Enzo [Import]

Editorial Reviews
Product Description
2005 Debut Album from Spanish Singer/Songwriter. Enzo Tells Stories Through his Lyrics, is a Piano Virtuoso and Multi-instrumentalist (Drums, Guitars, Bass, Piano, Vocals). Produced by Ludovico Vagnone.

Enzo,Enzo,EMI/Capitol,Latin

Enzo [Import]

Tracks:

Canto Della Terra
The Prayer (duet with Celine Dion)
Sogno
O Mare E Tu (duet with Dulce Pontes)
A Volte Il Cuore
Cantico
Mai Piu' Cosi' Lontano
Immenso
Nel Cuore Lei (duet with Eros Ramazzotti)
Tremo E T'Amo
I Love Rossini
Un Canto
Come Un Fiume Tu
A Mio Padre

Amazon.com essential recording

Andrea Bocelli's Sogno ("Dream") is a pop album of entirely original compositions that evoke traditional and modern influences. Bocelli himself describes the CD as secular Italian traditional melodic music with a contemporary twist. The album's 14 tracks include "The Prayer," a Bocelli and Celine Dion duet produced by David Foster; "Come un Fiume Tu," an intriguing collaboration with soundtrack maestro Ennio Morricone; "O Mare e Tu," a duet with Dulce Pontes; and "Sogno" (the first single excerpted from the album), a light-as-a-feather, emotional composition sung by Bocelli with his typical vocal emphasis, which has made him famous around the world since the release of his self-titled debut. --Ernesto De Pascale

Customer Reviews:

Romance.......2007-06-12

If you like your music nice and low and in Italian, you'll love Andrea Bocelli. I do, that's why I have almost everything he's done. This truly is music for people over 40 who want and like romance in their life. (what can I say except I'm getting old)

Andrea's masterpiece.......2007-04-20

This is the most beautiful music you will ever listen to.Andrea has a way of bringing out your innermost soul.The music can make you cry just to listen to it,even if you don't understand the words(which are translated in the booklet).Highlights are Sogno and Immenso for beauty,The Prayer and Nel Cuore Lei for stellar duets,and Canto Della Terra for the rapturous glory of Andrea's voice.If you buy nothing else from Andrea,buy this.

A Great Collection Of Songs!.......2007-03-28

The tone of so many of this album's songs is almost reverent. Truly, this group of songs is one of Mr. Bocelli's best works. I recommend it for your own collection, as well as for gift-giving.

Sogno by Bocelli.......2007-03-09

Bocelli is awesome! The Prayer is absolutely gorgeous! He is one of my favorite singers!

Wow, Great Artist, & Great CD.......2007-01-04

I've enjoyed this CD so much I have given several copies as gifts!

Average customer rating:

Superb sound and fantastic performance
Thanks EMI ; Bravo Nilsson
Happy Days are Here Again!!!!

Puccini: La fanciulla del West

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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

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Similar Items:

Verdi: Un Ballo in Maschera
Wolfgang Windgassen singt Wagner
La Nilsson: My Life in Opera

ASIN: B000PKG5E0
Release Date: 2007-06-26

Tracks:

Introduzione
Hello! Hello! Alla 'Polka'!
Hello...Nick
Che Fararno I Vecchi Miel
Jim, Perche Piangi?
Ragazzi, Fate Largo!
Hello, Minnie!
Dove Eravamo?
La Posta!
Ti Voglio Bene, Minnie
Minnie, Dalla Mia Casa Son Partito
Laggiu Nel Soledad
Chi C'e, Per Farmi I Ricci?
Ragazzi! Uno Straniero Ricusa Confessare
Mister Johnson, Siete Rimastro Indietro
Lo Non Son Che Una Povera Fanciulla
Quello Che Tacete
S'e Visto Qui Attorno
Ah, Non Ternete, Nessuno Ardira

Tracks:

Il Mio Bimbo E Grande E Piccino
Billy, E Fissato?
Hello... Buona Sera!
Oh, Se Sapeste
Ugh! Neve!
Hello!... Chiamano...
Vieni Fuori!
Or Son Sei Mesi Che Mio Padre Mori
L'han Ferito...Che Importa?
Che C'e Di Nuovo, Jack?
Oh, Strano! Del Sangue Sulla Mano
Una Parita A Poker!
Ve Lo Giuro, Sceriffo
Ah! Ah! Ah!... Urrah, Ragazzi!
E Cosi, Mister Johnson, Come Va?
Risparmiate Lo Schemo
Ch'ella Mi Creda
Ah! Ah! Ah!... E Minnie!
Non Vi Fu Mai Chi Disse 'Basta!'
E Anche Tu Lo Vorrai, Joe
Le Tue Parole Sono Di Dio

Customer Reviews:

Superb sound and fantastic performance.......2007-07-16

In terms of recording and vocal quality, this 1959 Fanciulla is exemplary.The role of Minnie suited Nilsson. This role is very difficult and loaded with high notes. These high notes are child play for Nilsson.For power and vocal gleam Nilsson has no peers. Joao Gibin as Dick Johnson sings with accuracy,style and passion. Sparks between Nilsson and Gibin are great. Andrea Mongelli in the role of Jack Rance is strong. Mongelli has a beautifull voice and is an exellent singing actor. Lovro von Matacic account of the orchestral score is excellent and "Bravo " to the Chorus and Orchestra of the Teatro alla Scalla. I will be clinging and playing this recording often. EMI is to be congratulated and commended for finally reisuing this superb recording.

Thanks EMI ; Bravo Nilsson.......2007-07-15

By Frank( Miami,Florida)- Yes, finally after all these years this recording is available for us to enjoy. The role of Minnie suited Nilsson almost as well as Turandot. Yet I always hear her in the shadow of Tebaldi in this role hoewver Nilsson displays real heart in true italian style. Comparing the present EMI issue with the DECCA studio recording with Tebaldi, del Monaco and McNeil I find Nilsson , Gibin and Mongelli more exinting to my ears and in excellent vocal form. It is my advice to grab it before it becomes unavailable again.

Happy Days are Here Again!!!! .......2007-06-26

This recording was originally intended for Franco Corelli and Maria Callas, and like its more famous counterpart with Tebaldi and del Monaco (originally intended for Gigliola Frazzoni) it went through the casting blues. Yet, in its own way, this recording of Fanciulla is superb and highly recommended!

True, Birgit Nilsson is no Frazzoni; she lacks the abandon, the true verismo approach, and even Tebaldi's middle voice dwarfs Nilssons. Therefore, one is justified in validating the poor reviews it has received through the years. Still, Nilsson is wonderful! She felt that Italian music must be given a narrow production, wider for Strauss and most solid for Wagner. Generally, that is true, but Minnie is closer the hochdramatish category, along with Turandot, Elektra, Brynhilde, and Kundry. So, maybe La Nilsson should have reconsidered her choice of timbre.

Joe Gibin had a ringing beautiful voice, placed like Domingo, but deeper, richer, larger and more spinning at the top. I am very fond of his Ramirrez!! I am happy he is the tenor and wish there was more available. Apparently, he did not prove dependable enough to last on the lyric stage. Mongelli is the most beautiful voice on the set, Stracciari-like in its richness!

Von Matacic brings details to Fanciulla vorsaken by others, and he is every bit as dramatic as Votto when the score calls for it.

Bravi, at last!

Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan

Average customer rating:

Verdi: Macbeth
The Goddess
An Observation of Gino Penno's Macduff!
MARIA ONCE AGAIN
Bone-chilling and Evil

Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan
Giuseppe Verdi , Victor De Sabata , Maria Callas , Enzo Mascherini , Orchestra e coro del Teatro alla Scala , Italo Tajo , Gino Penno , Andrea Maffei , Dario Caselli , and Attilio Barbesi
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Callas, Maria | Divas | Opera & Vocal | Styles | Music
Similar Items:

Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan
Bellini: I Puritani
Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B00000630X
Release Date: 1998-03-17

Tracks:

Macbeth: Preludio
Macbeth: Act One: Scene One - Che faceste? Dite su!
Macbeth: Act One: Scene One - Giorno non vidi mai (Macbeth - Banco)
Macbeth: Act One: Scene One - Pro Macbetto! Il tuo signore
Macbeth: Act One: Scene One - Due vaticini compiuti or sono (Macbeth - Banco)
Macbeth: Act One: Scene One - S'allontanarono!
Macbeth: Act One: Scene Two - Nel di della vittoria io le incontrai
Macbeth: Act One: Scene Two - Vien! t'affretta! (Lady Macbeth)
Macbeth: Act One: Scene Two - Al cader della sera il re qui giunge (Lady Macbeth)
Macbeth: Act One: Scene Two - Or tutti sorgete, ministri infernali (Lady Macbeth)
Macbeth: Act One: Scene Two - Oh, donna mia! (Macbeth - Lady Macbeth)
Macbeth: Act One: Scene Two - Sappia la sposa mia (Macbeth)
Macbeth: Act One: Scene Two - Regna il sonno su tutti
Macbeth: Act One: Scene Two - Fatal mia donna! un murmure
Macbeth: Act One: Scene Two - Allor questa voce m'intesi nel petto
Macbeth: Act One: Scene Two - Il pugnal la riportate (Lady Macbeth - Macbeth)
Macbeth: Act One: Scene Two - Di destarlo per tempo il re m'impose
Macbeth: Act One: Scene Two - Schiudi, inferno (Macduff - Banco - Lady Macbeth - Macbeth)
Macbeth: Act Two: Scene One - Perche mi sfuggi (Lady Macbeth - Macbeth)
Macbeth: Act Two: Scene One - La luce langue (Lady Macbeth)
Macbeth: Act Two: Scene Two - Chi v'impose unirvi a noi?
Macbeth: Act Two: Scene Two - Studia il passo, o mio figlio!
Macbeth: Act Two: Scene Two - Come dal ciel precipita (Banco)
Macbeth: Act Two: Scene Three - Salve, o re! (Macbeth - Lady Macbeth)
Macbeth: Act Two: Scene Three - Si colmi il calice (Lady Macbeth - Macduff)
Macbeth: Act Two: Scene Three - Tu di sangue hai brutto il volto (Macbeth)
Macbeth: Act Two: Scene Three - Che ti scosta, o re mio sposo (Lady Macbeth - Macbeth)
Macbeth: Act Two: Scene Three - Si colmi il calice
Macbeth: Act Two: Scene Three - Sangue a me quell'ombra chiede (Lady Macbeth - Macduff - Macbeth)

Tracks:

Macbeth: Act Three - Tre volte miagola la gatta in fregola
Macbeth: Act Three - Ballo
Macbeth: Act Three - Finche appelli (Macbeth)
Macbeth: Act Three - Fuggi, regal fantasima (Macbeth)
Macbeth: Act Three - Ondine e silfidi dall'ali candide
Macbeth: Act Three - Ove son io? (Macbeth - Lady Macbeth)
Macbeth: Act Four: Scene One - Patria oppressa!
Macbeth: Act Four: Scene One - O figli miei!
Macbeth: Act Four: Scene One - Ah, la paterna mano (Macduff)
Macbeth: Act Four: Scene One - Dove siam? che bosco e quello? (Macduff)
Macbeth: Act Four: Scene Two - Vegliammo invan due notti
Macbeth: Act Four: Scene Two - Una macchia e qui tuttora (Lady Macbeth)
Macbeth: Act Four: Scene Three - Perfidi! All'Anglo contro me v'unite!
Macbeth: Act Four: Scene Three - Pieta, rispetto, amore (Macbeth)
Macbeth: Act Four: Scene Three - Ella e morta!
Macbeth: Act Four: Scene Four - All'armi! all'armi! (Macduff - Macbeth)
Macbeth: Act Four: Scene Four - Vittoria! (Macduff)

Customer Reviews:

Verdi: Macbeth.......2007-03-11

While not on the level on the level of the sound quality of a recent digital recording, it is good, and its historic value makes up for the sound quality. I am glad I bought it.

The Goddess.......2006-01-17

I have to say that Callas, for me, despite all her versatility, has a voice that reminds me of these kinds of roles- Lady Macbeth, Abigaila or Tosca. "Hard and shouting roles". This recording proves me right, because rarely her voice sounds so adequately casted. She is absolutely brilliant. Baritone Macbeth is very expressive vocally as well, and the tenor is of a very interesting dramatic voice color. The quality of sound can be disapointing for those who are looking for an opportunity to enjoy the grand energy of "Macbeth", but that is not the prime purpose of this recording. Value it as a fantastic opportunity to expirience atmosphere in which a real diva and real opera lovers spent a wonderful and memorable night.

An Observation of Gino Penno's Macduff!.......2005-09-16

A great historical Macduff, Penno is available on two recordings in this role; very rare for this role and even more rare that his career lasted less then 8 years. I never "got" the role of Macduff, even though many famous tenors have spoken of its importance, they never have seemed to imbue this character with the excruciating pain and bereavement he endures. That was before I heard Gino Penno.

Penno's sound had been a mystery to me because it seemed too vacuous and throaty. I did not like it then, but I found out that he had one of the largest voices, if not the THE largest voice on the stage at that time, not just among tenors but all voices. Gruadually, I understood the unique timbre and grew to respect his tendency to hold back his voice and protect his musicality, which is quite careful and delicate.

In this performance, he brings Macduff to a Shakespearean level. His "innigkeit" is a surpassing experience. His plea "O figli, miei" is a sympathetic outpouring of pure pity and affection. He says it the way a real man and father would do. It is touching, of course, as it should be.

Penno is easy to ignore, especially when the Callasian volcano is erupting about him, but listen intently with a libretto in one hand and a hankerchief in the other ... to dry your tears.

MARIA ONCE AGAIN.......2005-08-26

I fell under Maria Callas' "spell" very early in my teens which coincided with the conclusion of her performing career. It was a time long before she was the legend that she is today. In fact, at that time (late 50's early 60's) for a person to even state in public that they liked (or in my case adored) Maria Callas put that person at risk of receiving a lot of ridicule which could very easily turn to scorn. At the time, she was either loved or hated. I'm afraid that during my teen years I, alas, seemed to find more hate than love for her. Therefore, being the nerdy kid that I was I retreated into my own private world which consisted mainly of my record player and the recordings of Maria Callas. I eventually succeeded in procuring all of her commercial recordings-which were my prized possessions. However, I avoided (mainly due to their poor sound quality) the (what was known at that time as) "pirated" recordings.
Now that I, again, have reached a time in my life that I am, sort of, retreating into my own private world, I find myself turning, once again, to Maria Callas and to her singing for some solace. This time, my emphasis is (and will be) her "live" recordings--what used to be called the "pirated" recordings. After all, the technology restoring these live recordings has advanced unbelievably far. This recording of Maria's complete Lady Macbeth is a prime example. It is stupendous to hear Maria tackle the entire opera and to hear it in reasonably good sound. This performance catches her at her vocal peak! There is nothing Verdi throws at her that she can't do. In addition, even at the young age that she was during these La Scala performances, she was a very mature artist and was dramatically awesome-no wonder she became a legend. At this time she was vocally able to do anything. WOW, what a performance!!
Do yourself a favor by purchasing this recording to hear WHY Maria Callas is the operatic legend that she is today

