Son Del Monte [Import]

Track Listings

1. Ahora Me Da Pena

2. Juma Del Ayer

3. Sera Cuando Tu Digas

4. Sigue El Paso No 1

5. Voy Pa' Mayari

6. Anita

7. Mujer Del Paso

8. Guananey

9. Lupina

10. Ternera

11. Trova

12. Pena

13. Saludo Compay

14. QuiÉN Te BautizÓ (Vicenta)

15. Los Barrios De Santiago

16. Chan Chan

17. Casabe Y Macho

18. Se SecÓ El Arroyito

19. Ne Quiero Celos Contigo

20. El Cuarto De Tula

See all 21 tracks on this disc

Son Del Monte,Compay Segundo,Egrem,Latin

Tracks:

Ecca la primavera
Lamento di Tristano
Giuinta vaga bilta
Questa fanciull'amor
Trotto
De! dinmi tu
Con dolce brama
Due saltarelli
Rosetta
Quan ye voy le duc
Cara mie donna
La bionda trecca
La Manfredina
Donna 'l tuo partimento
Chon bracchi assai
Istampita Ghaetta
Da, da, a chi avaregia
Fenice fu' e vissi
Biance flour

Tracks:

Music For Ferdinando de' Medici: Toccata ('Orfeo')
Secondo intermedio: Sinfonia
Secondo intermedio: Belle ne fe' natura
Secondo intermedio: Chi dal delfino
Secondo intermedio: Se nelle voci nostre
Secondo intermedio: O figlie di Piero
Sesto intermedio: Dal vago e bel sereno
Sesto intermedio: O qual risplende nube
Sesto intermedio: Godi turba mortal
Sesto intermedio: O fortunato giorno
Sesto intermedio: O che nuovo miracolo
Quando ritrova
Allemana-ripresa: Quando ritrova
Io son l'occello
Pavana 'La cornetta'
Gagliarda 'Giorgio'
Tri ciechi siamo
Io non compro
Ahime sospiri
Pavana 'Forze d'Ercole'
Orsu, orsu, car' Signori
Pavana 'El colognese'
Dance Songs: Era di Maggio
Dance Songs: El marchese di Salluzzo
Dance Songs: In questo ballo
Dance Songs: Noi ci vogliam' partire
Dance Songs: Bussa la porta
Dance Songs: La pastorella
Dance Songs: E su quel monte
Dance Songs: Maggio valente
Dance Songs: Sorella mia piacente

Customer Reviews:

Ahh, Florence!!.......2002-10-14

Italian culture during the period from the 14th to the 16th centuries was a whirlwind of developing literature and art, and during this period of history Florence was a political and cultural center to rival Milan or Verona.
I love medieval and renaissance music. They are the "roots" of the great classics centuries later. One does not cultivate a complete education of art by studying only such Masters as Van Gogh, Renoir, Picasso, Dali etc. So it is with fine music.
These CD's contain examples of Florentine musical composition from the 1300's and 1500's. The first CD, performed by David Munrow and the Early Music Consort, covers compositions from the 1300's, with many of the works of Francesco Landini, the most prolific Florentine composer of this period. The second covers music from the 1500's and is performed by John Beckett and the Musica Reservata. Here we can see the early development of both symphonic structure and opera.
Both discs are wonderful examples of different periods in the history of musical development, and performed by different conductors and artists. Therefore a comparison between the two is unfair and misplaced. David Munrow and the Early Music Consort are superb, as I have always found them to be, and John Beckett and the Musica Reservata are equally enjoyable.
If you appreciate early music you will find this recording to be a fantastic addition to your collection, and perhaps the definitive collection of early Italian music. If you are unfamiliar with early music or with Italian Renaissance music then these CD's would be a wonderful introduction.

Best Italian Renaissance disc available........2002-06-28

This re-issue of recordings from the early 70's by the Early Music Consort Of London is,in my opinion,the best recordings of Italian Renaissance works.It is the favorite of my eary music discs,and includes music treasures from 14th and 16th century Florence. Great listening on both discs,and worth the money!

