Que Padre

Track Listings
Disc: 1

1. Vaquero Güero - Los Huracanes del Norte

2. Si un Poquito Me Quisieras - Grupo Innovación

3. Me Llamo María

4. Cuando Te Vayas - Banda R-15

5. Leña de Pirul - Banda Machos

6. Señor Cantinero - Roberto Verduzco

7. Flor de Capomo - Carlos y José

8. Leona - El Vampiro Y Sus Fantasmas

9. Vivir Sin Verte - Lluvias Del Norte

10. Tenis Magicos - Banda Pequeños Musical

Disc: 2

1. Ritmo de Banda - Los Huracanes del Norte

2. Trago a Tu Salud - Raúl Hernández

3. Como Tu Mujer - Carmen Jara

4. Fue Su Voz - José Javier Solis

5. Mis Padres - Saul Esqueda

6. Tengo Miedo

7. Hijo del Pueblo - Los Broncos de Reynosa

8. De Que Te Quiero, Te Quiero - Grupo Innovación

9. Niña Fresa - Banda Zeta

10. Pedacito de Sol - Dinastia Nortena

Que Padre,Various Artists,Fonovisa Inc.,Banda,Latin,Latin Pop,Mexican,Mexico

Que Padre

Tracks:

Act II: Amor Ti Vieta
Act II: Che Gelinda Manina
Act III: Salut Demeure Chaste Et Pure
Act III: Di Quella Pira
Act IV: Spirto Gentil, Ne' Sogni Miei (Romanza)
Act III: Solenne In Quest'Ora
Act IV: Mi Batte Il Cor...O Paradiso!
Act I: Un Di All'Azzurro Spazio (Improvviso)
Recitar!... Vesti La Giubba
Act I: Questa O Quella
Act IV: La Donna E Mobile
Act III: Ah Si, Ben Mio
Act I: Celeste Aida
Act I: Recondita Armonia
Act III: E Lucevan Le Stelle
Act III: Della Natal Sua Terra Il Padre... O Tu Che In Seno Agl' Angeli
Act II: Magiche Note
Act II: La Fleur Que Tu M'Avais Jetee
Act I: Ah, Qual Soave Vision...Bianca Al Par Di Neve
Act II: Cielo E Mar
Act II: Nell'Ore Arcane Della Sua Lussuria... Ora E Per Sempre Addio
Un Ballo In Maschera: Act I: Di' Tu Se Fedele
Act II: Una Furtiva Lagrima

Tracks:

Act III: Je Suis Seul... Ah, Uyez, Douce Image
Act II: Chi Mi Frena In Tal Momento? (Sextett)
Act I: O Soave Fanciulla
Act III: Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
Act I: Donna Non Vidi Mai
Cujus Animam
Act II: Oh! Mostruosa Colpa!... Si, Pel Ciel
Act I: Libiamo, Libiamo (Brindisi)
Ingemisco
Act II: Faiblesse De La Race Humaine!... Inspirez-Moi, Race Divine
Act III: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere!
Act IV: O Figli, O Figli Miei... Ah, La Paterna Mano
Act II: Pour Moi Ce Jour Est Tout Mystere
Act I: A Cette Voix Quel Trouble...Je Crois Entendre Encore
Act IV: Bella Figlia Dell'Amore (Quartett) - Giuseppe De Luca
Act II: Chi Mi Frena In Tal Momento? (Sextett) - Amelita Galli-Curci
Act I: Frondi Tenere E Belle...Ombra Mai Fu (Largo)
Act I: Studenti! Udite!
Crucifixus

Customer Reviews:

A nice overview of Caruso's legacy.......2007-01-04

Enrico Caruso was one of the first "media stars," with his recordings selling widely in the early twentieth century; he helped popularize the recording industry. He was one of the leading tenors of his day, and is regarded as one of the tops of the twentieth century (although he began serious singing in the late 19th century).

This CD features some of his "greatest hits," among which are his well reputed version of "Vesti la giubba" (from I Pagliacci, one of his signature operas); arias from Verdi's Rigoletto, including the bold "Questa o quella" and "La donna e mobile"; some of his most popular recordings from Puccini, including "E lucevan le stelle," "Recondita armonia," and "Che gelida manina." Nice additions to the CD are wonderful ensemble pieces, such as the sextet from Lucia di Lammermoor (including the voice of Luisa Tetrazzini) and the quartet from Rigoletto (with Amelita Galli-Curci).

Interesting tidbits include his first recording, from 1902, and his last, from 1920.

All in all, this is a very nice representation of his work. I'm not sure that it compares with the old LP (with him in clown outfit) that includes Rossini's nearly unsingable "La danza," among other items. But it is a terrific introduction to the art of Caruso. Anyone who has not listened to this tenor's works before would be well advised to use this as their entree to his oeuvre.

Unearthly.......2002-12-23

Forget toiling for a BMW, enjoy finer things in life.One of my personal favorites is ''Le pecheurs de perles'', but the offer is overwhelming.

If You Only Buy One Caruso . . ........2001-01-03

let this be it! Wonderful, generous selection of his singles for Victor, most of them solos, but a few duets, quartets, quintets, and a sextet. The accompanying booklet makes a great deal of including his first and last recordings, but by far the most important here is Caruso's 1907 recording of Vesti la giubba, the first classical recording to sell over a million copies in the United States. If you listen to it, you'll know why--it's every bit as melodramatic as the minstrel show singles with which it shared the top of the early twentieth-century charts.

Average customer rating:

The Complete Caruso

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001TSWQO
Release Date: 2004-11-09

Spanish Music of Travel and Discovery/ The Waverly Consort

Average customer rating:

Beware! two old CDs reissued with a new name
A reworking of a prior disc - but now with 2 CDs
perfect by candlelight or in the office

Spanish Music of Travel and Discovery/ The Waverly Consort

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00004TQR2
Release Date: 2000-10-10

Tracks:

Ayo Visto Lo Mappamundi
Viva Gran Re Don Fernando
Una Sanosa Porfia
Imrpovisations On Tres Moricas M'enamoran/Tres Moricas M'enamoran
B'tayhi-M'saddar
Nunca Fue Pena Mayor
Ay Santa Maria
Virgen, Bendita Sin Par
El Cervel
En Memoria D'Alixandre
La Alta ('La Spagna')
Pase El Agoa, Ma Julieta
Oy Comamos Y Bebamos
El Paso Del Mar Rojo
Ah, El Novio No Quere Dinero!
Kyrie: Ayo Visto Lo Mappamundi
Ayo Visto Lo Mappamundi
Improvisations On Ayo Visto Lo Mappamundi

Tracks:

O Virgo Splendens
Stella Splendens In Monte
Laudemus Virginem/Splendens Ceptigera
Los Set Gotxs Recomptarem
Cuncti Simus Concanentes
Polorum Regina
Mariam Matrem Virginem
Imperayritz De La Ciutat Ioyosa
Ad Mortem Festinamus
Ondas Do Mar De Vigo/Mandad' Ei Comigo
Mia Irmana Fremosa/Ay Deus, Se Sab' Ora
Quantas Sabades Amar Amigo/Eno Sagrado En Vigo/Ay Ondas Que En Vin Veer
Santa Maria, Strela Do Dia
El Buesca Del Padre
Las Hermanas Reina Y Cautiva
El Sueno De La Hija

Customer Reviews:

Beware! two old CDs reissued with a new name.......2006-08-02

I bought this CD with great anticipation because I love Spanish music of this era. To my disappointment, this was not a new recording, but a reissue of two CDs I already own: "1492: Music from the Age of Discovery" and "Traveler." If you don't have these CDs already, this double set is a great bargain. But check your CD rack before buying!