Bone-chilling and Evil.......2005-01-26

When Arturo Toscanini was making plans to conduct a performance of Verdi's Macbeth at La Scala, he had one singer in mind--Maria Meneghini Callas. For more than a hundred years, this Verdi opera was much neglected by hundreds of great artist because of the composer's demands for the voice--choked, evil, not even singing. Of course, with the passing of time, a great artist with the genius of bel canto singing, the ability to color each and every phrase accurately, and with the most powerful stage and dramatic presence, came along the scene. Such a soprano was Maria Callas. Of course, because of her disputes with the damned Antonio Ghirangelli, the head of La Scala at the time, the Toscanini Macbeth never took place. How fortunate we truly are, however, to have Callas sing the role in La Scala a few years later with the great Victor de Sabata conducting. Here, we hear a totally different Callas, an antiheroine bent on achieving her goals without care for moral justice. No other soprano or mezzo for that matter could have captured the Lady Macbeth that Callas poured out on La Scala for the audiences that she mesmerized with her ability to portray such a despicable character. What a brilliant artist she truly was! Her letter scene is undoubtedly the benchmark for any other letter scene read by successive ladies after her career. Her La Luce Langue is simply amazing. Her sleepwalking scene caused only her to gain more legions of fans. Her colleagues weren't too bad either. Enzo Mascherini was evil yet cowardly as Macbeth. Truly a great performance that night. Do not miss out on this recording.

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor

Average customer rating:

Complete Solti/Bergonzi Ballo Released
Another dazzled listener
Sublime indeed
The sublime vocal artist
Blown away!

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
Giuseppe Verdi , Giacomo Puccini , Ruggiero Leoncavallo , Pietro Mascagni , Amilcare Ponchielli , Tullio Serafin , Herbert von Karajan , Georg Solti , Rafael Kubelik , Nello Santi , Gianandrea Gavazzeni , Lamberto Gardelli , Sir John Pritchard , Carlo Bergonzi , Renata Tebaldi , Ettore Bastianini , Fiorenza Cossotto , Enzo Sordello , Dietrich Fischer-Dieskau , Tugomir Franc , Renata Scotto , Libero Arbace , Fernando Corena , Birgit Nilsson , Giulietta Simionato , Sylvia Stahlman , Joan Sutherland , Dora Carral , and Piero de Palma
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Decca Records Store | Specialty Stores | Music
Similar Items:

Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini
The Very Best of Franco Corelli
The Very Best of Beniamino Gigli
The Very Best of Giuseppe di Stefano
The Very Best of Nicolai Gedda

ASIN: B00004C8TH
Release Date: 2001-06-12

Tracks:

La Boheme: Che Gelida Manina - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
La Boheme: O Soave Fanciulla - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
La Boheme: Mimi E Tanto Malata - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
La Boheme: Dunque E Proprio Finita! - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
La Boheme: In Un Coupe?... O Mimi, Tu Piu Non Torni - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
Madama Butterfly: Dovunque Al Mondo - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
Madama Butterfly: Vogliatemi Bene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
Madama Butterfly: Io So Che Alle Sue Pene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
Madama Butterfly: Addio, Fiorito Asil - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
Cavalleria Rusticana: Ah! Io Vedi, Che Hai Tu Detto? - Carlo Bergonzi/Fiorenza Cossotto
Pagliacci: Recitar!... Vesti La Giubba - Carlo Bergonzi
Don Carlo: Dio, Che Nell'alma Infondere - Carlo Bergonzi/Dietrich Fischer-Dieskau/Tugomir Franc/Chor Of The ROHCG
Rigoletto: Questa O Quella - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: Ella Mi Fu Rapita! - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: Parmi Veder Le Lagrime - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: Possente Amor Mi Chiama - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: La Donna E Mobile - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Rigoletto: Bella Figlia Dell'amore - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
Otello: Dio! Mi Potevi Scagliar - Carlo Bergonzi

Tracks:

Un Ballo In Maschera: La Rivedra Nell'estasi - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: Di' Tu Se Fedele - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: E' Scherzo Od E Follia - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: Teco Io Sto - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: Forse La Soglia Attinse - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Un Ballo In Maschera: Ma Se M'e Forza Perderti - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
Tosca: E Lucevan Le Stelle - Carlo Bergonzi
Manon Lescaut: Donna Non Vidi Mai - Carlo Bergonzi
Aida: Se Quel Guerrier Io Fossie!... Celeste Aida - Carlo Bergonzi/Renata Tebaldi
Aida: Pur Ti Riveggo, Mia Dolce Aida - Carlo Bergonzi/Renata Tebaldi
La Gioconda: Cielo E Mar! - Carlo Bergonzi
La Traviata: Un Di Felice, Eterea - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
La Traviata: Lunge Da Lei - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
La Traviata: De' Miei Bollenti Spiriti - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
La Traviata: O Mio Rimorso! - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
La Traviata: Parigi, O Cara - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
Il Trovatore: Deserto Sulla Terra - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
Il Trovatore: Ah! Si, Ben Mio - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
Il Trovatore: Di Quella Pira - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
Adriana Lecouvreur: La Dolcissima Effigie - Carlo Bergonzi
Adriana Lecouvreur: L'anima Ho Stanca - Carlo Bergonzi

Customer Reviews:

Complete Solti/Bergonzi Ballo Released.......2007-04-24

No need to add to what the other reviewers say about this five-star collection. I am writing to alert readers that on April 10, 2007 Decca released the complete recording of Un Ballo in Maschera with Bergonzi, Nilsson, Stahlman, Simionato, and MacNeil, conducted by Solti. To read my detailed review of that release, bring the product up on Amazon.

Another dazzled listener.......2006-12-12

I had to write the same thing for the Sony Classical recording of a Bergonzi recital of Italian songs--this is simply one of the most passionate and intelligent singers I have ever heard, and he sounds as good or better now than when I first played one of his records 25 years ago. Anyone who has the slightest shred of interest in the operatic voice should own this collection from one of the truest and most passionate tenors in recorded history.

Sublime indeed.......2006-05-31

I first came to appreciate the artistry that is Carlo Bergonzi on his magnificnt recording of Butterly with Renata Scotto. Later I got the privelege of hearing him several times in person. He was among the most intelligent of tenors. He knew his voice well and how to use that voice to convey the drama and music in a wonderful combination.

If you appreciate Bergozni, this recording will remind you why. If you are not familiar with "The Tenor's Tenor", you will find out why he has that title. However, in addition to the magnificent Bergonzi, you also get wonderful performances from partners such as Tebaldi, Birgit Nilsson, Sutherland, Scotto, Fischer-Dieskau and Cossotto.

I can only find fault with a couple of the selections. First and foremost is that Bergonzi should never have even attempted the Dio Mi Potevi from Otello. That is the only performance that is in anyway subpar. It is unlike any other performance on this recording (or any other time I heard Bergonzi) -- forced. I would have far preferred a version of Una Furtiva Lagrima, which Bergonzi could sing the sock off of. Or given the presence of E Lucevan Stelle, couldn't they have included Recondita Armonia instead? The only other very minor complaint is the pairing with Nilsson . The duet is fine until the very end. On the final high C you can't even hear Bergonzi due to the sheer size of Nilsson's voice. The music and performance of both are wonderful, but a perfect Alfredo and perfect Brunnhilde do not necessarily mesh. But that is a minor quibble. Aside from a disappearing Carlo, it is quite a wonderful performance.