Munrow is magnificent.......2001-11-20

The first disc in this collection is delightful. David Munrow's recorder is a genuine treat. The vocal parts blend well and create a festive atmosphere. The Early Music Consort of London offer a splendid performance. By contrast, the second disc, which features Musica Reservata, is a bit disappointing. Two of the solo voices on disc two are harsh, detracting from an otherwise pleasant recording. They may fairly represent the performing style of sixteenth century Florence, but that is small consolation for the twentieth century ear. Nonetheless, the virtues of the first disc are sufficient to warrant purchasing this collection. Munrow is magnificent.

boccacio would be proud.......2000-04-23

this is a superb recording of early music it is well performed and played. the first cd is all music from the 1300,s and the second is from the 1500,s if you like the kind of music this is the cd to get well worth it.

Average customer rating:

Operatic icon. Performer against which others are measured.
La Divina set the stage
The queen of opera
Essential!
The entire La Divina series is AMAZING!

La Divina 2

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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Callas, Maria | Divas | Opera & Vocal | Styles | Music
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ASIN: B000002RTT
Release Date: 1994-07-19

Tracks:

Alceste: Divinites du Styx Acte 1
Carmen: Les tringles des sistres tintaient Acte ll
Ernani: Surta e la notte......Ernani! Ernani, involami Atto l
Manon Lescaut: In quelle trine morbide Atto ll
Aida: Ritorna vincitor Atto l
Orphee et Eurydice: J'ai perdu mon Eurydice Acte lV
I vespri siciliana: Bolero: Merce, dilette amiche Atto V
Louise: Depuis le jour Acte lll
La Boheme: Donde lieta usci Atto lll
Mignon: Ah, pour ce soir...Je suis Titania Acte ll
La Traviata: Teneste la promessa...Addio, del passato Atto lll
Don Carlo: O don fatale Atto lll
Samson et Dalila: Printemps qui commence Acte l
La Sonnambula: Compagne, teneri amici...Come per me sereno Atto l
Adriana Lecouvreur: Ecco: respiro appena...Io son 'lumile ancella Atto l
Lucia di Lammermoor: Spargi d'amaro pianto Atto lll

Customer Reviews:

Operatic icon. Performer against which others are measured........2007-05-26

Maria Callas may be the only female operatic 'superstar' working in my lifetime. In the 1950s and early 1960's, she had all the star power and paparrazi draw of Jackie and Marilyn, far outstripping the fame to the world at large of her primary rival, Renita Tibaldi. I am not an expert, or even an experienced amateur at evaluating operatic sopranos; however I've listened to several of the modern crop, and while the newbies probably do a better job of keeping on key, none of them can match the drama emoted by Ms. Callas on any given aria. All three releases are especially good buys, as they all run to over 72 minutes; however the recording quality does show its early (pre-multitrack, pre-digital) recording technology. Each is as good as the next regarding content, but 2 and 3 are a bit better in sound quality.

La Divina set the stage.......2007-01-05

Maria Callas, as I understand it (I'm not a music expert), helped create a new interest in the bel canto tradition of Donizetti and Bellini at mid-twentieth century. This album represents those composers, plus many others as well.

Callas' range in choice of operatic material is great indeed. Selections on this CD run from Gluck to Donizetti to Bizet and Puccini. Her voice, uneven on occasion, does not define her importance. As noted, she helped spark a renewed interest in bel canto works. The irony is that she did not have great coloratura skills. In the selection from Lucia di Lammermoor, a trill is scarcely heard. Think a few years later, to Joan Sutherland, later still to Beverly Sills, and more recently to sopranos such as Angela Gheorghiu. They all have much better technique, trill well, and exhibit much more agile coloratura singing. But Callas was an important predecessor.

More important than technique is the passion that many heard in her voice and her presence on stage. This is a good introduction to the range of Callas' repertoire and a reminder of this fiery singer from decades ago.

The queen of opera.......2004-05-16

Absolutely beautiful! Divine is the only word to do her justice! Viva La Divina, BRAVISSIMA!

Essential!.......2004-04-04

All three La Divina Albums are essential indeed! I bought them all and enjoy them! A very beautiful, dramatic voice!

The entire La Divina series is AMAZING!.......2004-02-26

I bought all three La Divina Releases and they're all splendid. Brilliant, for Callas and beyond!

