Amor de Madre

Track Listings

1. Dos Coronas a Mi Madre

2. Lloraré a Mi Madre

3. Felicidades

4. En Tu Día

5. Mañanitas

6. Amor de Madre

7. Una Flor Para Mi Madre

8. Oh, Madre Quierda

9. Ultimo Adios

10. Mi Unico Tesoro

11. Soy de Ti

12. Soñe a Mi Madre

13. Al Pie de Este Arbol

Amor de Madre,Chuy Vega,Sony International,Latin,Mexican,Regional Mexican

Amor de Madre

Tracks:

Chacona: A La Vida Bona
Danza Del Hacha - Hesperion XXI
Moresca: Di Perra Mora
Negrilla A 4: San Sabeya Gugurumbe
Ritual Formulario: Hanacpachap Cussicuinin
Joto
Tono Humano: Ay Que Me Rio De Amor
Mestizo E Indio: Tleycantimo Choquiliya
Negra A 5: Antonya Flaciquia Gasipa
Cachua - Hesperion XXI
Rorro: Desvelado Dueno Mio
Negrilla: A Siolo Flasiquiyo
Juguete: Un Juguetico De Fuego
Juguete A 4: Convidando Esta La Noche
Guaracha: Ay Que Me Abraso
Villancico A 8: Serafin Que Con Dulce

Customer Reviews:

Perfect Performances.......2007-07-11

Villancicos y Danzas Criollas is a homage to the cultural traditions of Iberia and Ibero-America, showing the influence of European traditions in the Americas. The Villancico (also called Chanzoneta) is a form of poetry that was adopted for use in secular songs and, in the 17th century, for Christmas carols (the modern usage of the word denotes a carol). The secular songs were gradually replaced by the Romance while the Christmas carol form became more popular. The typical lyrics of villancicos have two or three stanzas followed by a refrain. The most religious-oriented villancico of this collection is Hanacpachap Cussicuinin (from Lima) where the author asks for their prayer to be answered.

The transmission of musical culture is a favorite (and fascinating) subject for Jordi Savall and this CD includes some beautiful and rousing music. The CD begins with four selections reflecting Iberian music that sets the stage of presenting a song (usually) followed by a dance. Following this introduction we are off the Americas and music from Peru, Guatemala and Mexico.

As pointed out in the booklet, the colonial expansion that took place during the 15th and 16th centuries widen cultural connections to include Africa, Asia and the Americas, which is reflected in this collection of music. One will discover a mixing of African dance rhythms and percussion with European polyphony. This is nicely demonstrated by the first selection with its strong use of drums and bold brass playing combined with a fast-paced dance melody and mixed voices. The second work, by an anonymous composer, is quite a contrast with its more restrained and courtly rhythms played by string instruments without the percussion or brass. The Hanacpachap Cussicuinin is scored for percussion, brass and voices sounding like a solemn funeral procession and is followed by a beautifully played piece for harp and percussion from Mexico. The incomparable Montserrat Figueras sings with peerless passion and beauty, particularly in the short Tono Hidalgo of Juan Hidalgo. One could go on and on extolling the wonderful music of this CD, suffice it to say that among my collection of early music discs this one is at the top.

As with all of Jordi Savall's recordings the performance is excellent and beautifully balanced with voices and instruments receiving equal emphasis. If you do not have this disc and love early music get it without hesitation.

Mucho me pesa la cabeza.......2007-07-02

Again and again we hear "Mucho me pesa la cabeza"..... "Much it pains my head."

This music is so ephemeral... so unique.... so mind massaging..... I love reading while it softly plays in the background in the room!

The massage is quite expansive!

Not a painful massage at all, but it does get inside your head!

Just Get it!.......2006-08-20

It's hard to pick out anything special on this disk... everything is top-notch. The opening 'La Chacona' is a delight and it just gets better and better and better. The second piece definitely is having some fun setting the listener up for 'something.' The ritual piece is majestic while the tone changes again with the harp solo... Hesprion XX/XXI are treasures in the ocean of music.
Gracias, Senores!

This is such a great recording.......2006-01-10

This recording is so great and so
breath taking that leaves me with
only this to say: since the day it
arrived to my doorstep back in mid
December, I have listen to it daily,
not just few tracks, but the whole
CD several times a day.....One
of the best works of Savall and
Hesperion XXI.....

ýCreoleý Songs and Dances from Old Spain to the New World.......2004-05-16

An astonishing collection of vocal polyphony and dance music, largely from Guatemala, Peru, and Mexico. Performed with flair and feeling by the preeminent Spanish early-music ensemble of our time. Not to be missed!

My translation of the album title, given above, is not exact. "Criolla" can refer to anything Latin American, and a "villancico" is first and foremost a Spanish poetic genre from the 15th and 16th centuries. The Norton/Grove Concise Encyclopedia tells us that it was "originally derived from a medieval dance lyric and associated with rustic or popular themes." Certainly the rustic and popular loom large in this lively selection of Renaissance music. Hesperion XXI and its director Jordi Savall have often sampled folk styles in their imaginative reconstitutions of early performance tradition. So most of these selections get percussion accompaniment accentuating the dance element, while strumming guitars, castanets, maracas, and more are employed discreetly but effectively. Lusty and characterful vocal contributions come courtesy of La Capella Reial de Catalunya and soprano Montserrat Figueras, who takes a couple of fine solo turns. It's all recorded in a warm, resonant church acoustic.

In his liner notes, Prof. Rui Vieira Neri introduces the Spanish part of this collection by noting a long tradition of mixing high and low culture, not to mention Christian, Jewish, and Muslim cultural elements in the art and music of the Iberian peninsula. And right away we get to hear a vocal chaconne (a dance imported from the Indies "by mail" according to Lope de Vega) and a Moresca "Di Perra Mora," with strong Arabic flavor and hints of 5/2 meter.