On the plus side a few things particularly stand out. To me, this is simply the best recording ever of Cielo e Mar. The sections with Tebaldi (Boheme and Butterfly and Aida in particuar) are fabulous. Other standouts include the quartet from Rigoletto with Scotto, Cossotto and Fischer-Dieskau and the Cavelleria duet with Cossotto.

All in all, this is, with a few minor exceptions, a magnificent collection of the best of Carlo Bergonzi.

The sublime vocal artist.......2003-08-15

I have seen most of the great tenors of the past 50 years at the Met: Corelli, Tucker, Vickers, Gedda, Pavarotti, Domingo, etc.. For me, Bergonzi over all, was the superior Italian Opera tenor. His legato, agility, breath control, tasteful musicianship, diction, was superior to most of the great tenors. He was outstanding as Nemorino and Rhadames; Edgardo and Alvaro etc.. This CD shows him at his very best, which is a joy to hear. This CD is a must vocal lesson for any aspiring young tenor, as Carlo Bergonzi is a master singer.

Blown away!.......2003-01-20

This album brings Carlo Bregonzi to life. This is a view from all angels. He commands such an array of singing styles.
No one brings the great composers to life the way Carlo Bergonzi does.

Tracks:

Atto 1: ...E soffito e pareti...
Atto 1: Sorride Vostro Onore?
Atto 1: Dovunque al mondo
Atto 1: America forever
Atto 1: ler l'altro il Colaolato
Atto 1: Ecco. Son giunte al sommo del pendio
Atto 1: Gran ventura
Atto 1: L'Imperial Commisario
Atto 1: Vieni, amor mio!
Atto 1: leri son salita tutta sola in segreto allo Missione
Atto 1: Tutti zitti!
Atto 1: O Kami! O Kami!
Atto 1: Cio-cio-san! Cio-cio-san!
Atto 1: Bimba, bimba, non piangere
Atto 1: Viene la sera
Atto 1: Vogliatemi bene
Atto 2, Parte 1: E lzaghi ed lzanami, Sarundasico e Kami
Atto 2, Parte 1: Un bel di vedremo
Atto 2, Parte 1: Ce. Entrate

Tracks:

Atto 2, Parte 1: Non lo sapete insomma
Atto 2, Parte 1: Si sa che aprir la porta
Atto 2, Parte 1: Udiste?
Atto 2, Parte 1: Ora a noi. Sedete qui
Atto 2, Parte 1: Ebbene, che fareste, Madama Butterfly
Atto 2, Parte 1: E questo? E questo?
Atto 2, Parte 1: Che tua madre dovra prendeteri in braccio
Atto 2, Parte 1: Vespa! Rospo maledetto!
Atto 2, Parte 1: Una nave da guerra
Atto 2, Parte 1: Scouti quella fronda di ciliegio
Atto 2, Parte 1: Or vienmi ad adornar
Atto 2, Parte 1: Coro a bocca chiusa
Atto 2, Parte 2: Intermezzo
Atto 2, Parte 2: (fischi d'uccelli dal giardino
Atto 2, Parte 2: Gia il sole!
Atto 2, Parte 2: Chi sia?
Atto 2, Parte 2: lo so che alle sue pene
Atto 2, Parte 2: Non ve l'avevo detto?
Atto 2, Parte 2: Addio fiorito asil
Atto 2, Parte 2: Suzuki! Suzuki! Dove sei?
Atto 2, Parte 2: Tu, Suzuki, che sei tanto buona
Atto 2, Parte 2: Come una mosca prigioniera
Atto 2, Parte 2: Con onor muore chi non puo serbar viat con onore

Customer Reviews:

renata is a dream.......2007-03-17

i have been playing non-stop for two weeks and have not tired of it yet--i love it

An Opera I Love That I Know I Should Loath.......2006-05-11

I'll admit that MADAMA BUTTERFLY is not one of my favorite operas, at least as far as characters are concerned. I find Pinkerton repulsive and as an American, I hate the fact that one of opera's most popular works has what is perhaps the most obvious example of an "Ugly American." I remember reading that some American critics hated the work at its New York premiere for the reasons I state. And yes I know, there are far more vile characters in opera than "Love'm and Leave'm Pinkerton, but he's so realistic ,Cio Cio San is so vulnerable, and Puccini's music so fits the story, I almost hate to listen to the opera because the same tragedy happens over and over again. Yet every time I put the CDs in the player and hear the string prelude, I know I have to listen because there are some of opera's most emotional and passionate musical moments in this work.

There are a number of tremendous recordings of this work available with some of operas greatest stars as Cio Cio San: Maria Callas, Mirella Freni, Anna Moffo, and Renata Tebaldi. Tenors who love the bravado of Pinkerton include Pavarotti, Carreras, Domingo, Mario Del Monaco and Carlo Bergonzi. Any set with any of these stars is musical heaven, but for me the BUTTERFLY of choice is this mid priced set with Renata Tebaldi and Carlo Bergonzi under the direction of Tulio Serafin. Anytime I listen to it, I'm captivated by the performance and drawn into the drama. It is often considered one of Tebaldi's best studio recordings, and Decca has used excerpts from this recording in many of its opera compilations.

Since this is a role often associated with both Renata Tebaldi and her rival Maria Callas, some may wonder which is the better choice. Well, I'm the wrong person to ask. I own and love both. The Callas recoding has certain intensity as opposed to the polish of this set, and this set is in stereo as opposed to the mono recording of the Callas set. Both sets are masterpieces, but for my tastes, the Tebaldi set is the better choice.

Better than Tebaldi's first recording.......2003-02-26

This is Renata Tebaldi's second recording of "Madama Butterfly". She sounds wiser in this role than when she recorded it the first time around. Her vibrato sometimes turns into an obtrusive wobble, but it is mostly under control. Her high notes are not as secure as in her first recording of the work. Her interpretation is subtler here than it is in her first recording. Butterfly's Death Scene is more subtly sung in this version than it is in her first, but the high notes are not nearly as secure. Dramatically, she is no Renata Scotto or Victoria de los Ángeles, but she has a superior voice. Her voice is a little different here than in her first recording. The rest of the cast is marvelous. Carlo Bergonzi is a great Pinkerton. To my ears, he is the best tenor to have recorded this role. He is significantly better than Giuseppe Campora on Tebaldi's first recording. Enzo Sordello has a wobbly, but very attractive baritone. He sounds too light to be a convincing Sharpless. He has a better voice than Giovanni Inghilleri, the Sharpless on Tebaldi's first recording. However, Inghilleri's voice is much more suited to the role of Sharpless than Sordello's is. Fiorenza Cossotto is a heavenly Suzuki. She has a beautiful voice and characterizes nicely. She has got to be the best Suzuki on records. She is infinitely better than Nell Rankin, the Suzuki in Tebaldi's first recording. That Suzuki has poor Italian and a vastly inferior voice. Tullio Serafin is a marvelous conductor. He is much better than Alberto Erede, the conductor on Tebaldi's first recording. Erede goes through the motions. Serafin actually takes time to conduct and pace this opera intelligently. Overall, this is a marvelous recording.

Maravillosa pero..........2002-08-30

Esta es una gran Butterfly en muchos sentidos, con un Elenco de los que ya no existen. Bergonzi canta su Pinkerton con su seducuctora elegancia característica, lo que lo pone en los primeros lugares para este papel. Cossotto, lo mejor que se puede pedir para Suzuki. Y Tebaldi, bueeno, si bien canta con esa voz que hace que cualquiera se derrita por ella, tenemos otra vez uno de sus grandes problemas para estos papeles... Su voz es demaciado madura, olvida que Butterfly tiene 15 y después 18 años, no se la puede cantar como a Desdemona. Mi Butterfly favorita es aquella que a priori parece la más inadecuada para el papel de todas: Maria Callas, si bien la dureza de su timbre hace que uno sienta cierto rechazo, no hay intérprete como Callas, simplemente. Y Serafin, bueno, es Serafin, no se puede desear algo mejor.

stunning.......2002-02-20

This recording is amazing. It sounds very live with the passion and emotion that come through in the singing, not often found in studio recordings.