Average customer rating:

Tebaldi has the bigger voice
What a voice!
Excellent, but Tebaldi was no Cher
20th century's greatest Italian soprano
The real thing

Grandi Voci: Renata Tebaldi

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

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The Decca Records Store | Specialty Stores | Music
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Very Best of

ASIN: B00000422F
Release Date: 1993-11-09

Tracks:

Un Bel Di Vedremo (Madama Btterfly - Puccini)
Si, Mi Chiamano Mimi (La Boh Me - Puccini)
Tu Che Di Gel Sei Cinta (Turandot - Puccini)
Vissi D'Arte (Tosca - Puccini)
Ritorna Vincitor! (Aida - Verdi)
Mia Madre Aveva Una Povera Ancella... Piangea Cantando... Ave Maria (Otello - Verdi)
Pace, Pace, Mio Dio! (La Forza Del Destino - Verdi)
O Mio Babbino C Ro (Gianni Schicchi - Puccini)
Senza Mamma, O Bimbo (Suor Angelica - Puccini)
Laggi Nel Soledad (La Fanciulla Del West - Puccini)
In quelle trine morbide (Manon Lescaut - Puccini)
Ecco, Respiro Appena... Lo Son L'umile Ancella (Adriana Lecouvreur - Cilea)
La Mamma Morta (Andrea Ch Nier - Giordano)
L'altra Notte In Fondo Al Mare (Mefistofele - Boito)
Ebben?... Ne Andr Lontana (La Wally - Catalini)

Customer Reviews:

Tebaldi has the bigger voice.......2005-02-10

Yes, if you got Tebaldi in her vocal prime and Callas in her vocal prime to sing together on stage, the Italian would blow away the Greek with her enormous volume.

What a voice!.......2005-01-03

I heard Tebaldi many times at the Metropolitan, and no recording can truly give a full idea of the radiance of her voice at its best. It was an opulent, luscious sound, with a depth all its own. Her stage persona was charming and sympathetic, but ever-so-slightly aloof: she was a true diva in the original, untainted meaning of that Italian word: a "goddess" inhabiting her own special realm.

This selection is drawn, with few exceptions, from her glory days in the 1950s, and includes some-but by no means all-of her finest moments on disc. While no recording can quite recreate her special aura, it CAN reproduce her way with a phrase, the exquisite light-and-shade of her personal style. In this she was a fine musical interpreter, and a real Italian: no heavy-breathing psychotics from Renata! Her heart, like the timbre of her voice, was full of Italy's sun.

In the glorious tradition of Claudia Muzio, Tina Poli-Randaccio, Giannina Arangi-Lombardi, Maria Caniglia and Mafalda Favero.

Excellent, but Tebaldi was no Cher.......2004-12-20

Few singers have performed "Tusca" with the flourish and brilliance of Tebaldi, and her arias, filled with her rich, creamy, full-bodied voice are stunning even to this day. However, never have I seen anything from Tebaldi that even begins to compare with the eye-popping dance moves, bold vocal stylings, and see-through leotards of Cher. The works of Puccini are indeed fine; however I wager that fans of Tebaldi should--indeed MUST--indulge in classics like "Do You Believe In Life After Love" before considering their music collections complete.

20th century's greatest Italian soprano.......2004-08-10

Living in an era as we do where there are so few great Italian lyric/spinto sopranos,it is a joy to listen to this CD and to hear the "real thing." Tebaldi's voice is so rich and so luxurious that it may come as a surprise to a younger generation that has not heard an Italian soprano with such a large and velvety voice. It reminds me of the many saturday afternoons I would listen to Tebaldi on the Met radio broadcasts. Comparisons can be interesting...Callas's dramatic intensity, Sutherland's coloratura and high notes, the brilliance of Leontyne Price, etc. but Tebaldi truly was the greatest Italian soprano of the 20th century and owned the roles of Mimi, Liu, Minnie, and Tosca. There was a reason that Toscannini selected a young Tebaldi to re-open the opera house at La Scala in Milan after World War II..he knew that a voice like that came but once in a hundred years.