Of the New World selections, some of the most engaging combine indigenous languages with Netherlands musical style. The solemn processional hymn "Hancpachap cussicuinin," written by a native composer in the Quechua language of Peru, was also the first example of polyphony printed in the Americas. Gaspar Fernandes (1570-1629), chapel master at the Puebla cathedral, wrote a number of villancicos that mix Castilian with Nahuatl, the Aztec tongue, including "Tleycantimo choquiliua" on this recording. It is based on a local Indian dance, as is another Christmas villancico included here, "Ay que me abraso," which moves to the beat of the Mexican guaracha.

Bantu and Yoruba phrases crop up frequently in the refrains of the African-influenced numbers, so numerous in their day that they were customarily referred to in the old manuscripts as Negro, Negrilla, or Guineo. Savall includes three such pieces on this recording; they abound in the sort of rhythmic intricacies and call-and-response effects that Europeans already associated with Africa. Among the most infectious is "Antonya, Flasiquiya, Gasipá," in which the song's characters wake up after a long night of drinking and dancing in order to go to Bethlehem to pay homage to baby Jesus, where more carousing will be called for. Each refrain ends with the words "Mucho me pesa la cabeza": "Oh, my aching head."

Tracks:

Un Di, Se Ben Rammentomi
Parto, Parto, Ma Tu Ben Mio
Quel Trouble Inconnu Me Penetre?
Alerte, Alerte, Ou Vous Etes Perdus!
Vecchia Zimarra, Senti
La Ci Darem La Mano
Son Io, Mio Carlo
O Carlo, Ascolta, La Madre T'aspetta
Barcarolle
Sorge Infausta Una Procella
Arise, Arise Ye Subterranean Winds
Vanne... Lasciami, Ne Timor Di Me Ti Prenda...
Au Fond Du Temple Saint
Seien Wir Wieder Gut!
Avete Torto! E Fine! Astuto...
Suoni La Tromba, E Intrepido

Album Description

A Night At The Opera features five young singers who have already made considerable names for themselves. The soprano Indra Thomas has been acclaimed as the next great Verdi soprano, while the mezzo-soprano Kristine Jepson has enjoyed great success in the key role of Octavian at the New York Met, in addition to other roles there and throughout Europe and America. The lyric tenor Matthew Polenzani's international career also includes appearances at the Met in a varied and challenging repertoire. The Polish baritone Mariusz Kwiecien's operatic appearances have included the Met and the Vienna State Opera, with a number of distinguished awards, and the prize-winning bass-baritone Valerian Ruminski boasts a particularly wide repertoire in a career of growing distinction. These marvelous talents are backed by the renowned Royal Philharmonic Orchestra, with internationally noted opera conductor Charles Rosekrans.

Customer Reviews:

Thoroughly entertaining sample of five fine young artists.......2005-05-13

I have only a few quibbles about this release, but it really is enjoyable, and repeated listenings have only increased my admiration. The repertoire ranges across much of the operatic spectrum - okay, there's no Wagner, but perhaps that's too much to expect at this point in their careers. Since most of these selections have been recorded by other, established artists, individual comparisons are pointless. The overall impression given by these singers is that of vibrant youth and spontaneous joy in singing. Matthew Polenzani is perhaps the best known of these, and certainly justifies one's attention with some fine tenorizing. If he can't quite pull off the SCHICCHI aria (who has, lately?) he sings a splendid Faust, and there are darn few good ones these days. He's a real pleasure to hear. Since I've heard Indra Thomas live on numerous occasions, I'm thrilled to have her on CDs at last. She possesses a soaring, juicy lyric soprano (unfortunately not all that well captured here - the voice has a gorgeous spin to it, reminiscent of the young Leontyne Price, and that emerges from the recording only occasionally). Ms. Thomas sang the most beautiful and one of the most exciting performances of the TROVATORE Leonora I have ever heard (and I've heard some great Leonoras), and I'm glad to have a memento of it here. Valerian Ruminski, whose bass is exceptionally beautiful and well-focused, is one of the most fluent male exponents of coloratura that I've heard in 50 years of live performances, so I'm delighted to have the Purcell and Handel selections. In addition, he possesses what Walter Legge called "an immediately recognizable timbre" - the voice sticks in the memory. Kristine Jepson and Mariusz Kwiecien also acquit themselves well. My single real reservation about the individual selections is Ms. Jepson's track of the Composer's outburst from ARIADNE ("Sein wir wieder gut!"). In common with many mezzos, she sounds overparted by its high, soaring lines, though she throws herself into with gusto. To my mind, this role really is best sung by a soprano. Nevertheless, Ms. Jepson proves herself adept enough for Sesto and Zerlina. Mr. Kwiecien's robust baritone is a treat to hear in Verdi, and he and Mr. Ruminski sing a wonderful PURITANI duet. The orchestra plays well and while one might wish the conductor was a bit more "accommodating" to the singers, things move along nicely. This really is, on the whole, an invigorating and tuneful evening's worth of entertainment and a promise of fine things to come.