Tebaldi's Butterfly is electrifying, flirtatious, and innocent at the same time. The lush, cool power that she has comes through everywhere and she is never drowned out by the orchestra. This is a recording of Tebaldi in her prime and he rhigh notes are spacious and ringing, never strained.

Bergonzi is, as usual, perfect and makes every tenor green with envy. His duet with Butterfly at the end of Act I is booming, arrogant, and passionate. Under the baton of Tullio Serafin, the orchestra creates a truly moving sequence of all-encompassing sound here as well; it's hard not to fall into the romantic scope of the scene.

The supporting cast is also very convincing, especially Cossotto as Suzuki, with the fervor she injects in the scene where she is praying, and Enzo Sordello as Sharpless fills "America Forever" with backhanded patriotism.

Tracks:

L'Elisir d'Amore: Act I: Preludio
L'Elisir d'Amore: Act I: Coro d'Introduzione: 'Bel conforto al mietitore' (Giannetta)
L'Elisir d'Amore: Act I: Cavatino: 'Quanto e bella, quanto e cara!' (Nemorino) (Giannetta)
L'Elisir d'Amore: Act I: Scena e Cavatina: 'Benedette queste carte!...Della crudele Isotta' (Adina) (Giannetta) (Nemorino)
L'Elisir d'Amore: Act I: Marziale
L'Elisir d'Amore: Act I: Cavatina: 'Come Paride vezzoso' (Belcore) (Adina) (Giannetta) (Nemorino)
L'Elisir d'Amore: Act I: Scena e Duetto: 'Una parola, o Adina.' (Nemorino) (Adina)
L'Elisir d'Amore: Act I: 'Chiedi all'aura lusinghiera' (Adina) (Nemorino)
L'Elisir d'Amore: Act I: Coro: 'Che vuol dire codesta suonata?'
L'Elisir d'Amore: Act I: Cavatina: 'Udite, udite, o rustici' (Dulcamara)
L'Elisir d'Amore: Act I: Recitativo e Duetto: 'Ardir! Ha forse il cielo mandato' (Nemorino) (Dulcamara)
L'Elisir d'Amore: Act I: 'Voglio dire, lo stupendo elisir' (Nemorin) (Dulcamara)
L'Elisir d'Amore: Act I: Finale I: 'Caro elisir! sei mio!' (Nemorino)
L'Elisir d'Amore: Act I: Finale I: Scena e Duetto: 'Lallarallara...Esulti pur la barbara' (Nemorino) (Adina)
L'Elisir d'Amore: Act I: Finale I: Terzetto: 'Tran, tran, tran...In guerra ed in amor' (Belcore) (Adina) (Nemorino)
L'Elisir d'Amore: Act I: Finale I: Scena e Quartetto: 'Signor sargente, di voi richiede la vostra gente.' (Giannetta) (Belcore) (Nemorino) (Adina)
L'Elisir d'Amore: Act I: Finale I: 'Adina credimi, te ne scongiuro' (Nemorino) (Belcore) (Adina) (Giannetta)
L'Elisir d'Amore: Act I: Finale I: 'Andiam, Belcore.' (Adina) (Nemorino) (Giannetta) (Belcore)

Tracks:

L'Elisir d'Amore: Act II: Coro d'Introduzione: 'Cantiamo, facciam brindisi' (Belcore) (Dulcamara) (Giannetta) (Adina)
L'Elisir d'Amore: Act II: Recitativo: 'Pioche cantar vi alletta' (Dulcamara) (Belcore) (Giannetta)
L'Elisir d'Amore: Act II: Barcaruola: 'Io son ricco e tu sei bella' (Dulcamara) (Adina); Act II: Recitativo: 'Silenzio! E qua il notara' (Belcore) (Dulcamara) (Adina) (Gianetta); Recitativo: 'Le feste nuziali' (Dulcamara) (Nemorino)
L'Elisir d'Amore: Act II: Scena e Duetto: 'La donna e un animale stravagante' - 'Venti scudi!' (Belcore) (Nemorino)
L'Elisir d'Amore: Act II: Recitativo: 'Qua la man, giovinotto' (Belcore) (Nemorino)
L'Elisir d'Amore: Act II: Coro: 'Saria possibile?' (Giannetta)
L'Elisir d'Amore: Act II: Quartetto: 'Dell'elisir mirabile' (Nemorino) (Giannetta) (Adina) (Dulcamara)
L'Elisir d'Amore: Act II: Recitativo e Duetto: 'Come sen va contento!' (Adina) (Dulcamara)
L'Elisir d'Amore: Act II: 'Quanto amore! Ed io, speitata!' (Adina) (Dulcamara)
L'Elisir d'Amore: Act II: 'Una tenera occhiatina' (Adina) (Dulcamara)
L'Elisir d'Amore: Act II: Romanza: 'Una furtiva lagrima' (Nemorino)
L'Elisir d'Amore: Act II: Recitativo: 'Eccola. Oh! qual le accresce belta' (Nemorino) (Adina)
L'Elisir d'Amore: Act II: Aria: 'Prendi, per me sei libero' (Adina) (Nemorino)
L'Elisir d'Amore: Act II: Finale II: Recitativo: 'Alto! Fronte!' (Belcore) (Adina) (Dulcamara) (Nemorino) (Giannetta)
L'Elisir d'Amore: Act II: Finale II: Aria finale: 'Ei corregge ogni difetto' (Dulcamara) (Adina) (Nemorino) (Belcore)

Customer Reviews:

The Muse of Genuine Comedy.......2006-10-02

I am incapable of recognizing the case against Nucci and Dara's singing and not highly motivated to find out. I listen to operas, not to nuances distingishing one professional from another. In a review of the Ferro Don Pasquale, I state a preference for L'Elisir D'Amore because it is less formulaic than the 1843 opera buffa. The 1832 work is genuinely comic rather than satirical. Pavarotti has said that he particularly enjoys singing the part of Nemorino, a "simple young man," because of the contrast it offers him to the blood-and-thunder roles he is usually called on to sing. Pavarotti's voice lends itself to a "simple" part because of its down-to-earth quality. His choice not to sing German accords with the impression that he is a definitive representative of Italian culture. L'Elisir D'Amore is about as Italian as opera can get. I have never heard a better comic opera than this; and the effect is no doubt owing to the performances despite the criticisms of Nucci and Dara.

Comedy presents undistinguished characters designed to represent the basic health of society. It is antithetical to the tragic depth of Wagner's Tristan und Isolde and to the sublime mystery of Bartok's Bluebeard's Castle. Comic characters involve themselves in inconsequential troubles based on inconsequential goals, decisions and actions. No doubt Nemorino would like to prosper in love with Adina; but her capriciousness keeps her from figuring as a major erotic prize. She plants the notion of a magic potion in Nemorino's mind after reading the story of Tristan and Isolt. Heaven knows what a gulf separates L'Elisir D'Amore from Wagner's love-and-death opera! After the handsome Belcore sweeps Adina off her feet (whatever that means) by comparing her to Venus in the Judgment of Paris, the charlatan Dulcamara saves the day with his fake but psychologically effective potion. Nemorino sings, "Dear elixir! You're mine! / Yes, all mine. / How powerful your strength must be/ if, without having drunk any yet/ you fill my breast with so much joy!" Thalia, the muse of comedy, must have been proud of this one.