The real thing.......2004-06-25

Although I prefer the "La Tebaldi" 2-disc set on Decca because it has arias not included here, this colection is great. The aria from Adriana gets my vote as one of the most beautiful things ever recorded, by anyone. If you enjoy beautiful singing, you'll want this disc.

Peri - Euridice / Banditelli · Fagotto · Cecchetti · Zambon · Foresti · Bertini · Benvenuti · Zanasi · Ensemble Arpeggio · de Caro

Average customer rating:

The first complete opera to have survived in a fine recording
Complete opera at mid-price

Peri - Euridice / Banditelli · Fagotto · Cecchetti · Zambon · Foresti · Bertini · Benvenuti · Zanasi · Ensemble Arpeggio · de Caro
Sergio Foresti , Rossana Bertini , Monica Benvenuti , Furio Zanasi , and Paolo Da Col
Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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Cavalieri: Rappresentatione di Anima, et di Corpo
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Dvorak: Kate and the Devil (Cert a Kácal)
Cavalli - La Calisto

ASIN: B000005AQ4
Release Date: 1996-06-18

Tracks:

Prologue: Io, Che D'alti Sospir Vaga E Di Pianti - Gloria Banditelli
Scene I: Ninfe, Ch'i Bein Crin D'oro - Sergio Foresti/Mario Cecchetti
Scene I: Vaghe Ninfre Amorose - Monica Benvenuti
Scene I: Donne, Ch'a' Miei Diletti - Gloria Banditelli
Scene I: Credi, Ninfa Gentile - Mario Cecchetti
Scene I: In Mille Guise E Mille - Gloria Banditelli
Scene I: Al Canto, Al Ballo All'ombra, Al Prato Adorno - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
Scene II: Antri, Ch'a' Miei Lamenti - Gian Paolo Fagotto
Scene II: Sia Pur Lodato Il Ciel, Lodato Amore - Giuseppe Zambon
Scene II: Tirsi Viene In Scena Sonando La Presente Zinfonia - Paolo Da Col
Scene II: Deh Come Ogni Bifolco, Ogni Pastore - Giuseppe Zambon
Scene II: Lassa! Che Di Spavento E Di Pietate - Rossana Bertini
Scene II: Per Quel Vago Boschetto - Rossana Bertini
Scene II: Non Piango E Non Sospiro - Gian Paolo Fagotto
Scene II: Ahi! Mort'invid'e Ria - Giuseppe Zambon
Scene II: Sconsolati Desir, Gioie Fugaci - Mario Cecchetti
Scene II: Cruda Morte, Hai! Pur Potesti - Monica Benvenuti
Scene III: Se Fato Invido E Rio - Giuseppe Zambon
Scene III: Con Frettoloso Passo - Giuseppe Zambon
Scene III: Io Che Pensato Havea Di Starmi Ascoso - Giuseppe Zambon
Scene III: Se De' Boschi I Verdi Onori - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
Scene III: Poi Che Dal Bel Sereno - Mario Cecchetti

Tracks:

Scene IV: Scorto Da Immortal Guida - Monica Benvenuti
Scene IV: L'oscuro Varc'onde Siam Giunti A Queste - Monica Benvenuti
Scene IV: Funeste Piagge, Ombrosi Orridi Campi - Gian Paolo Fagotto
Scene IV: Ond'e Cotanto Ardire - Furio Zanasi
Scene IV: Dhe, Se La Bella Diva - Gian Paolo Fagotto
Scene IV: Dentro L'infernal Porte - Furio Zanasi
Scene IV: O Re, Nel Cui Sembiante - Gloria Banditelli
Scene IV: A Si Soavi Preghi - Gian Paolo Fagotto
Scene IV: Sovra L'eccelse Stelle - Sergio Foresti
Scene IV: Trionfi Oggi Pieta Ne' Campi Inferni - Furio Zanasi
Scene IV: Poi Che Gl'eterni Imperi - Monica Benvenuti/Rossana Bertini/Gloria Banditelli/Giuseppe Zambon/Mario Cecchetti/Paolo Da Col...
Scene V: Gia Del Bel Carro Ardente - Giuseppe Zambon
Scene V: Voi, Che Si Ratt'il Volo - Mario Cecchetti
Scene V: Quand'al Tempio N'andaste, Io Mi Pensai - Mario Cecchetti
Scene V: Chi Puo Del Cielo Annoverar Le Stelle - Mario Cecchetti
Scene V: Gioite Al Canto Mio, Selve Frondose - Gian Paolo Fagotto
Scene V: Quella, Quella Son'io Per Cui Piangeste - Gloria Banditelli
Scene V: Modi Or Soavi Or Mesti - Gian Paolo Fagotto
Scene V: Felice Semideo, Ben Degna Prole - Mario Cecchetti
Scene V: Ritornello Strumentale - Ens Arpeggio/Roberto De Caro
Scene V: Biond'arcer, Che D'alto Monte - Gloria Banditelli

