Mi Soledad

Track Listings

1. Mi Soledad

2. Son Corazón

3. Aquí Te Espero

4. Me Voy a Navegar

5. Rosario de Mi Vida

6. Libre Como Gaviota

7. Todo Pasa

8. Tras de Ti

9. Junto a Mi Almohada

10. Esperaré

11. Soñando Estoy

12. Ahora Que Soy Libre

Mi Soledad,Manoella Torres,I.M. Records,Bolero,Latin,Latin Pop,Mexico

Mi Soledad

Customer Reviews:

" O Paradiso!!"...LEONTYNE PRICE is a Paragon of PUCCINI in this Collection........2006-11-24

Diva assoluta American soprano LEONTYNE PRICE has enjoyed a long association and identification with the veristic and intensely passionate music of Verdi's heir, GIACOMO PUCCINI. In the recording studio Ms. Price was a supreme interpreter, able to limn his softest phrases with limpid tone (rivalled only by Caballe), ride over the heaviest of his orchestrations with a vocal amplitude given to few others (Callas,Tebaldi, Nilsson,& Freni), and not simply soar with ease to the uppermost regions of his music but sustain it also - singular to her alone!! Onstage Ms. Price performed Puccini's heroines successfully if infrequently (Minnie in FANICULLA ultimately proving to be uncongenial for her), with treasured outings as Liu (TURANDOT), Floria (TOSCA), Giorgetta (IL TABARRO), Manon (MANON LESCAUT), and Cio-Cio San (MADAMA BUTTERFLY), the Puccini role she sang onstage the most. In this recital, the great soprano sings arias not only from those operas but also includes music from LA RONDINE, EDGAR, LE VILLI, LA BOHEME, and GIANNI SCHICCI (IL TRITTICO), and a MADAMA BUTTERFLY duet with tenor Placido Domingo. WIthout question this is heavenly singing. Leontyne Price"s voice in 1972 (the year of this recording) had matured and thus displayed a darker, richer tonal panapoly. The results yielded a stronger middle, velvety in texture, and imbued with a throbbing, sensual warmth. Her lower voice, now breathier and at times, opaque nonetheless retained its unique timbre, and, as throughout her career, is deployed with dramatic relevance and impact. The soprano's upper voice -one of the true glories of Opera to this day- retains some of the liquid vibrato of her earlier career, but is largely replaced by a creamy, rounder, voluminous sound that has more thrust in dramatic moments, and yet can spin ethereal pianos, and still float soft high-lying phrases with the utmost in ease. The soprano's voice retains its appealing femininity, but is more womanly and knowing than before. Those attributes, wedded to her innate artistry produce one of the finest Puccini recitals on record today.

The BOHEME arias (Mimi) are delivered with a direct simplicity that is less characterful than some, but refreshingly uncloying either. Ms. Price builds to a glowing climax in both pieces, and we feel the bloom of love-discovered, then the anguish of love- defeated potently. She sings "Musetta's Waltz" without the overt "sexiness" and/or archness that usually makes this aria so mundane, but instead treats it as the outpourings of a genuinely confident, assured woman who knows her charms and is happy to vocally display them. The EDGAR aria is understandably rarely performed, with its wide-ranging tessitura and odd melodious flight. Here, Ms. Price sings passionately, with full-throated, ringing tone that gleams on top, but less fluidity in the lower regions. The RONDINE aria included in this collection is not the justly-famed Price specialty "Chi bel sogno", but a lilting waltz, sung wistfully with delicious spin and tonal beauty by the soprano. TOSCA's "Vissi D'arte", another Price gem from an opera she recorded twice (the aria numerous times throughout her career) is sung with a weightier, more dramatic approach than before, yet still replete with the trademark diminuendo Price fans wait for. The tessitura for MANON LESCAUT's music is considerably lower than most of his other output. Ms. Price performs the first aria with ease (she often sang it as an encore in recitals), more generalized than elsewhere in this recital, but lushly sung. However, "Sola perduta abbandonata" displays the diva's artistry as well as vocal prowess. She uses her full range to capture the desolation, terror, and despair of the hapless Manon, resulting in an intensely stirring portrayal that is indelible for this listener. The LE VILLI selection, also rarely performed, is from Puccini's first opera and is not particularly distinctive music. The soprano's approach is primarily vocal, and lushly sung. MADAMA BUTTERFLY's arias became classics in Ms. Price's career - her complete recording of this opera remains one of her finest studio operatic performances. "Un bel di vedremo" is sung here as a powerful declaration of faith, with plush vocalism aligned to the the heartbreaking narrative of the geisha. Ms. Price is joined by her most frequent tenor partner of the 70's, the great Spanish tenor Placido Domingo, for a stellar performance of the Act I duet "Bimba, bimba, non piangere" which finds both artists blending together in customary fashion. The tenor captures the youthful ardor of Pinkerton, and sings with intensity, anchored by the darkly rich, burnished sound that made him famous the world-over. Ms. Price's singing is riper here, missing the vulnerability and naivete of her earlier wondrous incantation. However, her voice is ever attenuated to the words, and her vocalism is plush throughout it. Leontyne Price deservedly had the honor of opening the MET season in 1962 - the first "Negro" artist to do so - and sang the role of Minnie, THE GIRL OF THE GOLDEN WEST. The role of Minnie has been referred to as "the Italian Brunhilde" with its reliance on a sturdy middle voice, and usually the property of dramatic sopranos (Kirsten and Steber excepted) - which Ms. Price was not. Nonetheless, the reviews after her opening were ecstatic garnering her the appellation "the Stradivarius of Singers" from the New York Times. However, the diva had been singing non-stop for the past (3) three years on the greatest stages of the world - Vienna/La Scala/Covent Garden/ Verona/San Francisco/Chicago and her glorious MET debut with (8) eight roles in that first season!! She also endured a potential Musician's strike which threatened the opening, and sang Beethoven's difficult "Abscheulicher" (FIDELIO) in between FANICULLA performances. Perhaps unsurprisingly, the diva lost her voice during the dramatic Act II "Card scene", and bravely declaimed her lines until the Act's end. Quite obviously, after some needed rest, Ms. Price regained her spectacular voice, and as demonstrated here, her ability to sing Minnie's fiendish music - capped by a stunning High C to punctuate it. GIANNI SCHICCI is perhaps best known for the aria "O mio babbino caro", a fixture for sopranos of every voice type in concerts. Like "Musetta's Waltz", this music seem to inspire banality and superficiality from most singers. Ms. Price sings the aria with glowing simplicity, tonally glorious with shimmery pianissimi in the upper voice to rival anyone in memory. To end this recital, RCA inserted (like the Butterfly duet) a previously recorded excerpt from another Price recording - PRIMA DONNA Volume 4. Ms. Price sings the role of the icy Princess Turandot in Puccini's last opera TURANDOT here with great success. One of opera's most demanding soprano arias - "In questa reggia" -usually stentorian in nature, is sung more lyrically by Ms, Price, whose overall treatment is more straightforward than most. Nevertheless, she's ultimately successful, capturing the extreme contempt that the implacable Turandot holds for men, and is able to proclaim her challenge with requisite power at the aria's climax, besting her Calaf (tenor Daniele Barioni) in their long-held high C at the aria's finale. Maestro Edward Downes conducts sensitively for Ms. Price throughout (he was one of her better conductors in her studio recital series), and the New Philharmonia Orchestra follows his guidance expertly.