Excellent Music.......2006-07-17

This CD is very good, the sound quality is excellent and all the Opera is an exquisite piece of art. Even if you are not much of an Opera music lover, Donizetti is able to involve you in this world of music, drama, and romance. The performers are unique and the director did an excellent job. I would recommend this cd to anyone.

A Recording That Will Certainly Be Trasured Favorite.......2005-11-09

Donizetti's comic L'ELISIR D'AMORE is one of opera's enduring favorites. It's a work that can be buffoonish when performed on stage, but recorded versions cut out the antics and give us Donizetti's enjoyable score. This set has so many excellent qualities going for it, it's nearly perfect. It has an all star cast, led by one of opera's greatest conductors, and includes the orchestra and chorus of one of the world's greatest opera houses. Is there any other recording worth considering? Yes and no.

Its strengths include a stellar cast led by Luciano Pavarotti and Kathleen Battle. This is not Luciano Pavarotti's first attempt at recording this work. He did so nearly twenty years earlier in a wonderful set with Joan Sutherland as Adina. While his voice is somewhat darker in this set than it was in the Sutherland set, Pavarotti is one of the best male Donizetti singers. On stage we would not believe Pavarotti is a love struck young man. If anything the cover makes him look like a dirty old man, but I find his interpretation nuanced and in many ways stronger than his earlier rendition and certainly more nuanced than some of his television forays into the work. I love Kathleen Battle's Adina. Her voice is perfect, she sings with great clarity, and each time I listen to it I realize what a loss her departure from the opera stage has been. We also get a young Dawn Upshaw as Giannetta in one of her few complete opera recordings. James Levine is, well James Levine which means the orchestra is in top form as is the Metropolitan Opera Chorus.

The only criticism leveled against this recording by many and I would tend to agree would be the lower range male voices of Leo Nucci and Enzo Dara as Belcore and Dulcamara respectively. I will not say they are the reason to avoid buying this set as some reviewers have said, and I don't find them so horrible that I'd avoid it. The problem is that some of the great recordings of this work have basses and baritones that give the work a personality. Often times the lower roles were written with comedic intentions, and the basses and baritones often became comic figures and took liberties with the score. In comparison the interpretations of Nucci and Dara are rather dull, but Pavarotti, Battle, and Upshaw carry the recording and their strengths cover the weaknesses of this set.

I'm not sure this is the recording of the ages. The earlier Sutherland Pavarotti collaboration would probably earn this title. My favorite is the first LP set I owned with Rosanna Cartieri as Adina under the direction of Tulio Serafin. Now before I sound too pretentious, I will admit I purchased it not because of its quality and my great taste. It was a budget recording for about six dollars and I was a broke high school student who just discovered opera and wanted as many sets as I could afford. Still, I love the Pavarotti-Battle set, have had many hours of listening pleasure from it, and highly recommend it.

Nucci and Dara are awful; otherwise, a great recording!.......2003-07-22

First of all, Pavarotti is fantastic here, much better than on the Decca Sutherland/Bonyage recording. Although a lot of the color has been drained from his voice (he was in his mid-to-late fifties during this recording), he still sounds wonderful, and the famous Pavarotti sound with all its beauty, ping, humor and charm are still there. And he still hits the high C at the end of the Belcore/Nemorino duet! Second, Battle is also wonderful, and her high notes are fantastic (although, towards the end of her big duet with Nemorino, she barely hits the high C). Her diction is also a little rusty (hearing her next to Pavarotti is one extra contribution to what makes him such a wonderful singer), but she still sounds great in this recording. Finally, Levine and the Metropolitan orchestra and chorus are great, and offer lots of humor and excitement as well as a well - shaped performance. All the supporting roles (including Dawn Upshaw as Gianetta) are very well done. DG's recorded sound is excellent.

So - why is this a 3 star recording and not 5 stars? two reasons: Leo Nucci as Belcore and Enzo Dara as Duclamara. Nucci barks and shouts all his voice out, his performance is driven and humorless, and his intonation is just horrible. For those of you with perfect pitch (like myself), you will be very unhappy with his performance. Enzo Dara is really a bad singer. Why is he in this recording? His intonation is also bad (but not as bad as Nucci's), and he cracks on almost every high note he sings (including the "Excellente!" in the Nemorino/Duclamara duet, plus more). His singing is boring also, including in the Barcarolle duet with Adina ("Io son ricco e tu sai bella), and the other duet with Adina ("Quanto amore!"), and the way he presents the elixir to the village people is pathetic.

but if you ignore Nucci and Dara, skip their solo scenes and duets, or simply don't listen to them, then this is really a fantastic recording, and you SHOULD buy it. however, it's really a shame that they couldn't get better singers to play Belcore and Duclamara, perhaps Juan Pons as Belcore and Bryn Terfel as Duclamara. then this would be a 5-star recording, not a 3-star recording as it is now with Nucci and Dara doing their parts.

overall, get this recording for Battle, Dawn Upshaw (as Gianetta) Levine and the Met orchestra and chorus, but mostly for Pavarotti himself. this is one of his best recordings.

The Best L'Elisir featuring pavarotti.......2003-07-12

There are a lot of positivs about this recording, however there are a few annoying things which keep me from giving this version of L'Elisir five stars.

First for the positives. The cast is wonderful and mostly in good form. For his part Pavarotti is a wonderful Nemorino. He is very involved during this performance, and delivers a wonderful combination of fun and sorrow which captures Nemorino to a tee. You can truly feal that he was having fun during this performance. Kathleen battle delivers a stron performance but one which is sub par for someone of her considerable tallents.
Leo Nucci is simply fantastic. He is truly the embodyment of the arrogant Belcore, and his voice is in excellent form here.
Lastly Enzo Dara delivers a solid performance as the excentric doctor Dulcamarra. There are better performances out there(See the Gheorghiu-Alagna set)but Dara does a good job with this difficult role.

The second major positive about the recording is the Orchestra and Conducting. Levine generall has a good sense for the pacing of a piece, as well as the talent with which he is working. This skill is on full display here. Levine moves the opera along at a brisk pace, yet one that does not force the singers to fight to catch up with the orchestra. In addition the orchestra does not drown out the performers(as is so often the case).

Now for the negatives: The production work here is not perfect. At one point in the first act you can hear someone coughing, as well as there is the occasional page turning which I assume is from the orchestra. These things are not constant, but they are annoying and show a lack of attention to detail on the part of the production team. The second weakness is actually related to Battle. She never hits any of the high notes built into this opera. One such case is at the end of the first trio in act one. I don't quite understand why she does this, she is certainly more then capable of comfortably reaching a high D or E.This is truly dissapointing. Lastly Enzo darra at times struggles whith the Dulcamara role. At one point his voice even cracks during his first duet with Nemorino. Grant it this role is very demanding, but again a dissapointment.

Customer Reviews:

A fizzy Rigoletto with stellar casting from the old Met.......2006-10-29

This classic Rigoletto dates from RCA's golden era at the old Met, and it has come up sounding gorgeous--far better than its age--in this bargain remastering. Every aspect is strong vocally. Alfredo Kraus can't stand up to Bjorling''s mesmerizing tenor, but he sings more precisely and with greater refinement--this is one Duke who doesn't bawl out a single phrase. His only flaw is a streak of mildness that makes lechery and treachery fairly unbelievable. Merrill possessed the best dark bass-baritone of his generation (and to think the Met also had Leonard Warren until his untimely death), and Anna Moffo is far more warm and feminine than the usual canary bird Gilda.

Aside from the impeccable soloists, there's Solti's fizzy conducting, which renders excitement without driving too hard (a reputation he deserves far more in the Aida to come). He makes the then lackluster Met orchestra sound world-class, and the Met chorus is just as good. In all, there have only been a handful of Rigolettos to match this one, and probably none in the nearly five decades since it appeared on LP.