Customer Reviews:

The first complete opera to have survived in a fine recording.......2005-11-01

Opera grew out of the court festivals of late sixteenth century Italy. The nobles were quite interested in all the arts and employed skilled painters, sculptors, poets, and musicians. There was also a great deal of interest in reviving all things Greek because they were seen as the ideal model for all things intellectual. Reviving Greek music involved a great deal of conjecture and imagination because only a few fragments of their music survive and it is by no means agreed upon, even to this day, what they actually mean. One of the groups of Florentine intellectuals surrounded a Count Bardi, which he called the Camerata. They wrote letters to each other, so we have some idea of their thoughts about what it was they were trying to do.

They called what they did the "New Music" or the "Second Practice" and music students learn to call this style monody (solo voice with simple accompaniment). It caused quite a furor among those who were proponents of the older style of counterpoint. One of those who opposed Monteverdi was a fellow named Artusi. Every music student reads his articles against those composers with "smoke in their heads". And of course, Artusi always comes out on the wrong side of history and made to look the fool. However, the art of these composers was shocking and their free use of dissonance compared to the rules of Zarlino and the practice of Palestrina, Ockeghem, Josquin, and others is jarring. However, we have a hard time hearing the difference in these musical styles unless you pay close attention and develop some familiarity with what the argument was all about.

Some of these Second Practice composers came to believe that the Greeks sang their plays from beginning to end. This is almost certainly not true, but the point was they believed it. Composers such as Caccini, Peri, and Monteverdi developed a style of solo singing they felt captured this idea and called it the "stile rappresentativo" (the representative style). It is this recitative style that Caccini and Peri used in developing their art. When you listen to Peri's "Euridice" you will notice that most of it is a very expressive version of what we would call recitative - the almost spoken parts between the arias - and that the aria as even Monteverdi developed it a few years later is almost nonexistent. If you understand that they were trying to recapture the Greek storytelling that they believe was a sung style, this makes a great deal of sense.

In fact, this kind of work was not called "opera" until the mid-seventeenth century (opera simply means "work" as in a work of art). Before that term came into general use, the composers referred to their works as musical fables or music dramas. However, our referring to all of it as opera makes sense given the genealogy of the art form.

Peri's "Euridice" is the first surviving opera we have in complete form. His "Dafne" came first, but is now lost. Caccini was a court rival and was working on his own version of "Euridice" and at the first performance there was apparently a mix of the two composer's works. But the nod is given to Peri and Caccini published his own version, but he completed his version later. It is interesting the Monteverdi also did a version of this myth, but called his "Orfeo".

This is a beautiful recording of this work. It is important to know that even though the complete opera in printed form survives, there is a great deal that is not in the score. A great deal of scholarship and artistic sensitivity has to go into recreating a version of this opera that both succeeds musically and has some claim of authenticity to Peri's intentions for performance.

You will also note the vocal style has nothing to do with Verdi or Wagner. This was for a much smaller hall with only a few hundred of the nobility present. And while it was first performed for a wedding festival and did not please those for whom it was written, it began a four hundred year development of an art form that millions adore and consider to be one of mankind's great achievements. I am one of them.

Enjoy! There is a very helpful booklet with these disks to help you understand the history and the libretto is provided in English and Italian.

Complete opera at mid-price.......1999-03-18

As Peri's Dafne of 1598 is largely lost this work of 1600 counts as "the first ever opera" (CD Box). With Gloria Banditelli as Euridice obviously this is a subtantial release for lovers of early opera.

Recorded in Bologna in 1992. Full libretto and English translation. Total time 101'40.