This compilation, digitally re-mastered, with crisper, cleaner sonics, should be in the collection of any opera-lover, especially those who cherish the music of PUCCINI, and neophytes unfamiliar with his output and/or the splendor of LEONTYNE PRICE!! Get this one now.

Average customer rating:

Commitment, passion and problems. . . .
Flawed, but nevertheless excellent
Disappointing Puccini recital
Mixed bag
Pitch problems and vocal disappointments

Puccini

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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The Essential Angela Gheorghiu
Diva
Roberto Alagna & Angela Gheorghiu - Duets & Arias
Angela Gheorghiu - Arias
Angela Gheorghiu - Live from Covent Garden

ASIN: B0006G9HAC
Release Date: 2005-03-01

Tracks:

Un Bel Di Vedremo
Tu, Tu, Piccolo Iddio
Addio, Mio Dolce Amor - Chorus Of The Royal Opera House, Covent Garden
Nel Villaggio D'Edgar - Chorus Of The Royal Opera House, Covent Garden
Chi Il Sogno Di Doretta
Si, Mi Chiamano Mimi
Quando Me N'vo
Donde Lieta Usci
L'amore E Un'altra Cosa...Laggiu Nel Soledad
In Quelle Trine Morbide
Sola, Perduta, Abbandonata
Senza Mamma
O Mio Babbino Caro
Se Come Voi Piccina Io Fossi
Signore, Ascolta!
Tu Che Di Gel Sei Cinta
In Questa Reggia - Chorus Of The Royal Opera House, Covent Garden

Tracks:

Vissi D'arte

Amazon.com

It would be difficult to fault the singing of Angela Gheorghiu on these discs (the second, bonus CD contains "Vissi d'arte" from her complete recording of Tosca). She goes through almost the entire Puccini catalog of heroines--Mimi and Musetta, Liu, Butterfly, Manon Lescaut, Liu and Turandot, Lauretta, Suor Angelica, Minnie (from Fanciulla), as well as the gals from La Rondine, Edgar, and Le Villi, and her exquisite, fine-grained, unique sound--with its dusky lower register--is always interesting and beautifully inflected. Her attention to dynamics is admirable, verbally, she seems genuinely involved in each character. The voice can deliver as much power, as in the end of the first Edgar aria, as gentleness, in Suor Angelica's "Senza Mamma" as needed. But somehow she doesn't make any one of the characters entirely her own. This may be a bit picky, but maybe that's the case with recital albums. Let's face it--her voice is irresistible and her husband, Roberto Alagna, adds his bronzed tones to two of the selections. --Robert Levine

Customer Reviews:

Commitment, passion and problems. . . ........2007-01-28

Buy this CD and stay with it for a day or two. You'll eventually be won over, even if you belong to another
"camp".

OK: We all know there is a type of "opera queen" of all sexes and sexual orientations that thrive on bashing
certain singers while lauding others. This is not a war. I resisted Gheroghiu for years due to the hype and
marketing. I have not heard her live, so I don't know if she is out-faching herself by singing damn near
everything alla Callas.

What I DO hear is a rather "ugly" voice (again alla Callas) that is so distinctive as to be instantly recognizable. There is that middle European "keening", rapid vibrato quality that Vishnevskaya had.

What I hear above ALL however, is commitment and passion. There are pitch problems, AGAIN alla Callas, sharp
here, flat there, driven "ugly" sounds: all the hallmarks of the Kunstdiva, of which I think she might be the
reigning example in our time.

The Puccini style here is questionable: let's lay that off on the conductor.

Fleming, Gheorghiu, Netrebko, et al: committed, intelligent, driven women who make the world a better place
in which to live and listen.

Have your favorites, and lay off the others in print.