Average customer rating:

Simply Brilliant!
6 Stars
Alexander-Sergei Ramirez
Mangore, el mago de la guitarra
damned fine Barrios

Music of Barrios

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Aire Latino: Latin American Music for Guitar
Barrios: Guitar Music, Vol. 1
Reflections of Spain: Spanish Favorites for Guitar
Agustín Barrios: Guitar Music, Vol. 2
Nights in the Gardens of Spain

ASIN: B000003D0C
Release Date: 1995-02-28

Tracks:

Un Sueno En La Floresta
Gavota Madrigal
Danza Paraguaya No. 1
Danza Paraguaya No. 2: Jha, Che Valle!
Danza Paraguaya No. 3 : London Carape
Julia Florida
Vals, Op. 8, No. 3
Vals De Primavera
Vals Tropical
Vals, Op. 8, No. 4
Las Abejas
Fabiniana
Mazurka Apasionata
Pais De Abanico
Cueca
I. Preludio (Saudade)
II. Andante Religioso
III. Allegro Solemne
A Mi Madre
Caazapa
Una Limosna Por El Amor De Dios

Customer Reviews:

Simply Brilliant!.......2007-02-02

I have both Russell and Williams and just finished giving Williams a five star review as well. Yep: I cannot help you by pointing to one or the other as being better in any way. Williams is very direct and tackles each piece effortlessly, and in particular executes the tambora technique better than Russell, (or at least, it's recorded better). Russell meanwhile (as many point out) has a peculiar ability to inject more mood and/or feeling into a given piece - not just the (boring) drama of slower numbers either, but also the excitement and energy of faster numbers. Because of this it's really well worth your while to pick up EVERYTHING Russell has recorded: I've yet to encounter something I didn't like a LOT.

I particularly enjoy the Danza Paraguaya tunes featured here, but prefer Williams for Cueca, and for his inclusion of Maxixa and Aconquija... in short: you've got to get both to fully appreciate the genius of Barrios!

6 Stars.......2007-01-11

This is some of the most difficult guitar music ever written. David Russell makes these pieces sound like they were of average difficulty and his spontaneity is incredible. Much more spontaneous than Williams. Williams takes some liberty when making chord changes, etc. and it almost becomes redundant and boring. Russell does none of that. All of the pieces are flowing and absolutely beautiful. The feeling of the pieces comes shining through. There is so much going on in this music which makes it so interesting and Russell overlooks nothing. Much of these compositions sound like there are two guitars as you will see when you listen to this. There is no guitar composition like a Barrios composition. Amazing.

Alexander-Sergei Ramirez.......2006-08-25

I think I've listen 5-6 different versions for many of Barrios works. From all of them, the one that stands out is the CD from Alexander-Sergei Ramirez.

Mangore, el mago de la guitarra.......2006-07-17

Mangore sigue siendo el mago de la guitarra. lo considero a la altura de Andres Segovia o superior pues también era compositor.
El interprete de este volumen es increiblemente bueno, tanto en la parte tecnica como lo interpretativo. pocas interpretaciones había escuchado tan bien logradas y me sorprendi al ver la pieza "a mi madre" pues consideraba que tenia todas las partituras de Mangore. veo que su produccion sigue dando de que hablar. esta fue una pieza que me conmovio.

damned fine Barrios.......2005-05-31

This is one of the first CDs that I listened to when getting into classical guitar and classical music in general and I couldn't think of a better one for a Barrios lover. Russell's rubato is sparing and tasteful (if you want to hear excessive rubato check out Norbert Kraft) and his tremolo technique is well-honed. He absolutely KILLS "En Sueno en la Floresta" and his "Ultima Cancion" is very moving. And he makes the Waltz Op. 8 No. 4 sound like 2 guitars playing.

This album will always be compared to John Williams's and in the end I think Russell's is better; Williams's reputation for being to mechanistic is well-earned in my opinion and his "Ultima Cancion" doesn't quite do it for me like Russell's does. It's a shame that Julian Bream never extensively recorded this music, it would be interesting to hear what he could do with it.

Average customer rating:

The Complete Caruso

Manufacturer: RCA
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The Complete Recordings, 1902-1920 (Box Set)
Sibelius: The 7 Symphonies; Finlandia; Kullervo; etc.
Rachmaninov: His Complete Recordings
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ASIN: B0001TSWQO
Release Date: 2004-11-09

Average customer rating:

Valuable compendium
Rareties available on CD at last!
Heavenly
WHO ELSE CAN SING LIKE THIS TODAY?

The Art of Joan Sutherland

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Joan Sutherland: BBC-Recitals 1958, 1960, 1961
The Art of the Prima Donna
La Stupenda ~ The Supreme Voice of Joan Sutherland
Serate Musicali
The Voice of the Century

ASIN: B000654OUQ
Release Date: 2005-03-15

Customer Reviews:

Valuable compendium.......2007-01-24

This set is extremely valuable, not only as an overview of Dame Joans career but because it contains three complete LP sets that have been very hard to find. The sets are the 2 LP French opera (operetta) set, the Mozart album and the Wagner album. Although some of these do not show her to her best advantage (the Wagner set) they all have some very beautiful things and the French items are superb. The annotations and photos are interesting as well and there are some piano songs with Bonynge that are released here for the first time along with a scene from a live Covent Garden Norma.

Rareties available on CD at last!.......2006-03-29

While Joan Sutherland has recorded a number of impressive aria collections throughout the many years of her recording career, they tend to get lost in the shuffle of the countless reissues Decca/London has endlessly repackaged. While some of the original collections have appeared intact on CD--"The Art of the Prima Donna," "The Age of Bel Canto," "Love Live Forever" (her operetta collection that was originally titled "The Golden Age of Operetta"), to name a few--others are currently represented in the CD catalogue by only a few selections on discs that also include excerpts from complete opera recordings or duplicates of selections from other original collections. As a result, it has been impossible to assemble a CD collection of her recordings without a LOT of duplication, and some of the most interesting collections are still unavailable (e.g. "Command Performance" and "Serate Musicale").

While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.

I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.

Heavenly.......2006-01-31

I first heard of Dame Sutherland while on the internet while listening to a internet radio station. I was instantly a fan, her control, technique, and tone is perfectly executed and rivals the equally fantastic Maria Callas. She has a powerful voice and presence that will evoke every emotion from her listeners. Highly recommended to all Opera Diva fans.

WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10

This is Decca's second multi disc evaluation of this fantastic singer's long career and many recordings. True that a lot on the first set is duplicated here, but there are a few exceptions here and there that make it a worthy addition. Of particular interest are the very early items of Handel and Italian baroque arias, some forgotten song recordings and a live performance of the duet from Norma. It can't be said too many times - who can sing like this today? For sheer vocalism it's hard to find anyone on the same wavelength. This set will give very young opera goers an idea of what they missed.

Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan

Average customer rating:

A Leonora For All Time
The greatest Leonora!
Brilliant!
The best Leonora forever
Beautiful and amazing

Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano
Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan
Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (2 complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan
Puccini: Manon Lescaut (complete opera) with Maria Callas, Giuseppe di Stefano, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B000002RY8
Release Date: 1997-08-19

Tracks:

Act One, Scene One: All'erta! All'erta! - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Di Due Figli Vivea Padre Beato - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Abbietta Zingara, Fosca Vegliarda! - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Brevi E Tristi Giorni Visse - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Sull'orlo Dei Tetti - Nicola Zaccaria
Act One, Scene One: Che Piu T'arresti? - Maria Callas
Act One, Scene One: Tacea La Notte Placida - Maria Callas
Act One, Scene One: Quanto Narrasti Di Turbamento M'ha Piena L'alma! - Maria Callas
Act One, Scene One: Di Tale Amor - Maria Callas
Act One, Scene One: Tace La Notte! - Rolando Panerai
Act One, Scene One: Il Trovator! Lo Tremo!...Deserto Sulla Terra - Rolando Panerai
Act One, Scene One: Anima Mia!...Piu Dell'usato - Coro Del Teatro Alla Scala, Milano
Act One, Scene One: Di Geloso Amor Sprezzato - Maria Callas
Act Two, Scene One: Vedi! Le Fosche Notturne - Coro Del Teatro Alla Scala, Milano
Act Two, Scene One: Stride La Vampa! - Fedora Barbieri
Act Two, Scene One: Mesta E La Tua Canzon! - Giuseppe Di Stefano
Act Two, Scene One: Soli Or Siami - Coro Del Teatro Alla Scala, Milano
Act Two, Scene One: Condotta Ell'era In Ceppi - Coro Del Teatro Alla Scala, Milano
Act Two, Scene One: Non Son Tuo Figlio! - Coro Del Teatro Alla Scala, Milano
Act Two, Scene One: Mal Reggendo All'aspro Assalto - Giuseppe Di Stefano
Act Two, Scene One: L'usato Messo Ruiz Invia!...Mi Vendica! - Renato Ercolani
Act Two, Scene One: Perigliarti Ancor Languente - Giuseppe Di Stefano
Act Two, Scene Two: Tutto E Deserto - Coro Del Teatro Alla Scala, Milano
Act Two, Scene Two: Il Balen Dei Suo Sorriso - Coro Del Teatro Alla Scala, Milano
Act Two, Scene Two: Qual Suono! Oh Ciel! - Coro Del Teatro Alla Scala, Milano
Act Two, Scene Two: Per Me Ora Fatale - Coro Del Teatro Alla Scala, Milano
Act Two, Scene Two: Ah! Se L'error T'ingombra - Rolando Panerai
Act Two, Scene Two: Perche Piangete? ... O Dolci Amiche (Leonora, Ines, Conte, Coro) - Maria Callas
Act Two, Scene Two: E Deggio Posso Crederlo? - Maria Callas

Tracks:

Act Three, Scene One: Or Co' Dadi, Ma Fra Poco - Nicola Zaccaria
Act Three, Scene One: In Braccio Al Mio Rival! - Coro Del Teatro Alla Scala, Milano
Act Three, Scene One: Giorni Poveri Vivea - Coro Del Teatro Alla Scala, Milano
Act Three, Scene One: Deh! Rallentate, O Barbari - Rolando Panerai
Act Three, Scene Two: Quale D'armi Fragor - Maria Callas
Act Three, Scene Two: Ah Si, Ben Mio, Coll'essere Io Tuo - Giuseppe Di Stefano
Act Three, Scene Two: L'onda De Suoni Mistici Pura Discenda Al Cor! - Maria Callas
Act Three, Scene Two: Di Quella Pira, L'orrendo Foco - Renato Ercolani
Act Four, Scene One: Siam Giunti, Ecco La Torre - Maria Callas
Act Four, Scene One: D'amor Sull'ali Rosee - Maria Callas
Act Four, Scene One: Miserere... Quel Suon, Quelle Preci - Maria Callas
Act Four, Scene One: Di Te, Di Te Scordami Di Te - Maria Callas
Act Four, Scene One: Udiste? - Coro Del Teatro Alla Scala, Milano
Act Four, Scene One: Mira, D'acerbe Lagrime - Coro Del Teatro Alla Scala, Milano
Act Four, Scene One: Conte! ... Ne Basti! - Coro Del Teatro Alla Scala, Milano
Act Four, Scene One: Colui Vivra...Vivra! Contende Il Giubilo - Maria Callas
Act Four, Scene Two: Madre, Non Dormi? - Coro Del Teatro Alla Scala, Milano
Act Four, Scene Two: Si, La Stanchezza Mopprime - Coro Del Teatro Alla Scala, Milano
Act Four, Scene Two: Ai Nostri Monti Ritorneremo - Giuseppe Di Stefano
Act Four, Scene Two: Che! Non M'inganna - Coro Del Teatro Alla Scala, Milano
Act Four, Scene Two: Parlar Non Vuoi?...Ha Quest'infame L'amor Venduto - Coro Del Teatro Alla Scala, Milano
Act Four, Scene Two: Ti Scosta! - Maria Callas
Act Four, Scene Two: Prima Che D'altri Vivere - Maria Callas