2 Words......Robert Merrill.......2006-10-13

Robert Merrill was the GREATEST baritone that ever lived. His sound was PURE GOLD! Best Rigoletto of all time.

The perfect Rigoletto........2006-03-23

There are so many recordings of this PERFECT opera. There's the Gobbi/Callas/Di Stefano, the Milnes/Sutherland/Pavarotti, the Cappuccilli/Cotrubas/Domingo, the Merrill/Peters/Bjorling, there are so many, but almost all of them have a weak link. The Gobbi/Callas/Di Stefano has a miscast Callas as Gilda and all three struggle with their roles vocally. The Milnes/Sutherland/Pavarotti has the old sounding Sutherland who completely ruins the set for me. The Merrill/Peters/Bjorling has Peters being overdramatic and ridiculous. The Cappuccilli/Cotrubas/Domingo comes close, but lacks vocal flair and energy.

This set, in my VERY humble opinion, is the best. Not only do you get Merrill, who is fabulous on pretty much anything he does, but you get Anna Moffo and Alfredo Kraus, along with a solid supporting cast and wonderful, dramatic conducting by Solti.

Many people I know have issues with Anna Moffo, who recently died. Now that she's gone and I'm done mourning, and trust me, I did, I have been making a point to toot her horn to everyone I know. Yes, she had her vocal problems towards the end of her career, but there ARE legitimate reasons for that. Anna Moffo is STUPENDOUS on this recording and brings a legitimate sensitivity and dramatic art to this character. Not only that, but she sings it BEAUTIFULLY and is consistent throughout.

Alfredo Kraus is PERFECT. He's romantic, charming, and has KILLER high notes. Robert Merrill is perfect in this role, maybe not as fresh sounding as he was on the earlier recording with Roberta Peters and Jussi Bjorling, and of course, more mannerisms, but who cares. He's one of the greatest Verdi Baritones of the century.

This Rigoletto is so well cast that it'd be a mistake to go for any of the other sets. Also, this set is SO cheap and is great for first timers to the opera and those who want to try out another recording. This was my first and favorite. I did listen to MANY others just to make sure I wasn't missing out on anything...and I wasn't.

my favorite all-round Rigoletto .......2006-01-02

This version of Rigoletto is by far my favorite - it combines
plenty of vocal beauty, characterful singing and dramatic
tension. Robert Merrill has the perfect voice for the title-
role - dark, powerful, biting - and conveys the old jester's
bitterness and heartbreak superbly. Anna Moffo is a lovely and
touching Gilda - she brings considerable warmth and tenderness
to the role and sings an exquisite "Caro nome". Alfredo Kraus
is an electrifying Duca - charming and manipulative all at on-
ce - he is here caught in his youthful prime and sings with
splendid aplomb. Rosalind Elias and Ezio Flagello offer strong
support. Georg Solti is perhaps a bit hard-driven but the end
result is undeniably exciting. A very welcome reissue of a
great opera sung by great singers.

Perhaps the most balanced Rigoletto.......2005-12-15

There are many good recordings of Verdi's Masterpiece and the remastered RCA classic is certainly one of them (I liked the previous cover more though). The DG D. Fisher-Diskau/Bergonzi/Scotto also stands out mainly because of its Duke who shines. To me, Bergonzi with his perfect phrasing is the ideal Duke. However, we must keep in mind that the opera is called Rigoletto and not "the Duke". This Solti set sounds ideally balanced.

Robert Merrill as povero Rigoletto captures both drama and music of the role. He has a powerful, rich voice ideal for such Verdi roles. Although I mentioned my preference to Bergonzi, Alfredo Kraus is not less memorable. I especially admire his "posente amor", truly remarkable. As Gilda we hear a young, fresh Anna Moffo in one of her best moments. Exquisite singing and a convincing portrait of the young girl make her one of my first choices for Gilda. Let me not forget the rest of the cast, Elias and Flagello do a fine job too.

Superb Maestro Solti completes this thrilling account of Rigoletto. Perhaps too poweful at times but still sensitive enough to honour Verdi.

A must even if you have other versions.

Vivaldi for Valentines: Romantic Interludes for the One You Love

Average customer rating:

More of Vivaldi's great music.
Just great!
Heard "Four Seasons"? Want more? GET THIS!

Vivaldi for Valentines: Romantic Interludes for the One You Love

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Chopin and Champagne: Set Your Mood for Romance
Rachmaninoff for Romance: Passionate Music for Love and Desire
Liszt for Lovers: Piano Dreams of Love and Passion
Tchaikovsky At Tea Time: A Refreshing Blend For Body And Spirit
Baroque at Bathtime: A Relaxing Serenade to Wash Your Cares Away

ASIN: B0000041ER
Release Date: 1996-01-23

Tracks:

The Four Seasons: (Winter): Largo
Guitar Concerto in D: Largo
Flute Concerto In D (II gardellino): Cantabile
Concerto In C For Diverse Instruments: Andante molto
String Concerto in G minor: Andante molto
Concerto in D for 2 violins & 2 cellos: Largo
Oboe & Violin Concerto in G minor: Larghetto
Guitar Concerto in A minor: Laro
Triple Violin Concerto in F: Andante
Flute Concerto in F: Largo
Viola d'amore Concerto in D minor: Largo
Violin Concerto in E (II riposo): Allegro
Oboe & Bassoon Concerto in G: Largo
Violin Concerto No. 6 in B-flat: Largo
Concerto in A for Guitar, Violin, Viola & Cello: Larghetto
Violin Concerto in E (L'amoroso): Allegro
Flute Concerto No.4 in G: Largo
Violin Concerto in A (with echo violin): Larghetto
Violin Concerto in C minor (II sospetto): Andante
Double Oboe Concerto in A minor: Largo
Concerto in G minor for the Dresden Orchestra: Largo non molto
Violin Concerto in A minor: Largo
Oboe Concerto In C: Adagio
Flue Concerto No.2 in G minor (La notte): Largo

Amazon.com

Another installment in Philips's Set Your Life to Music series (which has included Mozart for Your Mind, Baroque at Bathtime, and Rachmaninoff for Romance, among others), Vivaldi for Valentines is loosely built around the aura of romance that Venice continues to evoke. Vivaldi captured it for all time in his music, inspired by the often melancholy beauty of his native city, one that has been known through the ages as La Serenissima. Along with such ultrafamiliar pieces as the "Winter" largo movement from The Four Seasons (in which the violin sighs a rapturous melody against sounds imitating a crackling, cozy fire) and the Largo of the Guitar Concerto in D--Vivaldi's slow movements, with all their gentle dreaminess, being given the limelight in this compilation--are many gems you've likely not heard before. The list of performers and approaches is too expansive even to mention but predominantly features performances by I Musici. It's hard to believe that Vivaldi's music, having sunk into oblivion, resurfaced again only a few decades ago. This is a pleasant compilation that makes a perfect entrée if you'd like to learn more about classical music--and Vivaldi in particular--than The Four Season. And, as for setting a romantic mood, this will give your mojo all the help it needs. --Thomas May

Customer Reviews:

More of Vivaldi's great music........2001-08-24

When it comes to Vivaldi's works, the majority of people usually tend to associate him solely with composing the Four Seasons. However, this particular cd will introduce classical music lovers to other music that he composed for various stringed instruments, including the violin and cello. It does include a section from Winter of the Four Seasons, but the rest is other music that some may not be too familiar with. For a low price, you'll be getting a great selection of music.