Flawed, but nevertheless excellent.......2006-02-04

My personal rating is 5 stars, but I'm just biased to everything Romanian, the public rating derives from the fact that people need an objective as possible review, and that lead me to the flaws:
Ms. Gheorghiu's voice is there as always, with it's dark, round timbre but, as I beleive a fellow reviewer has noted, they sound a bit alike. The usual passion she injects in this music is not entirely present, she somehow sounds uninspired.
Even so, the good outweighs the bad, and that's what makes this an excellent addition to your musical library; there's not a misplaced note anywhere, her gorgeous voice is a delight to the ears, and the musical selection is quite good and interesting, even if she's not up to the challenge of Turandot (at least not yet). For some reason that I don't share, a few people have found the conducting bad, but that's the aspect I pay less attention to, unless it's enormously obvious.
In short, this is a disc fans of Gheorghiu and good singing can't miss.

Disappointing Puccini recital.......2005-12-06

Angela Gheorgiou can sing Puccini like nobody's bussiness, but something is missing from this collection. It's good, with few rough spots (and admittedly, pitch issues) but I don't want "good" from Angela, I want GREAT! She can do better. She can sing these arias with more passion, better technique and I just don't understand what has happened to her. There is sameness to all these arias, and not much color or variation.
Vissi D'arte is very good, and In questa Regia is great, very different from how it is usually done, but Tu, Tu, Piccolo Iddio is not good at all and I don't like Quando Me N'vo either, I have heard much better performances of this classic, especially by Anna Netrebko, who is hot on Angela's heels as the next great diva. Watch your back, dear Angela!
Also, the programming on this album is strange, why is Vissi D'arte on a seperate disc...?
For anyone who loves this voice, it would still be a nice recital, but I am disappointed, I expected better.

Mixed bag.......2005-12-06

As a great lover of Puccini music, it's difficult to disappoint me when it comes to recordings. This collection of arias sung by Angela Gheorghiu covers every Puccini opera except Il Tabarro (from Il Trittico), so the broad selection is a treat. I've heard many conflicting opinions about her singing, but I consider Gheorghiu's soprano sound to be uniquely rich and beautiful. Moreover, she has made a strong contribution to recorded opera.

Anton Coppola's conducting is too slow for my taste most of the time. He seems to love every note Puccini wrote (which is understandable!), but his pacing undermines the drama in some of these selections. He also doesn't get much force out the orchestra when it is needed, such as in Turandot and the Madama Butterfly finale.

EMI's packaging is ridiculous. One aria, "Vissi D'arte" from Tosca, is on a separate disc, billed as a "bonus CD." It is from her earlier recording of the opera conducted by Antonio Pappano. The case is like a hardcover book, which looks nice, but does not fit in typical CD storage spaces.

Pitch problems and vocal disappointments.......2005-09-27

I really liked Gheorghiu the first time that I heard her. I thought that she was probably the best soprano out there in the spotlight. After hearing this CD, however, I have really changed my mind. First of all, she sings flat in alot in this CD. Secondly, her technique is showing some flaws now in that she can not always pronounce the words correctly. So she makes some strange sounds. For example, "Tu, tu, tu" which should be pronounced with a pure 'oo' sound is pronounced 'tuh'. I also feel that her voice is a bit frantic in alot of parts with her middle range and chest voice being weak and uncoordinated. How unfortunate! She needs to get it together or she is going down the toilet.

Average customer rating:

Sensual, Spellbounding, and sheerly Sexy!!!
Haunting, bewitching: a real must have
Una voz opulenta

The Lost Days: Music in the Latin Style
Denyce Graves
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Denyce Graves - Voce di Donna
American Anthem
Kaleidoscope
French Opera Arias - Denyce Graves
Cathedral Christmas

ASIN: B000071WDT
Release Date: 2003-01-21

Tracks:

Yo Soy Maria
Soledad
Los pajaros perdidos
Haabia-Tupi
Plancha
Al alba, el bosque
Cancao do poeta do seculo XVIII
Los dias perdidos
Habanera de Lorraine
Estrella e lua nova
Plomada
Milonga sin palabras
Romanza de Denyce
Te vas de mi

Amazon.com

While it's tempting to call acclaimed diva Denyce Graves's exploration of Latin classical influences a crossover project, that label's pop lightweight connotations don't do justice to the powerful, often uncompromising performances contained herein. Indeed, Graves leans heavily on her collaborators (who include contemporary composers-arrangers-pianists Chucho Valdes, Eliane Elias, and Jose Maria Vitier, as well as arranger-pianist Pablo Ziegler) for both material and stylistic inspiration, creating a collection that's more concerned with true musical synthesis than it is with commercial exploitation. Even the works of Latin classical standard-bearers like Argentina's Carlos Guastavino, Brazil's Villa-Lobos, and Tango master Astor Piazzolla are cast in stark, contemporary arrangements that underscore both Graves's dramatic mezzo voice and the dusky, rhythmically charged dynamics of her quartet of confederates. Cuban great Valdes composed "Romanza de Denyce" especially for the project, further blurring the collection's boundaries between jazz, classical, and pop. If the listener is only familiar with the better-known Latin classical repertoire, this collection may open up some inviting new horizons. --Jerry McCulley

Customer Reviews:

Sensual, Spellbounding, and sheerly Sexy!!!.......2006-07-10

Denyce's warm and sensual Mezzo voice is truly spectacular when she sings the right rep. This latin album is literally right up her lane. She brings a dark color to the pieces that accentuates the text and the instrumentation. The singing is remarkably beautiful and the musicians play with an entrancing groove that makes you feel warm all over. I recommend just listening to this album while sitting outside in a park on a warm and sunny day. I believe that you will see the world completely differently. Way to go Denyce!!!