A reworking of a prior disc - but now with 2 CDs.......2006-01-27

I was pleased to see that one of my favorite CDs had not really gone out of print, but was reworked into this title and now with a bonus CD. Even though I own the original "Music from the Age of Discovery 1492", I'll probably buy this disc just for the extras. Very nice mood music, lots of variety, exotic instruments and lovely voices.

perfect by candlelight or in the office.......2000-10-20

i've owned this CD for several years, and never tire of it. weather i'm curled up with a book, or just in the office with headphones on, it's appropriate for any occasion (outside a raucus party). i highly suggest it if you're interested in exotic, mystical, and festive tunes.

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Average customer rating:

The Golden Voices of the 3 Tenors

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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Tracks:

L'Elisir d'Amore: 'Una furtiva lacrima' - Luciano Pavarotti
La Boheme: 'Che gelida manina' - Luciano Pavarotti
Turandot: 'Nessun Dorma' - Luciano Pavarotti
La Traviata: 'Brindisi' - Luciano Pavarotti
Luisa Miller: 'Quando le sere al placido' - Luciano Pavarotti
La Traviata: 'Parigi O Cara' - Luciano Pavarotti
Stabat Mater: 'Cajus Animam' - Luciano Pavarotti
La Boheme: 'Dunque e proprio finita' - Luciano Pavarotti
Lucia di Lammermoor: 'Tombe degli avi miei' - Luciano Pavarotti
La Fille Du Regiment: 'Ah mes amis' - Luciano Pavarotti
Idomeno Re Di Creta: 'Spiegarti non poss'io' - Luciano Pavarotti
Idomeno Re Di Creta: 'Padre, mio caro padre' - Luciano Pavarotti

Tracks:

Madame Butterfly: Addio Fiorito Asil - Jose Carreras
I Lombardi Alla Prima Crociata: Al Siloe! Al Siloe!... Guerra! - Jose Carreras
Madame Butterfly: Ancora Un Passo Or Via - Jose Carreras
Madame Butterfly: Bimba, Bimba Non Piangere - Jose Carreras
La Traviata: Che Fai?... Anami Alfredo - Jose Carreras
I Lombardi Alla Prima Crociata: Che Vid lo Mai?... Si! Del Ciel Che Non Punisce - Jose Carreras
I Lombardi Alla Prima Crociata: Chi Ne Salva?... Quai Grida! - Jose Carreras
La Traviata: De Miei Bollenti Spiriti - Jose Carreras
Un Ballo in Maschera: Di Tu Se Fedele - Jose Carreras
Madame Butterfly: Dovunque Al Mundo ...Amore o Grillo - Jose Carreras
TOSCA: E Lucevan Le Stelle - Jose Carreras
Rigoletto: Ella Mi Fu Rapita ...Farmi Veder Le Lacrime - Jose Carreras
Un Ballo in Maschera: Forse La Soglia Attinse - Jose Carreras
I Lombardi Alla Prima Crociata: Giselda! O Ciel Traveggo... - Jose Carreras

Tracks:

Il Trovatore: Mai Reggendo ALl'Aspro Assalto - Domingo, Placido
Il Trovatore: L'Usato Messo Ruiz Invia!... Perigiarti Ancor - Domingo, Placido
Il Trovatore: E Deggio... E Posso Crederlo - Domingo, Placido
Il Trovatore: Quale D'Armi Gragor - Domingo, Placido
Il Trovatore: Ah Si, Ben Mio - Domingo, Placido
Manon: Je Suis Seul! - Domingo, Placido
Manon: Ah! Des Grieux! O Manon... Le Ciel Lui-Meme... N'est ce-plus ma main - Domingo, Placido
Carmen: Quel Regards! Quelle Effronterie! Pari-Moi de ma mort! - Domingo, Placido
Carmen: Dragons D'Alcala... La Fleur Que Tu M'avais Jetee - Domingo, Placido
Ernani: Merce Diletti Amici... Dell' Esilio Ne Dolore - Domingo, Placido
Carmen: La Fleur Que Tu M'avais Jetee... C'est Toi? C'est Moi! - Domingo, Placido

Average customer rating:

Ramón - Tenor Extraordinaire!
bel canto at 5 stars plus
Truly "Bel Canto!"
Splendid!
The 'wrong' voice does right by Verdi

Ramón Vargas - Verdi Arias
Giuseppe Verdi , Edoardo Müller , and Ramón Vargas
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005B6FX
Release Date: 2001-09-25

Tracks:

Ernani: Part II. Scena Ed Aria: Padre, Con Essi Intrepido/Odi Il Voto, O Grande Iddio
I Due Foscari: Act I. Scena E Cavatine: Qui Ti Rimani Alquanto/Dal Piu Remoto Esiglio/Odio Solo, Ed
Alzira: Act II. Scena Ed Aria: Miserandi Avanzi/Irne Lungi Ancor Dovrei/Non Di Codarde Lagrime
Attila: Act III. Romanza: Oh, Dolore! Ed Io Vivea
Macbeth: Act IV. Scena Ed Aria: O Figli, O Figli Miei!/Ah, La Paterna Mano
I Masnedieri: Part I. Scena Ed Aria: Quando Io Leggio In Plutarco/O Mio Castel Paterno/Nell'argilla.
Jerusalem: Act II. Scene Et Air: L'Emir Aupres De Lui M'appelle/Je Veux Encore Entendre
Luisa Miller: Act II. Scena Ed Aria: Oh! Fede Negar Potessi/Quando Le Sere Al Placido
Rigoletto: Act II. Scena Ed Aria: Ella Mi Fu Rapita/Parmi Veder Le Lagrime/Scorrendo Uniti Remota
Il Trovatore: Part III. Scena Ed Aria: Ah! Si, Ben Mio, Coll'essere/Di Quella Pira L'orren
Les Vepres Siciliennes: Act IV. Romance: A Toi Que J'ai Cherie
Falstaff: Act III. Aria: Dal Labbro Il Canto Estasiato Vola

Amazon.com

The Mexican lyric tenor Ramón Vargas displays an impressive range of Verdian skills in this selection of arias from 12 operas. His tone is open and full, with well-placed high notes and a vigorous delivery, while technique and style combine in a solid bel canto approach. There's some particularly graceful phrasing in the Ernani extract, while the more dramatic Luisa Miller aria is given an especially forthright reading, with the character's disbelieving anger at his emotional betrayal conveyed with spirit.