Amazon.com essential recording

Maria Callas's voice was never noted for its sheer beauty, but she was in her best form for this session and she knew exactly what to do with what she had. She might not make the distraught figure of Leonora rationally credible, but she knows more about acting with her voice than anyone this side of Sir John Gielgud. And she puts Leonora's emotions, her vulnerability, her whole-hearted, self-sacrificial love, squarely before the listener. Herbert von Karajan's conducting brings logical coherence to a work not noted for that quality. In short, this is vintage Callas, at the top of her form in some of the greatest music and some of the most intensely emotional situations ever devised for a soprano. Von Karajan--young and not yet burdened with the mannerisms of his later years, is an ideal partner. The other singers, though dwarfed by Callas, provide substantial support. --Joe McLellan

Customer Reviews:

A Leonora For All Time.......2006-04-08

I have always considered the Trovatore Leonora to be one of Callas's very greatest roles. Here , less obscured by her undoubted dramatic gifts, we can enjoy the pure musicality of her singing. The timbre is perfect for Leonora - dark, plangent & (apart form at the very top of her register)surpassingly beautiful. The role displays her perfect legato, incredible breath control & accurate coloratura. She also has a wonderful understanding of just how to phrase a Verdian cadenza, quite different from anything she would do in Bellini or Donizetti. You only have to hear her first few phrases to know that this Leonora is an aristocrat. Leontyne Price is undoubtedly another great Leonora, and she too has a voice perfectly suited to the role, but occasionally she mars the vocal line with unmusical cadenzas, appearing more interested in laying out her voice for admiring display, where Callas is more intent on letting us hear Verdi. The rest of the cast is just about as perfect as was possible at the time & a good deal better than anything we could manage today. True, Di Stefano lacks the requisite weight, but he sings with such face, it is readily forgiven. His "Di quella pira" may not have the heroic heft of a Corelli, but he sings "Ah, si ben mio" quite beautifully. Panerai, Barbieri & Zaccaria could hardly be bettered & Karajan was at this time the perfect conductor for the project. He conducts with great style & dash, while at no time apologising for the occasional vulgarities in the score. More modern recordings are uncut & here we have the cuts traditional at the time, but at least we get one verse of Leonora's cabaletta "tu vedrai". The sound has also been remarkably well freshened up in it's present transfer. Unless you really have to have modern stereo digital sound, buy it. And, even if you have another recording, acquire this as well. You won't regret it!

The greatest Leonora!.......2004-07-02

I couldn't agree more with the reviews stating that Callas' Leonora is unsurpassed. Björling called this Leonora "sheer perfection". Unbeatable!

Brilliant!.......2004-06-13

The dream-team Callas-di Stefano comes together once more to record I'll Trovatore! And how beautifully they did it! Herbert von Karajan's conducting is supreme, Callas sings the definite Leonora, di Stefano sounds passionate and loving as Manrico and Barbieri kicks ass as Azucena. To the guy who said that if Callas had Milanov as a rival she'd fall on her face, Callas and Milanov performed at the same time! So there! The best Trovatore ever!

The best Leonora forever.......2004-05-16

Period! Di Stefano sounds surprisingly on fire as the ill-fated Manrico, Barbieri COMMANDS as Azucena and Panerei is a fabulous di Luna. Von Karajan conducts mastefully. Not the only Trovatore but one of the very best!

Beautiful and amazing.......2004-04-04

This Trovatore has been called a landmark by critics and fans alike. Callas in in exquisite form, di Stefano sounds passionate, ardent and luscious and Panerei is a surprisingly fierce di Luna. Von Karajan conducts this PERFECTLY. Buy this and marvel at a vocal wonder!

Average customer rating:

Excellent Solo Debut
First rate album!
Phenomenal Player!

Jens Lindemann: Flying Solo
Eden Ahbez , Alexander Arutiunian , Samuel Barber , Fryderyk Chopin , Claude Debussy , George Gershwin , Percy Grainger , Jeno Hubay , Jens Lindemann , Franz Liszt , Fernando J. Obradors , Rob Parisi , Bobby Troup , Thomas (Fats) Waller , Clarence Williams , Brad Ellis , and Jennifer Snow
Manufacturer: Marquis Music
ProductGroup: Music
Binding: Audio CD

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Jens Lindemann: Rising Sun
Caprice - Alison Balsom
Amanda
Bach: Works for Trumpet
Music for Trumpet and Organ

ASIN: B00007JTXJ
Release Date: 2003-06-24

Tracks:

Girl With the Flaxen Hair
Handful of Keys
Sugar Blues
Vito
Amazing Grace Variations
Danny Boy
Three Preludes
Three Preludes (Continued)
Three Preludes (Continued)
Oh Quand Je Dors
Etude Op. 10, No. 2
Hejre Kati
Sure on This Shining Night
Nature Boy
Irish Washerwoman
Their Hearts Were Full of Spring
Nocturne Op. 9, No. 2
Al Amor
Del Cabello Mas Sutil
Con Amores, La Mi Madre
Elegy
Play That Funky Music

Product Description

As both a soloist and former lead trumpet of the world-renowned Canadian Brass for five years, Jens Lindemann has developed a critically acclaimed career as an international virtuoso. This new solo CD is a perfect showcase for his talent. He is accompanied by pianists Jennifer Snow and Brad Ellis.

Customer Reviews:

Excellent Solo Debut.......2006-09-12

Lindemann's musicality, technique, and showmanship is evident
here on a very high level. Of particular interest is
his very effective use of plunger to subtly modify his sound.
The Gershwin preludes are especially entertaining. He uses
the extreme high high register a bit more frequently than
I would wish, but with high range this strong, it's easy to
see why he would want to use it.

This is, overall, extremely musical playing. Minor quibbles
can be made about intonation in some spots, but the listener
will forgive these when the playing is so infectious and
the tone so fine. I found myself laughing on occasion because
I was having so much fun listening to what the artist was doing
with these pieces. It is apparent that Lindemann and his fine
accompanists were having a great time with this music. Buy this
disc and you will too.