Just great!.......2000-07-10

I don't really know a lot about classical music even though I listen to a lot of it. All I can say is that every piece on this collection evokes a tremendous amount of peace and happy emotion. I listen to it in my office, and that in combination with my new fountain.... better than Prozac. My favorite piece is "Concerto for Guitar in D major: Largo" (sample #2 above). Highly recommend!

Heard "Four Seasons"? Want more? GET THIS!.......1999-03-16

Almost everyone knows Vivaldi's "Four Seasons". If you love that gorgeous piece of music, than I say your next purchase should be this! It is a gorgeous collecton of string quartets along with flutes and very impressive classical guitar. I put it on whenever I need to be taken away from this world, or when I need some artistic inspiration.

Rossini - Il barbiere di Siviglia / Prey · Berganza · Alva · Dara · Montarsolo · LSO · Abaddo

Average customer rating:

Bufa without being buffoonish
Abbado's 1971 BARBER has never been out of the catalogs....
Brilliant!
VHS
The most wonderfull Barber

Rossini - Il barbiere di Siviglia / Prey · Berganza · Alva · Dara · Montarsolo · LSO · Abaddo
Gioachino Rossini , Claudio Abbado , Hermann Prey , Teresa Berganza , London Symphony Orchestra , and Enzo Dara, Paolo Montarsolo Luigi Alva
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000006NXT
Release Date: 1998-05-12

Tracks:

Il Barbiere di Siviglia: Sinfonia
Il Barbiere di Siviglia: Piano, pianissimo (Conte)
Il Barbiere di Siviglia: Ecco, ridento in cielo...Ehi, Fiorello? (Conte)
Il Barbiere di Siviglia: Largo al factotum
Il Barbiere di Siviglia: Se il mio nome (Conte) (Rosina)
Il Barbiere di Siviglia: All'idea di quel metallo (Conte)
Il Barbiere di Siviglia: Una voce poco fa (Rosina)
Il Barbiere di Siviglia: La callunnia n venticello (Basilio)
Il Barbiere di Siviglia: Dunque io son (Rosina)
Il Barbiere di Siviglia: A un dottor de la mia sorte (Bartolo)

Tracks:

Il Barbiere di Siviglia: Finora in questa camera...Ehi, di casa! (Conte) (Bartolo) (Rosina) (Basilio)
Il Barbiere di Siviglia: Alto l(Bartolo) (Conte) (Rosina) (Basilio)
Il Barbiere di Siviglia: Ma, signor... (Bartolo) (Basilio) (Rosina) (Conte)
Il Barbiere di Siviglia: Ma vedil il mio destino...Pace e gioia (Conte) (Bartolo)
Il Barbiere di Siviglia: Contro un cor (Rosina) (Conte) (Bartolo)
Il Barbiere di Siviglia: Quando mi sei vicina (Bartolo)
Il Barbiere di Siviglia: Don Basilio! (Rosina) (Conte) (Bartolo) (Basilio)
Il Barbiere di Siviglia: Il vecchiotto cerca moglie
Il Barbiere di Siviglia: Gewittermusik
Il Barbiere di Siviglia: Ah! qual colpo inaspettato (Rosina) (Conte)
Il Barbiere di Siviglia: Di selice innesto (Rosina)

Amazon.com essential recording

This is a nicely entertaining Barber, with just the right sense of fun running through it to avoid slapstick and still bring a sophisticated smile to one's lips. Teresa Berganza is so right, so unexaggerated, so pyrotechnically capable yet filled with good taste, that it's impossible to find fault with her Rosina. Luigi Alva's Count is classy and honey-toned up to the top of the staff, where the voice simply stops blooming; he's also not as good as one might wish with Rossini's difficult fast music. Hermann Prey's Figaro is similarly impaired--the coloratura is just not pristine--but his style, attitude, and intelligence are pure gold; he's vastly entertaining. The other low-voiced men are ideal Rossinians. Abbado holds the whole thing together--this is a very satisfying performance. Robert Levine

Customer Reviews:

Bufa without being buffoonish.......2007-01-06

Excellent recording for a newcomer! If you can only have one Barber I'd reccomend this one unless you're a history (opera) buff, in which case you probably can't just have one anyways! Alva and Berganza do a fantastic job (Bartoli who?) and Prey lives up to his reputation as the best Figaro ever recorded.

Abbado's 1971 BARBER has never been out of the catalogs...........2005-11-19

Claudio Abbado's 1971 Rossini BARBER OF SEVILLE has never been out of the catalogs since it came on the market in LP format over 30 years ago, and for good reason: it's excellent. Abbado has the London Symphony playing at the very top of their form, and if he has been criticized as faceless and not having enough of Rossini's humor in his conducting of BARBER, it is a very fine performance just the same. Abbado has among the best soloists for their perspective roles: Teresa Berganza (Rosina), Luigi Alva (Almaviva), Paolo Montarsalo (Basilio) and Enzo Dara (Dr. Bartolo), with Hermann Prey (Figaro), sometimes considered too straight for the role and not "Italian" enough by some critics, but to me he sounds excellent. Berganza may be the best Rosina of the past 40 years, and really makes me wonder what all the fuss about Cecilia Bartoli, good as she is in Rossini, is about. Berganza has a maturity and richness to her voice in 1971 (she was about 35 then) which more recent Rosinas cannot match.

Some of Abbado's tempos may be slightly broader in this BARBER than in his DG video (DVD or VHS) with the same singers and the La Scala Orchestra and Chorus. But no matter: this is an excellent recording, and Abbado does not cut some arias in places as Callas/Alva/Galliera, EMI or Berganza/Corbelli/Varvizo, Decca do.

Be forewarned: Abbado re-recorded BARBER in 1992, also for DG, with Placido Domingo as Figaro and Kathleen Battle as Rosina. The orchestra is the Chamber Orchestra of Europe, and is an attempt at authenticity. But it is not in the league of the Abbado/LSO reviewed here: it is patently inferior,quite frankly; despite some good solo work, the entire production does not hang together well.

So, I recommend this, as it is superior to Abbado's 1992 BARBER recording (DG).

Brilliant!.......2001-08-15

Rossini knows how to construct an amusing and entertaining opera that people everywhere love to view. This cd contains his best opera, in my opinion. With talented singers and fast music, this is one cd to enjoy.

VHS.......2000-03-12

If you want still more fun with this wonderful recording, try the video featuring the same cast. Hermann Prey is delighful, so is Berganza and Alva. Try the tape to see shy and frightened young Abbado! I cannot understand why certain critics insist that Prey's Figaro is not funny enough. Watch the tape and see for yourself! For me it is one of the best opera videos ever made.

The most wonderfull Barber.......1999-12-30

As you can read in other reviews, Berganza's performance is really amazing (Listen carefully to track 7 of CD 1). The overture is very light, if you compare it with other recordings just of the overture, including Abbado's recording with the Chamber Orchestra of Europe; but anyway is just beautifull. The end of the work is great too. If you like opera, you must get this recording.

Average customer rating:

Qintessential french

Enzo Enzo
Enzo Enzo
Manufacturer: Bmg/RCA Records Label
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000085BE
Release Date: 1990-10-29

Tracks:

A Donde Voy?
Chateaux De Sable
Les Yeux Ouverts
Tatouee
Abbouakka
Deux Minutes De Soleil En Plus (Vodka Version)
Chanson Confidentielle
Cinema Cinema
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Customer Reviews:

Qintessential french.......2000-04-16

You close your eyes and you are sitting on the terrace of a french cafe in the south of France, the warm sun flickering through the platans, a glass of pastis. You haven't got a care in the world, all you can hear is the sublime sound of this girl's voice and the charm of her words. And when you open your eyes she is sitting there singing to you, just you.

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