Haunting, bewitching: a real must have.......2003-11-27

This record is exquisite in all its elements: the Voice of Graves -voice with a capital V!-, the selections, the arrangements! For me it would take hours to try to decipher its mystery of seduction. A real must for those who love poetry, music and the marriage of both. A real must for lovers of Latin American music. A real must for the senses.
The first time I listened to the cd, it gave a jolt.
A lot has been said about Graves. She's a wonderful mezzo, with that rich black timbre in her low notes and her lovely lyric high ones. And never mind the language, she knows how to create magic around her.
However, although she's supposed to be the main attraction here, to me the composers steal the show from her.
I've been listening to good music, from opera to streetside, for decades now. And I had never heard anything like Plancha or Plomada, by Guastavino. They're simply astounding.
The Cubans come out very well. Their songs are simply irressistible. They own the gift of melody and harmony. Soledad is unforgettable.
But what haunts me the most is Milonga sin palabras. What a piece of art!

Una voz opulenta.......2003-01-31

Denyce Graves es una mezzo de voz carnosa, sensual, evocadora. En este disco de canciones en español y en portugués, la cantante hace lujo de una voz opulenta, muy femenina y de gran pasión. Las canciones están muy bien escogidas y los arreglos son de muy buen gusto. Desde mi perspectiva, la mezzo está más cómoda con el material en español, que resulta ser dominante en el disco, y la dicción es muy clara, lo que es admirable en una cantante de origen e idioma tan separados de la cultura latina. Sin embargo, aunque la dicción es muy clara, la principal falla de esta grabación es también el idioma mismo. Denyce Graves de pronto inicia con un español más que deseable y luego, de pronto, se atropella, dejándo una sensación de insatisfacción en el oyente; pensemos en "Los pájaros perdidos" (uno de los puntos más fuertes del disco) que empieza con una claridad y belleza admirables, que luego, en la parte central de la canción, se pierden cuando la cantante da algunos tropiezos con las palabras. Lo mismo ocurre con la primera pista de "Maria de Buenos Aires": en algunos pasajes la voz es muy clara, pero conforme adquiere fuerza y velocidad, se evidencia el trabajo no resuelto del idioma... pero a esto cabría agregar, a manera de disculpa, que lo mismo ocurre con las cantantes hispanas de ópera...

El disco muestra material conocido y añade algunas canciones prácticamente inéditas (donde se incluye una compuesta para la cantante), y en términos generales, Denyce Graves sale muy bien librada.

Customer Reviews:

Resurrection of an Old LP Compilation .......2007-03-09

I bought this compilation on a London LP back in the seventies. I listened to it until I wore it out. They wisely began the disc with probably the best recording she ever made, that of Si, mi chiamano Mimi, from La Boheme. The singing on that cut is so ravishing and inspired. All the other cuts are almost as good, except for the one from La fanciulla del West; there she was past her prime, but it's a great aria. Instead, they should have included her recording of O Patria Mia from AIDA. Tebaldi had something that even the great Caballe has never completely matched, and this CD really does represent her best work.

Vintage Renata.......2005-01-03

This recital, one of the series of "original cover" [in this case the English, not the American cover] albums that DECCA has been re-issuing, is a compilation-recital drawn from Tebaldi's many complete-opera sets.

TRACKLISTING

1 Sì. Mi chiamano Mimì (Mimì)
La Bohème Puccini
2 Donde lieta uscì al tuo grido (Mimì)
La Bohème Puccini
3 Vissi d'arte (Tosca)
Tosca Puccini
4 Laggiù nel Soledad (Minnie)
La fanciulla del West Puccini
5 Un bel dì, vedremo (Cio-cio-san)
Madama Butterfly Puccini
6 "Con onor muore" (Cio-cio-san)
Madama Butterfly Puccini
7 Signore, ascolta! (Liù)
Turandot Puccini
8 Tu che di gel sei cinta (Liù)
Turandot Puccini
9 La mamma morta (Maddalena)
Andrea Chénier Giordano
10 Io son l'umile ancella (Adriana)
Adriana Lecouvreur Cilèa
11 Poveri fiori (Adriana)
Adriana Lecouvreur Cilèa
12 L'altra notte in fondo al mare (Margherita)
Mefistofele Boïto

Carlo Bergonzi tenor (tracks 1 & 6)
Cornell MacNeil baritone (track 4)
Mario del Monaco tenor (track 8)
Orchestra e coro dell'Accademia di Santa Cecilia
Tullio Serafin (tracks 1, 2, 5, 6 & 12)
Francesco Molinari-Pradelli (track 3)
Franco Capuana (tracks 4, 10 & 11)
Alberto Erede (tracks 7 & 8)
Gianandrea Gavazzeni (track 9)

Her luminous, radiant voice was at her best here.

Now DECCA ought to re-issue Tebaldi's classic 1955 recital with Alberto Erede conducting, from which I particularly cherish the two items from Licinio Refice's CECILIA, an azione sacra from the 1930s that Tebaldi sings with a tenderness and glow that is guaranteed to bring tears to your eyes.

To know Renata is to love her, and so will you, if you hear this exquisite disc.

The several non-jet-setting conductors in this dic lead with un-flashy excellence and a gracious, Italianate regard for the needs of the singer: a lesson in STYLE.

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

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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.

Average customer rating:

glorious singing of puccini's greatest 'hits'
Opera !