First rate album!.......2006-03-06

Jens Lindemann really makes a name for himself with this album. Anyone who enjoys trumpet music will probably enjoy this. Jens is a true master at mixing jazz, pop and classical styles seamlessly. This album has a good mix of classical and jazz hits to suit anyone's taste. After first hearing Jens' beautiful tone when he played with the Canadian Brass, I was eagerly awaiting his first solo album. I had no idea his talent was so immense until I heard some of the songs on this album. His arrangement of Chopin's Etude No. 2 requires circular breathing for the entire piece. I think his variations on Amazing Grace are the best I've ever heard. There is even some insanely high stuff for those of you who like a little squealing now and then! ;)

Phenomenal Player!.......2005-12-01

Jens is one of the few trumpet players out there that can move with me a single note. There are some great tracks on this CD that showcase his technical brilliance, but most of the tracks show off his lyrical ability, especially the first track. My only personal complaint was with the choice of some of the 'pop' tracks - they just aren't really my kind of music, but Jens plays everything with wonderful clarity and fluidity (as expected).

Average customer rating:

Still the Best
The best for many years, but now surpassed
A Classic Trovatore --- but by far not the best!
A REMINDER OF THE WAY OPERA USED TO SOUND!
Down with the director!!

Verdi: Il Trovatore

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Mascagni: Cavalleria Rusticana
Verdi: Aida
Verdi: Rigoletto
Puccini: Manon Lescaut
Puccini: Tosca

ASIN: B000003EPY
Release Date: 1990-10-25

Tracks:

Il Trovatore: All'erta, all'erta
Il Trovatore: Di due figli vivea
Il Trovatore: Che piu t'arresti
Il Trovatore: Tacea la notte placida
Il Trovatore: Di tale amor che dirsi
Il Trovatore: Tace la notte
Il Trovatore: Deserto sulla terra
Il Trovatore: Non m'inganno
Il Trovatore: Di geloso amor sprezzato
Il Trovatore: Vedi! Le fosche notturne spogile (Anvil Chorus)
Il Trovatore: Stride la vampa!
Il Trovatore: Soli or siamo
Il Trovatore: Condotta ell'era in ceppi
Il Trovatore: Non son tuo figlio?
Il Trovatore: Mal reggendo
Il Trovatore: Inoltra il pie
Il Trovatore: Perigliarti ancor languente
Il Trovatore: Tutto e deserto
Il Trovatore: Il balen del suo sorriso
Il Trovatore: Quel suono! Oh cie!
Il Trovatore: Per me ora fatale
Il Trovatore: Ah se l'error t'ingombra
Il Trovatore: Perche piangete
Il Trovatore: E deggio e posso crederlo

Tracks:

Il Trovatore: Or co'dadi
Il Trovatore: Squilli, echeggi la tromba guerriera
Il Trovatore: In braccio al mio rival
Il Trovatore: Quale d'armi fragor poc'anzi intesi
Il Trovatore: Ah, si ben mio
Il Trovatore: L'onda de' suoni mistici
Il Trovatore: Di quella pira
Il Trovatore: Siam giunti
Il Trovatore: D'amor sull'ali rosee
Il Trovatore: Miserere d'un'alma gia vicina
Il Trovatore: Udiste?
Il Trovatore: Mira, di acerbe lagrime
Il Trovatore: Vivra contende il giubilo
Il Trovatore: Madre, non monti?
Il Trovatore: Ai nostri monti
Il Trovatore: Che, non m'inganno

Amazon.com

This is the most beautifully sung Il Trovatore on record, but is by no means the most dramatic and is far from the best-conducted. Those who insist on stereo sound (which has substantial advantages for opera recordings in terms of dramatic presence and impact) may opt for the Zubin Mehta or James Levine treatments. But Jussi Bjoerling and Leonard Warren respond intensely to the score theatrically and, above all, musically, Zinka Milanov sings with a haunting beauty most of the time, Fedora Barbieri approaches the role of the Gypsy woman Azucena as if she were born to sing it, and the relatively small, well-disciplined chorus sings with a clarity and precision comparable to that of Levine's powerful Metropolitan Opera Chorus. --Joe McLellan

Customer Reviews:

Still the Best.......2005-03-25

Despite shortcomings, such as mediocre conducting, cuts and the "old" sound, not least the miscast tenor, this "Trovatore" remains unsurpassed for the beauty of singing. Milanov is simply the best Leonora ever, both in her grand arias and the dramatic coloratura segments. Bjoerling is not heroic enough for my taste. He is perfect for "Ballo," "Faust" and "Manon," but not for "Aida" or "Il Trovatore." But he makes up for the lack of heroic stature with the beauty of voice and singing. If only Milanov could sing this opera with Corelli, what a glorious "Trovatore" that would be!

The best for many years, but now surpassed.......2003-11-04

Most of the reviewers below have covered the majority of good and bad points about this recording, so I will be brief. Beautiful and mostly accurate singing but lacking dramatic credibility from the soprano and tenor; decent conducting but a terrible, thin-sounding orchestra; no sense of "sound-staging," very little drama except from Barbieri and Warren, and a very incomplete version of the score with numerous large and small cuts.

Of competing versions, pride of place goes to the new Ghiorghiu-Alagna set, even though Alagna pushes the voice a little too hard at times and holds the high C in "Di quella pira" well beyond its written length. The 1970 Mehta set has a good Leonora in Price and a decent Manico in Domingo, but Milnes' baritone lacks the proper bite for Di Luna and Cossotto is a joke as Azucena once one has heard Barbieri or Diadkova.

So, basically, we are still waiting for a really great "Trovatore." If you like Milanov and Bjorling, get this set. If you want a good balance between singing, drama and completeness, get the Pappano-Alagna set.

A Classic Trovatore --- but by far not the best!.......2003-01-23

This 1952 set has been acclaimed since its debut, and while it does feature some of the most passionate Italian singing on disc, it is poorly conducted and hopelessly boring. Bjoerling is second-rate (at best), and Cellini never quite captures the dramatic urgency of this gripping work. But the RCA Victor orchestra plays well in spite of it all, and the chorus work is most impressive.