Classic Puccini Recordings
Average customer rating:

Excellent introduction to Tebaldi's art

Wonderfull

Classic Renata

Classic Puccini Recordings
Puccini , and Tebaldi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
The Decca Records Store | Specialty Stores | Music
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Andrea Chenier

The Complete Recordings, 1902-1920 (Box Set)

Wagner: Der Ring des Nibelungen

Puccini: Turandot

ASIN: B00006IU8W
Release Date: 2003-03-11

Album Details

Italian Soprano Renata Tebaldi was One of the Most Important Post-war Sopranos to Tackle a Wide Range of Puccini Roles, and During the 1950s She Recorded Several Complete Opera Recordings. Some of the Operas were Recorded Twice — in Mono and Then in Stereo. Amongst Those which Tebaldi Committed to Disc in the Recording Studio on Two Occasions Must Be Included La Bohème and Madama Butterfly. It is the Earlier, Mono Recordings of These Two Operas which Are Included Here and They Reveal a Fresh-voiced Tebaldi in Recordings Which, Despite the Stereo Remakes, have Stood the Test of Time.

Customer Reviews:

Excellent introduction to Tebaldi's art.......2005-09-29

This set covers the entire productive years of Tebaldi's recording career. Turandot, Butterfly and Boheme are from her earlier career while Tosca is from her later career. Since this Tosca recording is now out of print and is somewhat hard to find, this recording itself almost worth the cost of the set. In Turandot, you will find Tebaldi at her fresher voice, lovely and melting. Eventhough I would still rate Callas' first recorded Tosca as my first choice, this Tosca comes very close. Enjoy.

Wonderfull.......2005-08-19

Fantastic recordings at a very good price. Tebaldi and Del Monaco rule. You should definetely own this set.

Classic Renata.......2005-03-16

To say that these 12 disks contain some of the finest singing ever committed to disk is no exaggeration, but a simple statement of fact. Historical fact. In the 100 years (more or less) that Puccini operas have been around, only a few sopranos in each generation have been the equal of Renata Tebaldi. One cannot objectively say that anyone has surpassed her. Some opera lovers find her peerless in many of these performances. Personal tastes in singers vary, but no one ever sang these roles better. Few anywhere nearly so well. There is not a single note on any of these recordings that is not heartfelt to the core of her being. Like Maria Callas and Franco Corelli, she was luminous, gargantuan in her talent that personified an age. This is one of the great compilations.

Average customer rating:

Airs d'Opéras

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000026GD7
Release Date: 2000-10-10

Tracks:

'Orfeo Ed Euridice' (Atto II)
'Sento Nel Cor'
'Son Tutta Duolo'
'Rugiadose, Odorose'
'Prendi L'Anel Ti Dono' (Atto I)
'Una Furtiva Lagrima' (Atto II)
'Tu Che A Dio Spiegasti L'Ali' (Atto III)
'Tornami A Dir' (Atto III)
'Ella Mi Fu Rapita...Parmi, Veder La Lagrime' (Atto II)
'Cielo E Mar'(Atto II)
'Dal Labbro Il Canto' (Atto IV)
'Io Son Sol...Ah Dispar, Vision!' (Atto III)
'Allor, Sta Proprio Qua...O Natura Di Grazia Piena' (Atto I)
'Tradurre!...Ah! Non Mi Ridestar' (Atto III)
'O Lola Ch'ai Di Latti La Cammisa' (Siciliana)
'Suzel, Buon Di!' (Atto II)
'Che Gelida Manina' (Atto I)
'Recondita Armonia' (Atto I)
'E Lucevan Le Stelle' (Atto III)

Average customer rating:

Cadentiae Duriusculae

Splendore di Roma [Hybrid SACD]

Manufacturer: Channel Classics Nl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00009VGD5
Release Date: 2003-11-11

Tracks:

Dove Mi Lasci
Gia Risi Del Mio Mal
Cinta Di Rose
Pargoletto Son Io
Toccata III
Su L'oriente
Empio Cor, Core Ingrato
Gagliarda
Fin Dal Monte Sion
Spoglie Che Fosti
Voi, Voi Rubaste Il Core
Canzone I
Leggiadra Rosa
Non Si Scherzi Con Amore
Toccata II
Or Che La Notte Del Silenzio Amica
Passacaglia
Disperati Che Aspetti Piu
Addio, Perfida, Addio

