caro nome" aria is a rare exception; Cotrubas is an angel as the entranced, enraptured Gilda, floating on the raft of the wistful woodwinds of the orchestra and the ecstatic intonations of a solo violin. The Wiener Staatsopernchor is also in excellent voice. "Zitti, zitti, moviamo a vendetta," a dainty, ironic, little chorus, is carried out with the brio and bustle of a kidnapping; "Duca! Duca! ... Scorrendo uniti remota via" is charming as the courtiers describe how they brilliantly tricked Rigoletto into helping them steal his own daughter.

The grandeur and excellence of this recording can be observed easily in one the opera's most famous moments: the Act III quartet, "Bella figlia dell'amore," featuring Domingo, Obraztsova, Cotrubas, and Cappuccilli. It is one of the greatest ensembles ever composed for an opera and this is one of the most successful recorded renditions, with Domingo as a man of wax in a state of intoxicated gaiety; Obraztsova as the garrulous, giggling seductress; Cotrubas as the deceived, heart-broken Gilda; and Cappuccilli as the quietly livid Rigoletto.

A lovely performance, but rather sober and lacking a charismatic Rigoletto.......2006-09-26

This Rigoletto from Vienna was a prestige recording for DG, featuring the undeniably great Giulini. In his early years at La Scala, Giulini was a riveting opera conductor, but in his later phase he became more serious and is distinctly a sober sides here. There's no birancy or lift to the music, and the avoidance of all vulgarity drains the melodrama of its fun. If there was ever a Rigoletto performed in church, this is it.

Even so, the playing and singing are lovely. Cotrubas and Domingo aren't allowed to really cut loose, but they have charisma. Unfortunately, the same can't be said for the lead, Piero Cuppuccilli, who was the standard go-to baritone at this time. Smooth-voied and reliable, Cappuccilli doesn't pass muster in the one department that counts in a great Rigoletto, the ability to stir us emotionally. Better to stick with Tito Gobbi in his classic mono set with Callas (EMI) or even Sherrill Milnes with Sutherland and Pavarotti, who isn't remotely Italian but has a great huge voice.

Wonderful story, fabulous duets, marvelous singing.......2005-09-28

Verdi based this opera on a play, "Le roi s'amuse" by Victor Hugo. It is hard to understand today, but Hugo's play ran into trouble with the censor's because of the scandalous way it presented royalty and was shut down after a single performance. In fact, Hugo had based his characters on real historical figures: King Francois I (ruled 1515 - 1547) (the Duke of Mantua in the opera) and his jester, Triboulet (who becomes Rigoletto). In the play, the king is a letch and rapes his jester's fifteen-year-old daughter, Blanche. Hugo makes Triboulet a hunchback and this makes historical sense. Verdi retains this in the opera and Rigoletto is also a hunchback. In the days of Francois I, physical deformities were sources of public humor and ridicule.

In making cuts to the five-act play for the opera, Verdi and his librettist also changed some names, but they did use some dialogue directly from the play including the words to this opera's famous aria "La donna è mobile". However, there are also real differences because operas are different things than plays.

The opera opens at the Duke's palace where he is holding a festive ball and bragging to one of his buddies about his latest amorous conquest. He has a long track record of seducing unmarried women as well as other men's wives and this creates many hard feelings. He declares that others may feel the need for fidelity, but it isn't for him. He tells Borsa about a young girl who lives in an alley that he has met at church. She does not know who he is. The Duke has also heard that she is visited every evening by an unknown man.

As the Duke makes a very public and humiliating advance on the Countess Ceprano in front of her husband, Rigoletto enters and mocks the husband. One of the courtiers tells the others that he has discovered that Rigoletto has a mistress he visits in the evenings. During all this Count Monterone enters and is furious with the Duke for having dishonored his daughter. Rigoletto mimics and insults the old man, who swears vengeance and curses the Duke and Rigoletto. The others turn on the old man for killing the fun of the party.

As Rigoletto returns to his home down an alley near Count Ceprano's house he is approached by Sparafucile who is an assassin and offers his services to Rigoletto. The murderer explains how he works his trade with the help of his sister, Maddalena. Rigoletto says he has no need of his services, but later begins thinking about it because of all the humiliations he has had to suffer because of his deformities and his status as a servant to a wealthy and powerful man. He enters his home lost in thought and is greeted by his daughter Gilda (pronounced jilda). She knows nothing of Rigoletto's life or even her own. Her father's love and attention, the housekeeper Giovanna, and attending Church are the scope of her world.

The Duke as already entered the house unnoticed through a bribe he has paid Giovanna. Gilda believes her love, the Duke, is just a student without money. After Rigoletto leaves, the Duke surprises Gilda and they exchange declarations of passion and love. They here Ceprano and others coming down the alley so the Duke leaves.

Ceprano and the others are there to kidnap Rigoletto's mistress. Rigoletto enters and believes that they are kidnapping Countess Ceprano and even holds the ladder for them. This delights those who want their revenge on Rigoletto. As they drag Gilda away, it dawns on Rigoletto what has actually happened and he remembers the curse.