Still, this recording is a must-own for its two leading women, Zinka Milanov and Fedora Barbieri, the latter being indisputably the best Azucena on disc. Zinka Milanov is ideal as Leonora, better than even Antonietta Stella on Serafin's recording; though she doesn't deliver as much intensity as Callas in Herbert von Karajan's inspired performance (who would?), she sings with soaring beauty and smart, focused characterization. The highlight, though, is the exquisite Azucena of Fedora Barbieri, one of the most underrated singers of the 20th century. She is glorious and exciting, bringing some much-needed thrill to this otherwise lackluster performance. She can also be found the aforementioned von Karajan set -- but believe it or not, she's better here.

Here's a summary of great Trovatore recordings: One of the best efforts, in certainly the best sound, is Mehta's 1970 recording with Domingo and Price as the leading roles. It's fantastic, with an all-star cast and superb orchestral work. I've mentioned von Karajan's more than once on this review, and his recording with Callas, di Stefano and Barbieri is a supreme addition to the catalogue. Callas fans should snatch it up without a moment's pause. But don't get it if you want sheer vocal perfection from the leading roles. I guess my No. 1 Recommendation is actually Tullio Serafin's version with Bergonzi as my favorite Manrico of all time. Other cast highlights include Antonietta Stella as a wonderful Leonora and Fiorenza Cossotto as a frightening Azucena. Enjoy!

A REMINDER OF THE WAY OPERA USED TO SOUND!.......2002-08-18

I'm going to make this very short and to-the-point. They simply don't sing like this anymore ----- sopranos and tenors
like Milanov and Bjoerling are an extinct breed, and we are the poorer for it. Ditto for Fedora Barbieri and Leonard Warren ------- two more outstanding singers ---- all of whom could be heard regularly at the Metropolitan Opera in the 1950's. But then again, so were many other great singers. We don't have voices like this today --- and one hearing of this recording of "Trovatore" sadly proves it. Recorded in 1952, it still sounds acceptable --- and no subsequent "Trovatore" has matched it, though the famous 1962 broadcast from Salzburg with Leontyne Price, Franco Corelli, Giulietta Simionato, and Ettore Bastianini, all under the baton of Herbert von Karajan, comes the closest.

Down with the director!!.......2002-06-11

I think this is a nice version from Trovatore, but musicaly, It lacks of intensity and drama coming from Cilario and Bjoreling. I must admit that Milanov, Merril and Barbieri are superb in each of their roles, but I didn't like that much Bjorleing's singing in this opera. With so little power in his "di quella pira". Good but not great!
As for the director I don't understand how they let him direct an orchestra!! he is Owghfull, no strenght. Maybe I'm overreacting with Cillario, but I heard so much better performances of the orchestra than this, an when I come back and listen to this one I get every day more disapointed.
Is a good choice if you think in the singers, but a terrible one if you think in the director.
Listen to Correlli's, Pryce version.

Average customer rating:

Tebaldi at her best!
Tebaldi the Great
A legacy for the ages!
Best Collection
Modified rapture

La Tebaldi

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Very Best of
The Best of Tebaldi
Grandi Voci: Renata Tebaldi
Verdi: Il Trovatore
Renata Tebaldi: Aria & Scenes

ASIN: B0000041Y8
Release Date: 1991-08-09

Tracks:

Madama Butterfly: Un bel dvedremo
La Boheme: Si, mi chiamano Mimi
TOSCA: Vissi d'arte
Mefistofele: L'altra notte
Aida: Ritorna vincitor
Otello: Mia madre aveva...Piangea cantando...Ave Maria - Verdi
Il Trovatore: Siam giunti...D'amor sull'ali rosee
Verdi: Pace, pace, mio Dio!
Guglielmo Tell: S'allontanano alfine!...Selva opaca
Adriana Lecouvreur: Ecco, respiro appena...Io son l'umile ancella
Cecilia: Grazie sorelle

Tracks:

Gianni Schicchi: O mio babbino caro
Suor Angelica: Senza mamma, o bimbo
Andrea Chenier: La mamma morta
La Wally: Ebben?... Ne andro lontana
Don Carlo: Tu che la vanit
Un Ballo in Maschera: Ecco l'orrido campo...Ma dall'arido stelo divulsa
Un Ballo in Maschera: Morro, ma prima in grazia
Giovanna d'Arco: Oh ben s'addice...Sempre all'alba
Turandot: In questa reggia
La Gioconda: Suicidio!
La rondine: Sogno di Doretta
Cavalleria Rusticana: Voi lo sapete
L'arlesiana: Esser madre e un inferno

Customer Reviews:

Tebaldi at her best!.......2007-04-07

I'd highly recommend these CDs!They have a little of everything. They'd make an excellent addition to anyone's opera collection. Her voice is etherial!

Tebaldi the Great.......2007-02-19

Renata Tebaldi is one of the glorious voices of the past half century. Recordings here come from the 1950s and 1960s. She had a sumptuous spinto voice, clearly manifest on this 2 CD set. Here are some of her "greatest hits." As would be expected, the repertoire of Puccini and Verdi is heavily represented here.

She "leads off" with "Un bel di" from Puccini's "Madame Butterfly." Her voice brings life to this aria; her characterization is right on. At the point, where the volume of her voice increases, the sound remains lush; there is no bleating or ugliness in her singing.

There follow two more classic Puccini arias that Tebaldi does justice to. "Si, mi chiamano Mimi" from "La Boheme" is a wonderful version of this work. She captures the poignancy in Mimi's character. Her work here can probably justly be termed "iconic." In short, this is a ravishing turn by "La Tebaldi." So, too, is her take of "Vissi d'arte" from "Tosca." One can understand the enthusiasm of her claque at La Scala as one listens to her singing. Her rich voice fits these roles nicely; her characterization is well rendered. Her version of "Ritorna vincitor" from Verdi's "Aida" is also well done. Her voice richly captures the character and fits the music well.