Essential Puccini

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000026ESE
Release Date: 2001-08-14

Tracks:

Turandot: Nessun Dorma
Tosca: Vissi D'Arte
Manon Lescaut: Donna Non Vidi Mai
Madama Butterfly: Vogliare Mi Bene (Love Duet)
La Fanciulla Del West: Minnie, Dalla Mia Casa
Madama Butterfly: Scuoti Quella Fronda (Flower Duet)
Gianni Schicchi: Firenze E Come
Suor Angelica: Senza Mamma
Manon Lescaut: Tra Voi, Belle
Turandot: In Questa Reggia
La Boheme: O Mimi, Tu Piu Non Torni
Tosca: E Lucevan Le Stelle
La Rondine: Chi Il Bel Sogno Di Doretta
Madama Butterfly: Humming Chorus
Tosca: Recondita Armonia
Gianni Schicchi: O Mio Babbino Caro
Tosca: Tre Sbirri (Te Deum)
La Boheme: O Soave Fanciulla

Tracks:

La Boheme: Che Gelida Manina
La Boheme: Si, Mi Chiamano Mimi
Madama Butterfly: Dovunque Al Mondo
Madama Butterfly: Un Bel Di Vedremo (One Fine Day)
La Fanciulla Del West: Ch 'Ella Mi Creda Libero
La Boheme: Musetta's Waltz
Manon Lescaut: Intermezzo
Turandot: Non Piangere Liu
Turandot: Tu, Che Di Gel Sei Cinta
La Fanciulla Del West: Non Mi Defendero
La Fanciulla Del West: Laggiu Nel Soledad
Manon Lescaut: Oh, Saro La Piu Bella!
Manon Lescaut: In Quelle Trine Morbide
Manon Lescaut: Ah! Non V'Avvicinate!
Manon Lescaut: Sola, Perduta, Abbandonata
Madama Butterfly: Addio, Fiorito Asil
Turandot: Signore, Ascolta!
La Boheme: Dunque E Proprio Finita!

Customer Reviews:

glorious singing of puccini's greatest 'hits'.......2004-12-13

This compilation is a great introduction to puccini's music, It has all of puccini's most popular numbers and
the singers are some of the greatest opera stars of the
20th century. Just look at the names: Pavarotti, te kanawa Freni,caballe, Tebaldi,Corelli, Sutherland ,bergonzi,ludwig...
Leona mitchel isn't as famous as the rest but she sings her two arias beautifully.
Pavarotti's "nessun dorma" is the best!
highly recommended for opera lovers.

Opera !.......2002-12-12

Great cd the songs, music are beautiful and not to talk about the voices, is what I expected to be. It should be in all opera lovers collection

Antonietta Stella sings operatic arias by Verdi & Puccini

Average customer rating:

Impressive singing by a wonderful spinto
Her Great Expectations!!!

Antonietta Stella sings operatic arias by Verdi & Puccini

Manufacturer: Testament
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B00000G401
Release Date: 1998-11-24

Tracks:

Ernani: Act I - Recit: Sorta E La Notte/Aria: Ernani, Ernani, Involami - Antonietta Stella/Sym Orch/Nino Sanzogno/Glauco Curiel
Il Trovatore: Act I - Tacea La Notte Placida - Antonietta Stella/Sym Orch/Nino Sanzogno/Glauco Curiel
Un Ballo In Maschera: Act II - Ecco L'orrido Campo...Ma Dall' Arido - Antonietta Stella/Sym Orch/Nino Sanzogno/Glauco Curiel
Un Ballo In Maschera: Act III - Morro, Ma Prima In Grazia - Antonietta Stella/Sym Orch/Nino Sanzogno/Glauco Curiel
I Vespri Siciliani: Act V - Bolero: Merce, Dilette Amiche - Antonietta Stella/Sym Orch/Nino Sanzogno/Glauco Curiel
La Forza Del Destino: Act IV - Pace, Pace, Mio Dio - Antonietta Stella/Sym Orch/Nino Sanzogno/Glauco Curiel
Aida: Act I - Ritorna Vincitor!...L'insana Parole - Antonietta Stella/Sym Orch/Nino Sanzogno/Glauco Curiel
Otello: Act IV - Ave Maria Piena Di Grazia - Antonietta Stella/Sym Orch/Nino Sanzogno/Glauco Curiel
Gianni Schicchi: O Mio Babbino Caro - Antonietta Stella/LSO/Alberto Erede
Manon Lescaut: Act IV - Sola Perduta, Abbandonata - Antonietta Stella/LSO/Alberto Erede
Tosca: Act II - Vissi D'arte - Antonietta Stella/LSO/Alberto Erede
La Fanciulla Del West: Act I - Laggiu Nel Soledad - Antonietta Stella/LSO/Alberto Erede
Madama Butterfly: Act II - Che Tua Madre - Antonietta Stella/LSO/Alberto Erede
Madama Butterfly: Act II - Un Bel Di, Vedremo - Antonietta Stella/LSO/Alberto Erede
Madama Butterfly: Act II - Tu, Tu, Piccolo Iddio! - Antonietta Stella/LSO/Alberto Erede
Turandot: Act III - Tu Che Di Gel Sei Cionta - Antonietta Stella/LSO/Alberto Erede
La Boheme: Act I - Si, Mi Chiamano Mimi - Antonietta Stella/LSO/Alberto Erede
Suor Angelica: Senza Mamma - Antonietta Stella/LSO/Alberto Erede

Customer Reviews:

Impressive singing by a wonderful spinto.......2004-05-23

Antonietta Stella was a wonderful soprano with a large, full spinto voice, a voice type that is quite rare on today's opera stages. During her short time with the Met, she was overshadowed by Tebaldi, Milanov, and Callas. In retrospect, her relative neglect was not deserved. She had a major voice. It was creamy, focused, and quite large. Her forte top register was excellent and she could hit a high D-flat securely. However, she lacked Tebaldi's and Milanov's ravishing pianissimos, and her tone when singing softly was not as ravishing as Tebaldi's. Her voice, while pleasant, is not strikingly beautiful, nor is it as distinctive as Tebaldi's, Milanov's, or Callas'. It was unfortunate that she started out very early in opera. This led to her having a short vocal prime and experiencing vocal decline by her mid-thirties. If she had made her Met d?but in the early 1960s, when Callas was in vocal decline, Milanov was winding down her career, and Tebaldi was experiencing major vocal difficulties, instead of the year 1956, she probably would have lengthened her vocal prime and become a major star at the Met.