Vargas is good with words, too. His interpretation of Macduff's aria of loss from Macbeth benefits from committed diction, and he produces some lovely effects throughout this number. Equally memorable are items in French from Les Vêspres siciliennes and Jérusalem (Verdi's 1847 Parisian revision of the 1843 I Lombardi). These are among several rarities included--alternative arias Verdi wrote for later productions of some operas, while Alzira must be one of the least known of all his works. The English translations in the booklet are clumsy, but Vargas's singing is going to give a lot of pleasure. The accompaniments from Edoardo Müller and the Munich Radio Orchestra are topnotch. --George Hall

Customer Reviews:

Ramón - Tenor Extraordinaire!.......2003-04-10

First, let me start by saying that I agree with the review by Joy Fleisig of this CD. She was right on the mark with everything. A gorgeous sounding light tenor who did a great performance of Verdi which I didn't think would turn out as good as it did. Ramón gives us exquisitely beautiful pianissimos, but Joy Fleisig was right, there were a few slightly weak and closed throated sounding high notes, but they are made up with a middle range to die for and a rich lower register. Ramón does need to add greater drama and needs to give more character to the roles.

Ramón does a particularly exciting ending to "Nell'argilla maledetta" from Verdi's "I masnadieri". He is also very good in "Ah! Si, ben mio" and "Di quella pira" from Il trovatore. However, in "Di quella pira", Ramón does sound a little weak at the very end of the aria. On the other hand, Pavarotti actually sounds a little strained at the ending of "Di quella pira"(Decca 417 713). If you want to hear "Di quella pira" the way it should be done, listen to Carlo Bergonzi on Decca (289 467), wow, what a thrilling ending that shakes the rafters. In my opinion Ramón needs to open up his throat more during those high notes to let them loose. It sounds like he is trying to protect his voice.

I wanted to give this CD a 4 ½ star rating but there are no half stars, so I am forced to give it a 4 star rating because it is not quite good enough for 5 stars.

I would love to hear Ramón expand his light tenor repertoire to do Tamino in the Magic Flute and other Mozart operas and Handel's Oratorios which his voice is perfectly suited for.

Also, and more importantly, my wish is for Ramón to do Puccini's "La Boheme" and to come out with a CD of Puccini arias and a CD of verismo arias. Can Ramón create the power and, more so, the DRAMA to do versimo? That is yet to be seen. I would like to hope so, because I love listening to Ramón's honey sounding voice.

bel canto at 5 stars plus.......2003-01-18

This guy really knows how to sing. I give this cd 5 stars plus.

Truly "Bel Canto!".......2002-12-29

Ramon Vargas is a wonderful, musical singer. I used to limit myself to the "biggies" such as Pavarotti, Bjoerling, Corelli etc., but I am so glad I have broadened my scope to include non-"legendary" voices.
For, while a tenor like Ramon Vargas may not have the sheer natural vocal endowment to become a "legendary" tenor for the ages, he certainly has the ability in the here-and-now to sing with surpassing beauty and exquisite musicality. He gives these arias a freshness that is, well... refreshing!
He also sings in a very self-effacing and humble manner-- being more interested in letting his voice serve the music rather than his own ego. This type of singing is, for my money, where it's at and you sometimes dont get it with the "legends", perhaps because they know they are "legendary"!

Ramon Vargas sings purely and without artifice and it is moving. I will buy more of his CDs for sure. Buy and enjoy.

Splendid!.......2002-12-20

Indeed, this disc is a treasure of tenor singing. Ramon Vargas once again demonstrates his mastery of Verdian line (listen to Alzira on Philips under Luisi for a complete role). He has a voice that easily lends itself to recordings; it's light, but incredibly bright, clear, and focused. He pays a great deal of attention to the texts, it's remarkably easy to understand every word. One thing that stood out for me was the care with which Vargas approaches every phrase, I am certain he worked relentlessly on polishing each note, each line, to make it just right. In this day & age when half-baked "tenors" are popping up everywhere, it's marvelous to hear a singer whose love and care for the music is so genuine.
Like several folks here, I find Vargas most at home at purely lyric repertoire. But the way Verdi created some of his characters, it's not obvious under what vocal fach do they fall. Case in point - the Troubadour. The part is essentially lyric, but there are some outbursts, such as relating the duel with the Count, or Di Quella Pira that call for dramatic delivery. Lyric tenors have a bit more freedom in Verdian roles than spinto or di forza tenors in a sense that they can negotiate the legato lines with dazzling control, yet some, like Vargas, are able to muster enough power to deliver exciting dramatic moments. Yes, there might a slight lack of dramatic punch to some moments, but all selections impress with a great deal of commitment.
The absolute favorite for me on this CD is "Quando la sere al placido", thankfully sang without the "ohime" at the end. The scene from "I Masnadieri" is fantastic too with some insightful vocal acting. Vargas makes his Duca really sympathetic in "Parmi veder le lagrime", just keep telling yourself "it's the bad guy!" He even adds some nuance at the end (before Borsa et al march in), but, alas, does not sing "per te che le sfere agl'angeli" on a single breath (that makes Duca sound possessed, which he is). Can't wait for the full version, hopefully with Hvorostovsky in title role.
Do yourself a favor and get this disc, there are treasures to be discovered there and old favorites done in fresh ways to be enjoyed.

The 'wrong' voice does right by Verdi.......2002-05-10

For the past 10 years or so, the marvelous Mexican tenor Ramon Vargas has been one of the leading lights of the bel canto repertory. His voice has the sweet, rich, juicy quality shared by many contemporary Mexican and South American tenors. By and large, Vargas has until now limited himself to roles for light voices. Now that he has turned 40, he has decided that he is ready to move on into the fuller lyric repertory, including Verdi. While I do think Vargas' big, bright voice is a bit light for a lot of the 'major' Verdi roles, most of the repertory he sings on this disc suits him to a tee, and at least on record or in a small theatre is well worth hearing. I also give him credit for singing comparative rarities, including alternates for arias from `Ernani', `Attila' and `Les Vepres Siciliennes'.