The second act returns to the Duke's palace. The Duke is in despair that Gilda has been kidnapped and is surprised at his genuine affection for her. As the men brag and present Rigoletto's mistress to the Duke, he and Gilda rush to each other. Rigoletto appears and is looking for his daughter, when he learns she is with the Duke he tries to break in and demands her, turned away, he begs. Gilda is brought to him and confesses that her love affair with the Duke has cost her her honor. As Malderone is led past he notices a portrait of the Duke admitting that his curse has done nothing. Rigoletto swears vengeance on the Duke even while Gilda pleads for Mercy.

As the third act opens, Rigoletto has hired Sparafucile to kill the Duke and what follows is a tragedy for all involved. This is the act with the famous melody "La donna è mobile". It is the Duke's signature drinking song and note how it is used at different times in this act. It ranges from a rather pleasant song with an appropriately banal accompaniment through a delusional horror song. Magically done!

This opera was first performed in 1851 and was soon followed by "La Traviatta" and "Il Trovatore". What a great couple of years for opera! This great opera has many wonderful features that add so much to the work. For example, when Rigoletto and Sparafucile first meet, they are accompanied without violins to give it a strange sound and a lower, more sinister register. Note, too, that the chorus in this opera is only men (and what great music Verdi gives them to sing!). Verdi also set out to do an opera with few arias. He wanted this to be an opera of duets and they are here in beautiful abundance as are some amazing ensemble singing.

Treat yourself to this magnificent opera with this very fine recording. It is full of beauty, drama, and the full range from merriment to tragedy.

A Solid Recording of a Beloved Opera.......2005-09-10

If you wonder what you get when you take a lecherous petty noble, an insulting court jester, an angry father who is not afraid to use curses at the drop of a hat, a group of kidnappers and assassins, and add an innocent young girl who is taken advantage of by the powers that be, the result is the opera RIGOLETTO. This musical story of a curse that causes the death of a young woman and shows what comes around goes around has been a favorite since its premiere. The addicting music combined with recordings that include some of the greatest singers in history assure that it will be a favorite for years to come

This recording is a technically perfect RIGOLETTO. The conductor Carlo Maria Giulini brings Verdi's score to life exactly as it's written, but somehow this literal reading is missing something. There are no flourishes here. Gilda's "Caro Nome" sung beautifully by Ileana Cotrubas does not have the vocal acrobatics that have become the signature of other sopranos. Rigoletto does not go into convulsions when his daughter is kidnapped. There are no high notes at the end of the quartet "Bella figla dell'amore." My guess is that they are not written in the score, so Guilini excludes them. The only problem, we are so used to them something is missing, and I would argue that since Verdi had such a great instinct for what worked on stage, he'd want whatever worked in the theatre. It's not surprising that this is the case in some of Guilini's recordings of opera. While he loved opera, he hated opera houses and in later years refused to conduct live productions of opera. This probably gave him a greater appreciation of the music, but not the greatest understanding of the listener.

While this recording may be somewhat lackluster at times, it still has many merits. Giulini keeps the pace moving in this recording (which is not the case in IL TROVATORE) and the orchestra and chorus are excellent. The overall singing is good, and Domingo's interpretation of the Duke which is not buffoonish, makes him believable to the listener. Since it is now released in the mid-price category, it's a bargain as well.

Enjoy!!!

Outstanding!.......2004-07-17

Piero Cappuccilli portrays the title jester perfectly, capturing his two immense facets: the cruel, detestable clown and the vengeful, loving father. His voice contrasts between lyric beauty and dramatic ferocity. His rendition of "Cortigiani, vil razza dannata" begins with electrifying violence and soon melts into pathetic sorrow. His smooth bel canto also blends well with Cotrubas during their beautiful duet in Act I ("Gia da tre lune son qui venuta").
Placido Domingo is also perfect here as the Duke of Mantua and presents the unscrupulous noble's principle arias - "Questa o quella", "Parmi veder le lagrime", "La donne e mobile" - with ease, lust, and sensuous style and control.
Ileana Cotrubas gives an angelic performance as Gilda, both in the lyric beauty of her delicate voice and her dramatic sense of the character. Her interpretation of "Caro nome" - comparable only to that of Sutherland - contributes to making this recording the true gem it is. She is equally moving with the mournful "Tutte le feste al tempio" and during the tragic duet with Cappuccilli at the opera's finale ("V'ho ingannato...colpevole fui").
The supporting roles are handled with the same genius. Nicolai Ghiaurov is magnificent as Sparafucile; his cavernous voice suits the role of the vile assassin, one of Verdi's most malignant musical creations. Elena Obraztsova - whose deep voice I have always liked and found suitable for such roles as Maddalena, Amneris, and Dalila - excels here as the former. She is both licentious and tempting as the villainess Maddalena, especially during the trio with Ghiaurov and Cotrubas in Act III ("E amabile invero cotal giovinotto"). Hanna Schwarz shines here, too, as Gilda's maid Giovanna, a small but impressionable role, which the skilled mezzo-soprano presents the style.
Kurt Moll - in a masterful bit of casting - provides a fierce performance as the Count of Monterone. His thunderous entrance in Act I and equally wild exit during the finale of Act II ("Poiche fosti invano da me maledetto") are some of the most dazzling moments of this recording.
Carlo Maria Giulini and the Vienna Philharmonic shine here most of all in an equally gentle and thunderous recording of Rigoletto. Giulini handles the opera's tranquil moments with care and sensitivity and also excels during the thunderous moments. It is no exaggeration to consider this one of the greatest achievements of his illustrious career.

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