This CD consists of two recitals she recorded for EMI when she was at the height of her vocal prime, 1955. The Verdi selections were recorded in Italy in mono and the Puccini selections were recorded in London in stereo. Needless to say, the Puccini selections have better sound than the Verdi selections do. Stella sings exceptionally well on this CD. The listener immediately notices her full, round, steady spinto tone and crystal-clear Italian diction. She is expressive in all the arias on this CD. She has a strong chest register and uses it to nice effect on this CD. I will pick out a couple of arias on the CD to discuss.

Stella sings "Tacea la notte" wonderfully. I immediately noticed a story-telling aspect in her singing of this aria that is not evident in many other versions of this aria. It's too bad that she did not record "D'amor sull'ali rosee" for this recital. In the cabaletta, she hits a forte high D-flat. Her agility is pretty good, but she lacks the trills that make "Di tale amor" so wonderful to listen to. She deals with all the vocal difficulties in "Ecco l'orrido campo" excellently, and manages the climatic high C beautifully. She has the flexibility to sing the Bolero from "I vespri siciliani". All the grace notes are clearly articulated and she sings the runs at the end cleanly. She even hits a staccato high D-flat in this aria. However, she does not have a trill to give in this aria. The same goes for the "Ernani" aria. Her sense of fun while singing the Bolero is wonderful. In "Pace, pace, mio Dio", she could be a bit more dramatic. At the end, she nails the high B-flat, actually singing it rather than screeching it as so many other sopranos do.

The Puccini selections on this CD are just as good as the Verdi selections, maybe even better. Her "Sola, perduta, abbandonata" is heart-wrenching. I find it more intense, and therefore, more affecting than Renata Scotto's studio recording with Gavazzeni. Dramatically, her "Vissi d'arte" is not as good as Callas', but her high B-flat is rock solid and full. Stella sings a definitive version of "Laggi? nel Soledad". Both Dorothy Kirsten and Eleanor Steber come close in their live recordings of this aria, but Stella has a bigger voice than the both of them and she is a true spinto; the other two are lyric sopranos. Stella sings Minnie's aria with wonderful character and sincerity. The high C she nails at the climax is a gorgeous, full, absolutely steady note. In the three "Madama Butterfly" arias, she comes into her own. "Che tua madre" is sung with intense passion, "Un bel d?" with all the right dramatic shadings, and the Death Scene with intense, believable drama.

This CD is a great memento of a neglected soprano. I highly recommend it.

Her Great Expectations!!!.......2001-08-22

Antonietta Stella was a lyric-soprano in the best days of Callas-Tebaldi and their rivalry, that is in the fifties and sixties. Although she got less popularity than the Two Divas did, hidden behind their shadow, she also was the first class opera singer as much as the Two were. Her voice is quite similar to that of Tebaldi, Milanov or Tucci, but more lyrical. The DG studio recording of "Trovatore" conducted by maestro Tullio Serafin with a fully luxurious casting -Bergonzi, Cossotto, Bastianini, La Scala Orchestra and chorus-is one of the greatest recordings of the work. Unfortunately, in her two "Don Carlo"(EMI, mono-DG, stereo) and "Un Ballo in Maschera"(DG), she didn't meet nice tenors. But these sets are worth being listened thanks to great opera stars such as Bastianini, Cossotto, Gobbi, Christoff etc. Here, this TESTAMENT compilation album, now ranked at amazon.com, is her only recital album despite her dazzling operatic carrier that becomes a nice stimulus because nowadays very famous and popular singer's albums are made several times from the previously recorded materials. Every arias in this disk gives us a perfect gratification through the well-balanced sound quality and a good recording state from the 1st track till the last. Particularly, "Ernani, involami", "Laggiu nel Soledad" and "Senza Mamma" are the best singing ever. As a whole, she makes high level characterizations and her diction is absolutely examplary. Due to the CD's time limit, I feel the lack of Elisabetta's "Tu che le vanita..." & Violetta's "Addio del passato". In addition, I want to recommend a live recording "Attila" with Ruggero Raimondi. .... This is a "REAL MUST BUY".

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#1 Puccini Album

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The #1 Opera Album
The #1 Tenor Album
100 Best Opera Classics

ASIN: B0002KVV2Y
Release Date: 2004-08-10

Tracks:

Nessun Dorma - Luciano Pavarotti
Vissi D'Arte - Kiri Te Kanawa
Donna Non Vidi Mai - Carlo Bergonzi
Vogliatemi Bene - Luciano Pavarotti
Minnie, Dalla Mia Casa - Sherrill Milnes
Scuoti Quella Fronda (Flower Duet) - Mirella Freni
Firenze E Come Un Albero Fiorito - Roberto Alagna
Senza Mamma - Mirella Freni
Tra Voi, Belle - Jussi Bjorling
In Questa Reggia - Luciano Pavarotti
In Un Coupe?...O Mimi, Tu Piu Non Torni - Luciano Pavarotti
E Lucevan Le Stelle - Franco Corelli
Chi Il Bel Sogno Di Doretta - Leona Mitchell
Humming Chorus - Vienna State Opera Chorus
Recondita Armonia - Franco Corelli
O Mio Babbino Caro - Leona Mitchell
Tre Shirri - Leo Nucci
O Soave Fanciulla - Luciano Pavarotti

Tracks:

Che Gelida Manina - Luciano Pavarotti
Si, Mi Chiamano Mimi - Luciano Pavarotti
Dovunque Al Mondo - Luciano Pavarotti
Un Bel Di Vedremo - Mirella Freni
Ch'ella Mi Creda Libero - Jussi Bjorling
Quando M'En Vo' (Musettas Waltz) - Nicolai Ghiaurov
Intermezzo - Riccardo Chailly
Non Piangere Liu - Giuseppe Di Stefano
Tu, Che di Gel Sci Cinta - The John Alldis Choir
Una Parola Sola - Renata Tebaldi
Laggiu Nel Soledad - Renata Tebaldi
Oh, Saro La Piu Bella! - Jose Carreras
In Quelle Trine Morbide - Kiri Te Kanawa
Ah! Non V'avvicinate!...No! Pazzo Son - Luciano Pavarotti
Sola, Perduta, Abbandonata - Kiri Te Kanawa
Addio, Fiorito Asil - Luciano Pavarotti
Signore, Ascolta! - Monteserrat Caballe
Dunque E Proprio Finita!...Addio, Dolce Svegliare - Luciano Pavarotti

Average customer rating:

"O Paradiso!": LEONTYNE PRICE's Exquisite PUCCINI Recital is a MUST-HAVE for Opera Lovers
Voice from heaven
Price is Perfect

Puccini Heroines

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Porgy & Bess: High Performance

ASIN: B000003EOM
Release Date: 1990-10-25

Tracks:

La Boheme: Si, mi chiamano Mimi
La Boheme: Donde lieta usci
La Boheme: La Boheme - Quando me'n vo'
EDGAR: Addio, mio dolce amor
La rondine: Ore dolci e divine
TOSCA: Vissi d'arte
Manon Lescaut: In quelle trine morbide
Manon Lescaut: Sola, perduta, abbandonata
Le Villi: Se come voi piccina io fossi
Bimba, bimba, non piangere
Un bel di
La Fanciulla del West: Laggiu nel Soledad
Gianni Schicchi: O mio babbino caro
Turandot: In Questa Reggia

Customer Reviews:

"O Paradiso!": LEONTYNE PRICE's Exquisite PUCCINI Recital is a MUST-HAVE for Opera Lovers.......2006-08-13

Diva assoluta American soprano LEONTYNE PRICE has enjoyed a long association and identification with the veristic and intensely passionate music of Verdi's heir, GIACOMO PUCCINI. In the recording studio Ms. Price was a supreme interpreter, able to limn his softest phrases with limpid tone (rivalled only by Caballe), ride over the heaviest of his orchestrations with a vocal amplitude given to few others (Callas,Tebaldi, Nilsson,& Freni), and not simply soar with ease to the uppermost regions of his music but sustain it also - singular to her alone!! Onstage Ms. Price performed Puccini's heroines successfully if infrequently (Minnie in FANICULLA ultimately proving to be uncongenial for her), with treasured outings as Liu (TURANDOT), Floria (TOSCA), Giorgetta (IL TABARRO), Manon (MANON LESCAUT), and Cio-Cio San (MADAMA BUTTERFLY), the Puccini role she sang onstage the most. In this recital, the great soprano sings arias not only from those operas but also includes music from LA RONDINE, EDGAR, LE VILLI, LA BOHEME, and GIANNI SCHICCI (IL TRITTICO), and a MADAMA BUTTERFLY duet with tenor Placido Domingo. WIthout question this is heavenly singing. Leontyne Price"s voice in 1972 (the year of this recording) had matured and thus displayed a darker, richer tonal panapoly. The results yielded a stronger middle, velvety in texture, and imbued with a throbbing, sensual warmth. Her lower voice, now breathier and at times, opaque nonetheless retained its unique timbre, and, as throughout her career, is deployed with dramatic relevance and impact. The soprano's upper voice -one of the true glories of Opera to this day- retains some of the liquid vibrato of her earlier career, but is largely replaced by a creamy, rounder, voluminous sound that has more thrust in dramatic moments, and yet can spin ethereal pianos, and still float soft high-lying phrases with the utmost in ease. The soprano's voice retains its appealing femininity, but is more womanly and knowing than before. Those attributes, wedded to her innate artistry produce one of the finest Puccini recitals on record today.