There are a great many opera fans who, unfortunately, judge fitness for singing Verdi only on the volume and power of the voice, and most of these people would not consider a lyric tenor, certainly a light lyric tenor like Vargas, appropriate to sing Verdi's music. Verdi himself might actually disagree. The 'big' sound that we now associate with Verdi has more to do with 20th Century performance practice than with what was actually done in Verdi's time. Verdi's early work essentially is bel canto in style, far more similar to Bellini and Donizetti than to his later work. In fact, the alternate `Ernani' and `Attila' arias Vargas sings were written for the noted Rossini tenor Nikolai Ivanoff - at Rossini's request.

The `Ernani' selection (which Verdi later reworked into `Ah si, ben mio' in `Il Trovatore') actually does show a slight degree of strain, with some passagio notes and even high notes on the 'o' vowel sounding pinched and nasal, but this is rarely evident anywhere else on the CD. Actually, this nasality is also common among the new generation of Hispanic tenors. With "I Due Foscari", Vargas is in marvelous vocal fettle once again. His rendition of the aria and cabaletta from "Alzira" makes me eager to hear the recording of the entire opera he has made. Throughout the disc he sings with superb legato, great sensitivity, fine diction, and excellent technique. Certainly Vargas' bel canto experience makes coloratura passages easy for him. It is a pity that so few tenors today have these virtues in Verdi, and it is particularly a joy to hear them in the `Il Trovatore' excerpt, even though I think the entire role is beyond Vargas on stage. All the sixteenth-notes in `Di quella pira' are beautifully articulated and he has a fine trill. `Rigoletto', in which I have seen Vargas three times at the Met, seems to be my `unlucky' opera with him - difficult to believe considering his superb performance here. Not only does he sing both verses of `Possente amor' with great elan, but he gives the Duke a sympathetic characterization he rarely gets today. He also produces genuinely sweet, heady tone in the `Falstaff' aria. Finally, Vargas shows great aplomb with the two French selections from `Jerusalem' and `Les Vepres Siciliennes', more so than in the previous work I have heard from him in that language.

I very much appreciate that this CD gives us extended scenes instead of just arias, giving Vargas ample chance to interact with other singers and chorus, especially in `I Masnadieri'. Although James Anderson does a fine job with all the comprimario tenor parts, the shrill and wobbly Annegher Stumphius proves herself totally wrong for the 'Trovatore' Leonora even in her limited contribution. I suspect the production team realized this because they didn't record 'Il dolci suoni mistici'. The men of the Munich Radio chorus do a fine job, although they are miked from a bit too far away and that hurts their diction a bit, especially in the 'Rigoletto' scene.

Conductor Eduardo Muller is sympathetic to and supportive of Vargas and keeps the music going at an exciting clip. He also has the Bavarian Radio Orchestra shine in some brief prelude passages. He conducted some very fine performances of 'Rigoletto' and 'I Puritani' at the Met, and I eagerly await his 'La Cenerentola' there in September 2002.

There are only a few negative points. With the exceptions of Fenton and the Duke of Mantua, roles that he has sung often onstage, Vargas really doesn't make any of these characters that different from each other. Admittedly most Verdi heroes are noble, troubled, and hot-headed, but the situations they deal with here aren't always identical. Along those lines, I wish Vargas had done slightly more with dynamics, especially since we do hear some lovely diminuendi in several selections. It would have been nice, for example, if he had contrasted the two verses of 'Quando le sere al placido' a bit more. None of this is enough to detract from a firm recommendation.

Tracks:

Rigoletto: 'Pari siamo!
Rigoletto: 'Cortigiani, vil razza dannata'
Otello: 'Niun mi tema'
Pagliacci: 'Recitar!...Vesti la giubba'
Cavalleria Rusticana: Siziliana 'O Lola ch'hai di latti la cammisa'
Mattinata
Otello: 'Tu?! Indietro! fuggi!'
La Boheme: 'Quando men vo soletta per la vie'
Rigoletto: 'Caro nome'
La Fille Du Regiment: Tirolienne: 'Qu'est-ce que c'est que j'entends?'
Rigoletto: 'La donna e mobile'
TOSCA: 'Recondita armonia'
La forza del destino: 'Oh, tu che in seno agli angeli'
Aida: 'I sacri nomi di padre'
TOSCA: 'E lucevan le stelle'
L'Elisir d'Amore: 'Una furtiva lagrima'
Il Barbiere di Siviglia: 'Una voce poco fa'
Il Barbiere di Siviglia: 'La calunnia e un venticello'
TOSCA: 'Vissi d'arte'
Madame Butterfly: 'Un bel di vedremo'
Turandot: 'Nessun dorma'

Tracks:

Parsifal: 'Ich sah das Kind an seiner Mutter Brust
Lohengrin: In fernem Land
Die Meistersinger von Nurnberg: Morgenlich leutchtend im rosigen Schein
Parsifal: Des Weihgefasses gottlicher Gehalt
Das Rheingold: Weiche, Wotan, weiche!
Rienzi's Prayer: Allmacht'ger Vater, blick herab
Die Meistersinger von Nurnberg: Was duftet doch der Flieder
Die Meistersinger von Nurnberg: Wahn, Wahn, uberall Wahn
Der fliegende Hollander: The Dutchman's monologue
Die Walkure: Ein Schwert verhiess mir der Vater

Tracks:

Undine: Nun ist's vollbracht!
The Merry Wives of Windsor
The Magic Flute
The Magic Flute: Ein Madchen oder Weibchen
The Magic Flute: In diesen heil'gen Hallen
The Magic Flute: O Isis und Osiris
The Abduction From The Seraglio: Konstanze, dich wiederzusehen
Gasparone: O wenn ich doch ein Rauber war
Maria, mari: Schon strahlt die Nacht im Silberschein
Martha: Letzte Rose
Martha: Ach so fromm
Liebe bei Hof: Man nehme zwei Herzen
Chianti Song: Chianti-Lied
Eine Nacht In Venedig: The Gondolier's Song
The Land Of Smiles: Dein ist mein ganzes Herz
Der Rosenkavalier: Hab' mir's gelobt - Ist ein Traum, kann nicht wirklich sein
Der Freischutz: Einst traumte meiner sel'gen Base ... Trube
Die Lustigen Weiber von Windsor: Als Bublein Klein an der Mutterbrust
Ariadne auf Naxos: An Ihre Platze, meine Damen und Herrn!