Customer Reviews:

Cadentiae Duriusculae.......2004-06-28

Jacobs and Zomer laudably celebrate, with a very remarkable elegance and presence, wonderful gems inspirated by masters such as Kapsberger, Rossi, Michi and Mazzocchi. Indeed, the Truth of the perfect Non Si Scherzi Con Amore ( 1627 ), magnanimously composed by Stefano Landi, is as love at first sight. Poetry and Mvsica at its highest stile and refinement : an eloquent passion I can't hide. Fine Art that softens our hearts. At that time, I was reading a chapter about Galileo Galilei on the book A Dança do Universo, written by the brazilian physicist Marcelo Gleiser, and I travelled in time, to the days of Pope Urban VIII, to whom Galilei dedicated his Il Saggiatore and was gifted by the Pope with the poem Adulatio Perniciosa. This Jacobs and Zomer work is very fine and I think it is high-end music. So, I have to tell to Mr. Jacobs, Mrs. Zomer and, of course, to Mr. Gleiser : Thank You Very Much !!! I am living unforgetable days of delight with this superb wedding !!!

Maestro of the Met: James Levine and Friends

Average customer rating:

Excellent sampler of an American maestro

Maestro of the Met: James Levine and Friends

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Bartoli, Cecilia | Divas | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

Norman, Jessye | Divas | Opera & Vocal | Styles | Music

Otter, Anne Sophie von | Divas | Opera & Vocal | Styles | Music

Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music

Upshaw, Dawn | Divas | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B000001GRU
Release Date: 1995-09-19

Tracks:

La Forze del Destino: Overture
L'Elisir d'Amore: 'Una furtiva lagrima'
L'Elisir d'Amore: 'Saria possibile?'
Manon Lescaut: 'Tu, tu, amore? Tu?!'
Manon Lescaut: Madrigal: 'Sulla vetta tu del monte'
Manon Lescaut: 'Sola, perduta, abbandonata'
Die Walkure: Ride Of The Valkyries
Die Walkure: 'Nicht sehre dich Sorge um mich'
Die Walkure: 'Leb' wohl, du kuhnes herrliches Kind!'
Gotterdammerung: Funeral March
Gotterdammerung: 'Fliegt heim, ihr Raben!'

Tracks:

L'Italiana in Algeri: Rossini: L'Italiana in Algeri - Overture
Le nozze di Figaro: Mozart: Le Nozze di Figaro - 'Non so piu cosa son, cosa faccio'
Le nozze di Figaro: Mozart: Le Nozze di Figaro - 'Hai gia vinta la causa! - Vedro mentr'io sospiro'
Le nozze di Figaro: Mozart: Le Nozze di Figaro - 'Dove sono i bei momenti'
Le nozze di Figaro: Mozart: Le Nozze di Figaro - 'Deh vieni, non tardar, o gioia bella'
Lucia di Lammermoor: Donizetti: Lucia Di Lammermoor - 'Tombe degl'avi miei... Fra poco a me ricovero'
La Traviata: Verdi: La Traviata - Prelude to Act 1
La Traviata: Verdi: La Traviata - Brindisi: 'Libiamo ne'lieti calici'
Verdi: La Traviata: Verdi: La Traviata - 'Parigi, o cara, noi lasceremo'
Parsifal: Wagner: Parsifal - Good Friday Music
Pictures At An Exhibition: Mussorgsky: Pictures At An Exhibition (Orch.:Ravel) - The Great Gate Of Kiev

Customer Reviews:

Excellent sampler of an American maestro.......2005-10-05

I confess that I hadn't ocunted James Levine among my favorite conductors, in part becasue I've heard some faceless performances from him, in part because his mentor, George Szel, was such a meanie. But this celebration of his quarter century at the Met, which one can pick up very cheaply, shows Levine off at his best. It includes snippets from both his oepratic and orchestral work on Dg. Altogether there are lots of gems that lead me to want the complete sets from which they were extracted. But on its on this is a very enjoyable Two-fer.