The BOHEME arias (Mimi) are delivered with a direct simplicity that is less characterful than some, but refreshingly uncloying either. Ms. Price builds to a glowing climax in both pieces, and we feel the bloom of love-discovered, then the anguish of love- defeated potently. She sings "Musetta's Waltz" without the overt "sexiness" and/or archness that usually makes this aria so mundane, but instead treats it as the outpourings of a genuinely confident, assured woman who knows her charms and is happy to vocally display them. The EDGAR aria is understandably rarely performed, with its wide-ranging tessitura and odd melodious flight. Here, Ms. Price sings passionately, with full-throated, ringing tone that gleams on top, but less fluidity in the lower regions. The RONDINE aria included in this collection is not the justly-famed Price specialty "Chi bel sogno", but a lilting waltz, sung wistfully with delicious spin and tonal beauty by the soprano. TOSCA's "Vissi D'arte", another Price gem from an opera she recorded twice (the aria numerous times throughout her career) is sung with a weightier, more dramatic approach than before, yet still replete with the trademark diminuendo Price fans wait for. The tessitura for MANON LESCAUT's music is considerably lower than most of his other output. Ms. Price performs the first aria with ease (she often sang it as an encore in recitals), more generalized than elsewhere in this recital, but lushly sung. However, "Sola perduta abbandonata" displays the diva's artistry as well as vocal prowess. She uses her full range to capture the desolation, terror, and despair of the hapless Manon, resulting in an intensely stirring portrayal that is indelible for this listener. The LE VILLI selection, also rarely performed, is from Puccini's first opera and is not particularly distinctive music. The soprano's approach is primarily vocal, and lushly sung. MADAMA BUTTERFLY's arias became classics in Ms. Price's career - her complete recording of this opera remains one of her finest studio operatic performances. "Un bel di vedremo" is sung here as a powerful declaration of faith, with plush vocalism aligned to the the heartbreaking narrative of the geisha. Ms. Price is joined by her most frequent tenor partner of the 70's, the great Spanish tenor Placido Domingo, for a stellar performance of the Act I duet "Bimba, bimba, non piangere" which finds both artists blending together in customary fashion. The tenor captures the youthful ardor of Pinkerton, and sings with intensity, anchored by the darkly rich, burnished sound that made him famous the world-over. Ms. Price's singing is riper here, missing the vulnerability and naivete of her earlier wondrous incantation. However, her voice is ever attenuated to the words, and her vocalism is plush throughout it. Leontyne Price deservedly had the honor of opening the MET season in 1962 - the first "Negro" artist to do so - and sang the role of Minnie, THE GIRL OF THE GOLDEN WEST. The role of Minnie has been referred to as "the Italian Brunhilde" with its reliance on a sturdy middle voice, and usually the property of dramatic sopranos (Kirsten and Steber excepted) - which Ms. Price was not. Nonetheless, the reviews after her opening were ecstatic garnering her the appellation "the Stradivarius of Singers" from the New York Times. However, the diva had been singing non-stop for the past (3) three years on the greatest stages of the world - Vienna/La Scala/Covent Garden/ Verona/San Francisco/Chicago and her glorious MET debut with (8) eight roles in that first season!! She also endured a potential Musician's strike which threatened the opening, and sang Beethoven's difficult "Abscheulicher" (FIDELIO) in between FANICULLA performances. Perhaps unsurprisingly, the diva lost her voice during the dramatic Act II "Card scene", and bravely declaimed her lines until the Act's end. Quite obviously, after some needed rest, Ms. Price regained her spectacular voice, and as demonstrated here, her ability to sing Minnie's fiendish music - capped by a stunning High C to punctuate it. GIANNI SCHICCI is perhaps best known for the aria "O mio babbino caro", a fixture for sopranos of every voice type in concerts. Like "Musetta's Waltz", this music seem to inspire banality and superficiality from most singers. Ms. Price sings the aria with glowing simplicity, tonally glorious with shimmery pianissimi in the upper voice to rival anyone in memory. To end this recital, RCA inserted (like the Butterfly duet) a previously recorded excerpt from another Price recording - PRIMA DONNA Volume 4. Ms. Price sings the role of the icy Princess Turandot in Puccini's last opera TURANDOT here with great success. One of opera's most demanding soprano arias - "In questa reggia" -usually stentorian in nature, is sung more lyrically by Ms, Price, whose overall treatment is more straightforward than most. Nevertheless, she's ultimately successful, capturing the extreme contempt that the implacable Turandot holds for men, and is able to proclaim her challenge with requisite power at the aria's climax, besting her Calaf (tenor Daniele Barioni) in their long-held high C at the aria's finale. Maestro Edward Downes conducts sensitively for Ms. Price throughout (he was one of her better conductors in her studio recital series), and the New Philharmonia Orchestra follows his guidance expertly.

This compilation should be in the collection of any opera-lover, especially those who cherish the music of PUCCINI, and neophytes unfamiliar with his output and/or the splendor of LEONTYNE PRICE!! Get this one now.

Voice from heaven.......2001-02-27

The rich glorious voice of Leontyne Price is unique (Jessye Norman maybe comes the closest), and in Puccini she is totally in her element. Surely along with Callas Tebaldi and Freni she is one of the greatest ever interepreters of Puccini, and one only wishes the quality of the recordings (typical RCA for this era) were a little better or that someone could find a way to remaster them. That said, the radiant performances are so magical that any technical deficiencies must be overlooked.

Price is Perfect.......2001-02-04

This is an essential recording for all Puccini fans as well as fans of Leontyne Price. Her "Donde Lieta Usci," from La Boheme is magnificant. As well as her "Un Bel Di" Her portrayal of Butterfly is like no other. Even her "O Mio Babbino Caro," is sheer perfection. While it is usually performed by a lighter voice it is still positively perffection.

Jorge Valente "Grandes Exitos" 1.el Triste 2. Virgen De Mi Soledad 3. El Vicio 4. Sabor a Nada 5. Poquita Fe 6. Me Sali Varato 7. Tango Negro 8. Fea 9. Mi Loca Pasion 10. Amorosa 11. Sin Explicasiones 12. La Arana 13. Cruz De Olvido 14. No Me Lotomes a Mal 15. Tu Voca Sabe Que Miente 16. Cuando Dos Almas 17. Va Callendo Una Lagrima 18. Amigo Que Parranda 19. Vil Estorbo 20. Virgen O Demonia 21. Mi Corazon Es Un Gitano 22. En El Vosque De La China .

Average customer rating:

Jorge Valente "Grandes Exitos" 1.el Triste 2. Virgen De Mi Soledad 3. El Vicio 4. Sabor a Nada 5. Poquita Fe 6. Me Sali Varato 7. Tango Negro 8. Fea 9. Mi Loca Pasion 10. Amorosa 11. Sin Explicasiones 12. La Arana 13. Cruz De Olvido 14. No Me Lotomes a Mal 15. Tu Voca Sabe Que Miente 16. Cuando Dos Almas 17. Va Callendo Una Lagrima 18. Amigo Que Parranda 19. Vil Estorbo 20. Virgen O Demonia 21. Mi Corazon Es Un Gitano 22. En El Vosque De La China .

ProductGroup: Classical
Binding: Audio CD
ASIN: B000KJDDRS

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