Tracks:

Feldeinsamkeit Op. 86 no. 2
Epiphanias
Fruhlingsfahrt Op. 45 - No. 2
Auftrage Op. 77 No. 5
Adelaide Op. 46
An die Hoffnung Op. 32
An Schwager Kronos D 369
Erlkonig D 328
Auf Flugeln des Gesanges Op. 34 No. 2
Eifersucht und Stolz from Die schone Mullerin D 795
Die drei Zigeuner, Searle 320
Meeresleuchten Op. 145 No. 1
Verborgenheit
Wiegenlied Op. 49 No. 4
Traum durch die Dammerung Op. 29 No. 1
Allerseelen Op. 10 No. 8
An die Musik D 547
Der Musensohn D 764
Am Grabe Anselmos D 504
Traume from Wesendonck - Lieder
Des Kindes Gebet from Schlichte Weisen Op. 76 No. 22
Herzenstausch from Schlichte Weisen Op. 76 No. 5

Tracks:

Winterreise D 911: Gute Nacht
Winterreise D 911: Die Wetterfahne
Winterreise D 911: Gefrorne Tranen
Winterreise D 911: Erstarrung
Winterreise D 911: Der Lindenbaum
Winterreise D 911: Wasserflut
Winterreise D 911: Auf dem Flusse
Winterreise D 911: Ruckblick
Winterreise D 911: Irrlicht
Winterreise D 911: Rast
Winterreise D 911: Fruhlingstraum
Winterreise D 911: Einsamkeit
Winterreise D 911: Die Post
Winterreise D 911: Der greise Kopf
Winterreise D 911: Die Krahe
Winterreise D 911: Letzte Hoffnung
Winterreise D 911: Im Dorfe
Winterreise D 911: Der sturmische Morgen
Winterreise D 911: Tauschung
Winterreise D 911: Der Wegweiser
Winterreise D 911: Das Wirtshaus
Winterreise D 911: Mut!
Winterreise D 911: Die Nebensonnen
Winterreise D 911: Der Leiermann

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Deutsche Grammophon is lucky in that World War II didn't slow classical recordings in Germany as it did in the United States but stimulated them: It was essential for wartime morale. Thus, if you can get past any repugnance related to these recordings' genesis, there's a huge amount to enjoy. There's a disc of lieder by all the prewar greats (Franz Volker, Tiana Lemnitz, Erna Berger, and Heinrich Schlusnus), a disc of Wagner featuring young Hans Hotter, opera and operetta performances by Berger and Helge Roswaenge, and a disc showing how the German singers gave Italian opera a distinctively Nordic but highly communicative edge. The set is crowned by a complete Winterreise that was recorded by Peter Anders in 1945 (and sounds it): the cultivated tenor's anguished performance embodies a Germany facing the abyss. --David Patrick Stearns

Mazal Bueno: A Portrait in Song of the Spanish Jews

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Mazal Bueno: A Portrait in Song of the Spanish Jews

Manufacturer: Western Wind
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Sephardic Romances

ASIN: B000004AN4
Release Date: 1996-02-28

Tracks:

I. Babies, Children: PARIDA, PARIDA
I. Babies, Children: SI ESTE NINO SE DURMIERE
I. Babies, Children: IRME QUIERO LA MI MADRE
I. Babies, Children: CUANDO EL REY NIMROD
I. Babies, Children: RAHELICA BAILA XINANAY
II. Adolescence and Courtship: UNA MUCHACHA EN SALONIKA
II. Adolescence and Courtship: AY, MI PADRE, AY, MI MADRE
II. Adolescence and Courtship: AVRIDME GALANICA
II. Adolescence and Courtship: NOCHES, NOCHES
II. Adolescence and Courtship: YO M'ENAMORE D'UN AIRE
II. Adolescence and Courtship: UNA MATICA DE RUDA
II. Adolescence and Courtship: YO HANINO, Y TU HANINA
III. The Wedding: ALTA, ALTA ES LA LUNA
III. The Wedding: CON BIEN ME LAVI/EL NOVIO LE MERCO SCARPINES/ESCALERICA DE ORO
lV. Wife, Husband, Family or Singing Wile Cooking: QUE QUIERESH DE MI
lV. Wife, Husband, Family or Singing Wile Cooking: LA ROSA ENFLORECE
lV. Wife, Husband, Family or Singing Wile Cooking: POR QUE LLORAS, BLANCA NINA
lV. Wife, Husband, Family or Singing Wile Cooking: TRES HIJAS TIENE'L BUEN REY
V. Jerusalem: IRME QUERIA YO/PALESTINA HERMOZA Y SANTA
V. Jerusalem: IRME QUERO MADRE A YERUSHALAYIM
Vl. Death: TRISTE 'STA EL REY DAVID
Vll. Shabbat: EL DIO ALTO
Vll. Shabbat: BUENA SEMANA

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A Long Time Coming...
Her Best Album
Price At Her Peak
of course world class
the greatest american soprano of the 20th century

The Essential Leontyne Price

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ASIN: B000003FWD
Release Date: 1996-08-13

Tracks:

Aida: Act I: Ritorna vincitor!
Aida: Act I: E l'amor mio?
Aida: Act I: I sacri nomi di padre, d'amante
Aida: Act III: Qui Radames verra!
Aida: Act III: O patria mia
Un Ballo in Maschera: Act II: (Prelude)
Un Ballo in Maschera: Act II: Ecco l'orrido campo
Un Ballo in Maschera: Act II: Ma dall'arido stelo divulsa
Un Ballo in Maschera: Act III: A tal colpa e nulla il pianto
Un Ballo in Maschera: Act III: Morro, ma prima in grazia
Il Trovatore: Act I: Che piu t'arresti?
Il Trovatore: Act I: Tacea la notte placida
Il Trovatore: Act I: Di tale amor che dirsi
Il Trovatore: Act IV: Siam giunti
Il Trovatore: Act IV: D'amor sull'ali rosee
Ernani: Act I: Surta e la notte
Ernani: Act I: Ernani! Ernani, involami
Ernani: Act I: Tutto sprezzo che d'Ernani
La forza del destino: Act II: Son giunta! Grazie, o Dio!
La forza del destino: Act II: Madre, madre, pietosa Vergine
La forza del destino: Act II: La Vergine degli angeli
La forza del destino: Act IV: Pace, pace, mio Dio

Tracks:

Cosi fan tutte: Act I: Come scoglio immoto resta
Madama Butterfly: Act II: Piangi? Perche?; Un bel di vedremo
Madama Butterfly: Act III: Tu? tu? piccolo Iddio!
TOSCA: Act II: Vissi d'arte
Manon Lescaut: Act II: In quelle trine morbide
Manon Lescaut: Act IV: Sola, perduta, abbandonata
Dialogues des Carmelites: Act III: Mes filles, voila que s'acheve
Don Giovanni: Act I: Don Ottavio, son morta!
Don Giovanni: Act I: Or sai chi l'onore
Don Giovanni: Act II: Crudele? Ah, no, mio bene!
Don Giovanni: Act II: Non mi dir
Turandot: Act I: Signore, ascolta!
Turandot: Act III: Tu che di gel sei cinta
Ariadne auf Naxos: Es gibt ein Reich
Antony And Cleopatra: Act III: Give me my robe

Tracks:

Otello: Era piu calmo?
Otello: Mia madre aveva una povera ancella (Willow Song)
Otello: Ave Maria
Fidelio: Act I: Abscheulicher! Wo eilst du hin?
Suor Angelica: Senza mamma, o bimbo, tu sei morto!
Carmen: L'amour est un oiseau rebelle (Habanera)
La Traviata: Act I: E strano, e strano !
La Traviata: Act I: Ah, fors' e lui
La Traviata: Act I: Sempre libera
Le nozze di Figaro: Act III: E Susanna non vien!
Le nozze di Figaro: Act III: Dove sono
Die Agyptische Helena: Act II: Awakening Scene
La rondine: Ore dolci e divine
Salome: Finale

Tracks:

Eugene Onegin: Act II: Puskai pogibnu ya
Eugene Onegin: Act II: Ya k vam pishu
Eugene Onegin: Act II: Net, nikomu na svete
Eugene Onegin: Act II: No tak i byt'!
La rondine: Act I: Chi il bel sogno di Doretta
VANESSA: Act I: He Has Come, He Has Come!
VANESSA: Act I: Do Not Utter A Word
Carmen: Act I: Pres des remparts de Seville (Seguidilla)
Manon: Act II: Allons! il le faut!
Manon: Act II: Adieu, notre petite table
Macbeth: Act IV: Sleepwalking Scene: Vegliammo invan due notti
Macbeth: Act IV: Sleepwalking Scene: Una macchia e qui tuttora
La Boheme: Act IIII: Addio. Donde lieta usci (Mimi's Addio)
Die Frau ohne Schatten: Act II: Empress's Awakening Scene
Dido and Aeneas: Act III: Thy Hand, Belinda!
Dido and Aeneas: Act III: When I Am Laid In Earth
Don Carlo: Act V: Tu che le vanita conoscesti del mondo

Tracks:

Otello: Act I: Gia nella notte
Otello: Act I: Quando narravi
Otello: Act I: Venga la morte!
Cosi fan tutte: Act I: Ah, guarda, sorella
Madama Butterfly: Act I: Bimba, bimba, non piangere
Madama Butterfly: Act I: Bimba dagli occhi
Madama Butterfly: Act I: Vogliatemi bene
Requiem: Recordare
Porgy And Bess: Act II: Bess, You Is My Woman
Norma: Act III: Me chiami, o Norma
Norma: Act III: Mira, o Norma
Ernani: Act II: Tu, perfida!
Ernani: Act II: Ah, morir, potessi adesso
Cosi fan tutte: Act II: Sorella, cosa dici?
Cosi fan tutte: Act II: Prendero quel brunettino
Aida: Act IV: La fatal pietra sovra me si chiuse
Aida: Act IV: Presago il core della tua condanna
Aida: Act IV: Vedi? Di morte l'angelo
Aida: Act IV: O terra, addio

Tracks:

Un Ballo in Maschera: Act II: Teco io sto!
Aida: Act III: Ciel! mio padre!
Aida: Act III: Rivedrai le forest imbalsamate
Aida: Act III: In armi ora si desta il popol nostro
Aida: Act III: Padre! a costoro schiava non sono
Requiem: Angus Dei
Manon Lescaut: Act I: Oh, saro la piu bella!; Tu, tu, amore?
Cosi fan tutte: Act I: Soave sia il vento
Porgy And Bess: Act II: I Loves You, Porgy
Aida: Act II: Silenzio! Aida verso noi s'avanza
Aida: Act II: Fu la sorte dell'armi
Aida: Act II: Pieta ti prenda del mio dolor
Aida: Act II: Alla prompa che s'appresta
Il Trovatore: Act IV: Udiste?
Il Trovatore: Act IV: Mira, di acerbe lagrime
Il Trovatore: Act IV: Vivra! Contende il giubilo
Madama Butterfly: Act II: Scuoti quella fronda di ciliegio (Flower Duet)
Carmen: Act IV: C'est toi! - C'est moi!
Carmen: Act IV: Ou vas-tu? - Laisse-moi!

Tracks:

Les nuits d'ete, Op.7: Villanelle
Les nuits d'ete, Op.7: Le spectre de la rose
Les nuits d'ete, Op.7: Sur les lagunes
Les nuits d'ete, Op.7: Absence
Les nuits d'ete, Op.7: Au cimetiere (Clair de lune)
Les nuits d'ete, Op.7: L'ile inconnue
Four Last Songs: Fruhling
Four Last Songs: September
Four Last Songs: Beim Schlafengehen
Four Last Songs: Im Abendrot
Clair de lune, Op.46, No.2: Clair de lune
Notre amour, Op.23, No.2: Notre amour
Au cimetiere, Op.51, No.2: Au cimetiere
Au bord de l'eau, Op.8, No.1: Au bord de l'eau
No.1, Cinq melodies de Venise, Op.58: Mandoline
Main dominee par le coeur
Miroirs brulants No.2: Je nommerai ton front
Miroirs brulants No.1: Tu vois le feu du soir
Ce doux petit visage

Tracks:

Knoxville: Summer Of 1915, Op.24: Knoxville: Summer Of 1915
Frauenliebe und -leben, op.42: Seit ich ihn gesehen
Frauenliebe und -leben, op.42: Er, der Herrlichste von allen
Frauenliebe und -leben, op.42: Ich kann's nicht fassen
Frauenliebe und -leben, op.42: Du Ring an meinem Finger
Frauenliebe und -leben, op.42: Helft mir, ihr Schwestern
Frauenliebe und -leben, op.42: Susser Freund, du blickest
Frauenliebe und -leben, op.42: An meinem Herzen, an meiner Brust
Frauenliebe und -leben, op.42: Nun hast du mir den ersten Schmerz getan
Widmung (No.1, Myrthen, Op.25): Widmung
Mignon (No.28, Liederalbum fur die Jugend, Op.79): Mignon
Volksliedchen, Op.51, No.2: Volksliedchen
Schone Wiege meiner Leiden (No.5, Liederkreis, Op.24): Schone Wiege meiner Leiden
Er ist's (No.23, Liederalbum fur die Jugend, Op.79): Er ist's
Heiss mich nicht reden (No.5, Lieder und Gesand aus Wilhelm Meister)
Lust der Sturmnacht, Op.35, No.1: Lust der Sturmnacht
Allerseelen, Op.10, No.8: Allerseelen
Schlagende Herzen
Freundliche Vision, Op.48, No.1: Freundliche Vision
Wie sollten wir geheim, Op.19, No.4: Wie sollten wir geheim
Der Gartner (Morike-Lieder No.17)
Lebe wohl (Morike-Lieder No.36)
Morgentau (From An Old Songbook)
Geh, Geliebter, geh jetzt (Spanisches Liederbuch No.34)

Tracks:

Ev'ry Time I Feel The Spirit - Various Artists
Let Us Break Bread Together On Our Knees - Various Artists
His Name So Sweet - Various Artists
'Roun' About De Mountain - Various Artists
Swing Low, Sweet Chariot - Various Artists
Sit Down, Servant - Various Artists
Were You There - Various Artists
He's Got The Whole World In His Hands - Various Artists
Deep River - Various Artists
Honor! Honor! - Various Artists
My Soul's Been Anchored In De Lord - Various Artists
On Ma Journey - Various Artists
A City Called Heaven - Various Artists
Ride On, King Jesus - Various Artists
I Wish I Knew How It Would Feel To Be Free - Various Artists
Sinner, Please Don't Let This Harvest Pass - Various Artists
Sweet Little Jesus Boy - Various Artists
There Is A Balm In Gilead - Various Artists
Let Us Cheer The Weary Traveler - Various Artists
Ev'ry Time I Feel The Spirit - Various Artists
My Way Is Cloudy - Various Artists
Nobody Knows The Touble I've Seen - Various Artists
I Couldn't Hear Nobody Pray - Various Artists

Tracks:

Holy, Holy, Holy
Lead, Kindly Light
Blessed Assurance
Ave Maria
What A Friend We Have In Jesus
Amazing Grace
The Lord's Prayer
Pass Me Not, O Gentle Saviour
The Church's One Foundation
Bless This House
I Need Thee Every Hour
Fairest Lord Jesus
I Wonder As I Wander
Ave Maria
Porgy And Bess: Summertime
America The Beautiful
Lift Ev'ry Voice And Sing
A Mighty Fortress Is Our God
Battle Hymn Of The Republic

Tracks:

Chants tziganes, Op. 103: He Zigeuner
Chants tziganes, Op. 103: Hochgeturmte Rimaflut
Chants tziganes, Op. 103: Wisst ihr, wann mein Kindchen
Chants tziganes, Op. 103: Lieber Gott, du weisst
Chants tziganes, Op. 103: Brauner Bursche
Chants tziganes, Op. 103: Roselein dreie in der Reihe
Chants tziganes, Op. 103: Kommt dir manchmal in den Sinn
Chants tziganes, Op. 103: Rote Abendwolken
Adriana Lecouvreur: Act I: Io son l'umile ancella
This Little Light O'Mine
Interview With Leontyne Price By John Pfeiffer

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This 11-CD set, one might say jokingly, contains all the music ever written for the soprano voice and a bit for mezzo as well. And indeed, it's a staggering collection: In addition to her great Verdi heroines (the two Leonoras, Aida, Amelia, and Elvira in Ernani), Price is heard in her Puccini roles--Manon Lescaut, Butterfly, Tosca--and at least two dozen other roles, most of which she never sang on stage. Here are her heroic, secure Leonore in Fidelio, Strauss's high-flying Egyptian Helen, Purcell's Dido, Barber's Cleopatra, Bellini's Norma, Ariadne, Verdi's Violetta and Desdemona, Bizet's Carmen, Mozart's Countess, and Fiordiligi. Some are, naturally, more successful than others; almost none are embarrassing (Carmen comes close). In addition, she sings songs by Schubert, Schumann, and Strauss--none of them as well as say, Janet Baker or Elisabeth Schwarzkopf, and Barber's Knoxville, etc.--quite beautifully. Berlioz's Les Nuits d'été is not very good, but a group of spirituals is. In all, however, this is an amazing display by one of the century's greatest sopranos. There may be no new depths plumbed here, but the singing is a knockout. --Robert Levine

Customer Reviews:

A Long Time Coming..........2006-03-30

This compilation of Ms. Price's career is almost as complete as anything I've ever come across!!
An American Icon....I will forever be a loyal fan and admirer!!

Her Best Album.......2006-01-01

Along with the equally extensive "Prima Donna Collection" this is Leontyne Price's best album. Anyone who wants to become familiarized with her vocal technique and her art on record should own this album. It features her best work ever recorded. A lot of these arias and their respective soprano roles were not roles she sang on stage. Leontyne Price was not only a consummate artist, but a cautious one. The reason these arias, Lieder, Gospel and spirituals sound so beautiful and technically brilliant is because Leontyne was smart enough to sing them infrequently and in concert form. She did not take on new roles other than her repetitive Aidas, Leonoras, Butterfly, Toscas and Madame Lidoins, etc, because she was afraid of ruining her glorious voice too soon as many of her contemporary sopranos. Like soprano Zinka Milanov, Leontyne Price preserved the freshness and vitality of her voice through "operatic abstinence". Thus, the Norma, Salome, Manon, Lady Macbeth and even Traviata we hear on this album are well-rendered because she did NOT sing them on stage. She would have worn out her beautiful voice if she sung so many roles.

This collection is overwhelming. Leontyne Price proves herself to be a masterful artist of diverse repertoire. Pity she didn't really sing these on stage because she would have put Maria Callas and all the reigning divas before and after her to shame. Listen to her remarkable, unsurpassed Mozart repertoire. This she did sing in opera houses, probably because Mozart does not require a true lyrico-spinto heavyness and smaller opera houses can accomodate Mozartian voices that do not often rise above the staff/orchestra. She sang exquisite Fiordiligis at the Met. The arias from Cosi Fan Tutte here - Soave sia il vento, O Guarda Sorelle and the fiendishly difficult vocal showcase "Come Scoglio" with its vertiginious scales are all fine samples of Miss Price's artistry. She sang Susanna and Donna Anna with beauty and bravura. The Salome excerpt is quite thrilling. She would have made a terrific Salome but the role is quite difficult and it would have surely killed her voice. Leontyne Price was the number one Verdi soprano. Every opera cognoscente will tell you that. When you hear the excerpts from Verdi operas here - Lady Macbeth's Sleepwalking Scene, Aida's arias, Leonora's arias from Trovatore and Leonora's arias from Forza Del Destino, particularly La Virgine Del Angeli and the ravishing Pace Pace Mio Dio- are the best renditions of Verdi soprano singing. Anyone who wants to study how to sing in the letter-to-letter Verdi lyrico spinto style should hear these arias. A voice like Leontyne cannot be easily imitated. Maria Callas's own voice can be imitated as Romanian diva Angela Gheorghiu has proven. Leontyne was in a class of her own, a voice that is both dramatic and beautiful to hear. However, most people find fault in her lack of dramatic interpretation. I say they're not hearing hard enough. Yes, there is excessive beauty in her singing but she understood that the opera heroines should sound beautiful because they are beautiful and though I never saw her on stage, from the recordings I hear she sounds dramatic and character-driven enough for me to be satisfied. For a devoted fan of Leontyne Price, this album is the Holy Grail. She sings the most beautiful Norma, Madame Butterfly, Tosca, Aida, Violetta, Madame Lidoin, Suor Angelica, Susanna, Dona Ana, Gilda, Fiordiligi, Desdemona and countless other heroines. The last cd is a collection of Gospel, spirituals and patriotic songs. These "American", non-opera selections find her in beautiful voice and she is actually paying tribute to her roots. She was not only African-American, but a Southerner from Mississippi. Her voice must have been heavenly to hear in Church! This is the album that made me love Leontyne.

Price At Her Peak.......2005-05-02

Originally a Gospel singer, Leontyne Price rose to the heights of operatic superstardom in the 60's and 70's. She enjoyed the same success Maria Callas did in the 50's. Although Callas will forever be most people's idea of the greatest soprano of the 20th century, Leontyne Price was not a force to be reckoned with. In my opinion, and this is just me, she outshone Callas and was the greater singer as far as techinicality and musicianship. Leontyne Price's best work is recorded in this album. It is her best album, together with the Prima Donna Collection. The price is expensive but it's worth every penny. Prepare to be riveted and blown away by the dynamic strength and passion of her voice as it blasts through yours stereo. While many often point out that Leontyne Price was not much of an actress, from a purely operatic/vocal level, her voice was faultless and virtuosic, powerful, passionate, beautiful, lyrical, soulful. Never have I heard a soprano so richly endowed with strong chest register- she could sing the low octaves that are found in the roles of mezzo-soprano voices or contralto voices. But she was a dramatic soprano and that's dramatic with a capital D- all the high C's were there, perfectly in place, and she was a thrilling singer when reaching for the stratosphere with her voice.

This album contains arias from operas that I didn't even know she performed- La Traviata (yes, Leontyne Price as Violetta is a moving and powerful interpretation, executed with sublime beauty. She finds herself the equal to Callas in the role- for Callas had a big voice for a role that calls for the "dying" effect. Thus, Price, like Callas, could sing roles that call for beauty and not just dramatic vigor. It's unfortunate that unlike the stars that were rising in her time- Joan Sutherland, Beverly Sills and Montserrat Caballe- Price never mastered the bel canto repertoire - Rossini, Donizetti, Bellini (although she sang a sensational Norma, excerpts are found in this recording). But her strongest suit was Verdi. She had the voice Verdi was looking for in a soprano- rich, dramatic, beautiful, able to fill up the lines with smoky and velvety hues and a gleaming high top. Check out her Amelia in Un Ballo In Maschera, her Leonora in Trovatore, her Leonora in La Forza Del Destino. Of course, her greatest role, her signature role, and one which she connected with on a personal/ancestral level was that of Aida. The first selections in this recording are from that masterpiece. As Aida, she was at her best. It was easy for her somehow, when most other sopranos tackle the role with difficulty. She conveys grace, nobility, passion and spirituality in the role of the tragic Ethiopian princess.

Further roles she excelled in that are on this recording is Desdemona in Otello, which she sung opposite Placido Domingo. Their masterful voices blend together harmonically and gloriously in the Act 1 Love Duet. She's quite the ground-breaking artist. Most Violettas in Traviata or Desdemona in Otello are Caucasian lyric soprano (Desdemona was white, Otello was black, that was Shakespeare's intention) but in opera, race does not matter and Leontyne Price's voice made her a star in a time when it was incredibly difficult for a black woman to sing opera. From the start of the century, opera was always associated with white Europeans and later on Americans. But Leontyne Price followed the inspirational example of the gutsy contralto Marian Anderson, who suffered a lot of rejection in opera due to skin color in pre-Civil Rights Movement 30's, 40's and 50's. Finally in the late 50's, Anderson, after a lifetime of singing only in private concerts and recitals, debuted at the Met as Ulrica in Un Ballo. Leontyne Price immediately picked up where she left- singing all the soprano diva roles typically associated with white singers - especially Tosca. Her Tosca is second to her Aida. As Tosca, she encompasses the diva who dies for love in the most thrilling way.

Other than Tosca, Puccini heroines were just as magnificent vehicles for her voice. She sang Madame Butterfly to great acclaim. I dont know how she did it but she suddenly ceased to be herself and became the frail, naive, lovesick Japanese Geisha. Softness and fragility is also mixed with the maturity of a woman in love, with passion and dramatic vocal color. She sang La Rondine with equal success, though this role is more along the lines of Violetta/Traviata. She sang Suor Angelica, she sang in modern works such as Barber's Antony and Cleopatra- in that infamous Zefferelli production- she sang Gershwin's Porgy and Bess, she sang in Dialoge of the Carmelites. All these are on here, along with her Baroque specialties- Dido in Dido and Aeneas. Her Mozart voice is also the best I've heard, really, even with a more dramatic and beautiful charm than other singers I've heard. She sang the acrobatic role of Fiordiligi in Cosi Fan Tutte, both Dona Ana and Donva Elvira in Don Giovanni. I prefer her as Dona Ana, she is all fire, despair, intensity and repressed desire, but she sings a hysterical and lovesick Elvira with a passion as well. She even sang the Countess in Le Nozze Di Figaro. But the sky was the limit to Price. She even sang, in a Jessie Norman way, the Wagner role of Isolde. Her "Liebestod" is the greatest I've heard since Birgit Nilsson, with a passion that stemmed from her religious Gospel heart.
This is a great album and I recommend it to any fan of Price and any fan of opera in general. If you have never heard Price and want to start somewhere, start with this one. This one or the Prima Donna Collection.

of course world class.......2000-08-14

Price is amazing. I will have to also mention that Joan Sutherland in the 1960 is even more incredible, if that's possible. Check Dame Joan out, you will not be sorry. But Price is a D flawless diamond set by Cartier, in my opinion.

the greatest american soprano of the 20th century.......1999-12-12

This collection of arias, art songs, and spirituals is truly amazing for the sheer breadth and depth of this soprano's artistry. It is hard to imagine any Verdi soprano after Ms. Price who could offer us the smoky richness of her vocal color, and there are so many wonderful selections, many of them being roles she did not perform on stage. Among my personal favorites are her scene from Dialogues of the Carmelites, the Letter Scene from Eugene Onegin, and the drama of her Lady Macbeth. For those of us who heard Ms. Price over the years in opera and concert, this collection brings back wonderful memories...It is truly a must-have for any serious opera lover.

Traveler: Medieval Journeys Through Time

Average customer rating:

Beautiful mix of medieval music, superbly produced and performed
Superb

Traveler: Medieval Journeys Through Time

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000002SLX
Release Date: 1995-10-17

Customer Reviews:

Beautiful mix of medieval music, superbly produced and performed .......2005-12-10

Very beautiful medieval music. Wonderful vocals and with early instruments. This does not require a PhD in ancient music to enjoy; it is a naturally pleasing CD, not an acquired taste for academics. I have owned this CD for many years, and I still listen to it regularly.

Superb.......2004-02-17

Many good versions of the Llibre Vermill are out there, but this is among the best. Caveat: it is early music, and it isn't. It's the good old Llibre Vermill songs, but they're done in a very modern, new-agey way. Beautifully sung, great for relaxing.

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