Verdi and Puccini are not the only composers represented on this 2 CD set. Also recorded are her singing Boito ("Mefistofele"), Rossini ("William Tell"), Cilea ("Adriana Lecouvreur"), Giordano ("Andrea Chenier"), Catalani ("La Wally"), and so on. Once more, the selection of music in this set well represents her body of work.

All in all, a satisfying selection of "the greatest hits" of Renata Tebaldi. The "liner notes" conclude by referring to her as possessing "a perfect voice of bewitching beauty." I'm not sure that anyone can achieve perfection (the statement has a bit of hyperbole); nonetheless, her voice is ravishing as already noted. Those interested in her recorded oeuvre would be well rewarded by acquiring this work. The CDs serve well to introduce "La Tebaldi" to those who may not have heard her before. Such listeners will be richly rewarded by that introduction.

A legacy for the ages!.......2001-02-23

Perhaps the greatest spinto and certainly among the greatest sopranos of all times, with an extremely powerful, amazingly beautiful instrument, Renata Tebaldi on this set heard in some of her best moments! I will not repeat comments on her beautiful voice since it often overshadows the pathos with which she performed each role. To me, she knew exactly where to draw the line between acting and singing. Not too much to become annoying, not too little to become boring. This compilation also shows how versatile this soprano was, with repertoire ranging from Puccini and Verdi to Rossini and even Wagner (though no Wagner aria is heard on this particular double cd). In her early years she also performed Mozart roles!

Her Puccini arias will make the most demanding listener cry. Her verdian heroines, enriched with her personal touch, are of exceptional value. Her Desdemona (Otello), Donna Leonora (Forza del destino) and Aida stand perhaps out. Her many verisimo roles sooo moving, full of sorrow and pain, exactly how they are supposed to sound. Just listen to "La mamma morta"! An unsurpassed shocking experience! A previous reviewer (F.W.Barton) correctly mentioned that not all moments are from her complete studio recordings, so this is a unique chance to enjoy alternative Tebaldi performances. Strongly recommended!!!!

Best Collection.......2001-01-11

If you love the warmth and power of Renata Tebaldi then this collection is for you. This has Two CD's of her best works. My favorites are her "o mio babbino caro" her tosca which isnt as dramatic as callas but has a vocal warmth in that aria that makes her voice so perfect for the aria. Another soothing aria would be her Un del di from Butterfly what sweetness and amazing finish to that aria!!! Her amazing power was noticed in La mamma morta and In questa reggia ( which was sooo good that it made me wonder WHY DIDNT SHE SING THIS ROLE ON STAGE) oh and of course her Suicido was also very well done.....Renata Tebaldi was without a doubt one of the best of the century...and this collection proves it.

Modified rapture.......2000-04-24

I bought this collection of Tebaldi's Decca recordings with the hope to experience some great singing. However, I can't help feeling a bit disappointed in the end. There are some thrilling performances here, for example, the dark, passionate renditions of the arias from La Gioconda and L'arlesiana, but overall, the achievements are rather uneven. Tebaldi certainly possesses a most beautiful and powerful voice, something to take bath in. Yet, she evinces little of the psychological insights, intense pathos and interpretive individuality of Claudia Muzio, Meta Seinemeyer, Maria Callas and Leonie Rysanek. Compare her performance of 'Ma dall'arido Stelo divulsa' from Verdi's 'Un Ballo in Maschera' with that by Leonie Rysanek (On RCA Living Stereo): The aria is magnificently vocalised by Tebaldi, but it is Rysanek who effectively combine vocal opulence with dramatic insights, evincing Amelia's exteme desperations. Perhaps Tebaldi was constrained by the restrictions and protocols of recording studios and unable to realise her full dramatic potentials --- in this case she is best heard on live recordings where we could experience her in full flight. Furthermore, the 1964 Come back album items on the second disc demonstrate a voice that has lost much of its pristine freshness and youthfulness, even though there are exciting things to hear. Still, the beauty of the voice and the sincerity of utterances are there for us to experience. For ardent Tebaldi fans, this is definitely a must, but for those looking for truly great singing and acting, you might want to look elsewhere for Tebaldi's live recordings and Maria Callas, etc.

Average customer rating:

Was there ever a more exciting night at Salzburg?
Must We Forget Leontyne Price?
An old friend returns, yet again
A minority opinion on this famous Trovatore
A riveting live performance

Verdi: Il Trovatore

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Mascagni - Cavalleria rusticana / de Los Angeles · Corelli · Santini ~ Leoncavallo - Pagliacci / Corelli · Gobbi · Amara · von Matacic
Guiseppe Verdi: Aida
Puccini: Turandot
La Tebaldi
Puccini: Tosca

ASIN: B0000012WQ
Release Date: 2005-09-13

Tracks:

Part I, Scene 1: 1. Intro: 'All' Erta! All' Erta!' - Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
Part I, Scene 1: Racconto: 'Di Due Figli Vivea Padre Beato...Abbietta Zingara'/'Sull'orlo Dei Tetti' - Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
Part I, Scene 2: 2. Scena E Cavatina: 'Che Piu T'arresti?' - Laurence Dutoit/Leontyne Price
Part I, Scene 2: 2. Scene E Cavatina: 'Tacea La Notte Placida...Di Tale Amor' - Leontyne Price/Laurence Dutoit
Part I, Scene 2: 3. Scena, Romanza E Terzetto: 'Tace La Notte!' - Ettore Bastianini
Part I, Scene 2: 3. Scena, Romanza E Terzetto: 'Deserto Sulla Terra' - Franco Corelli/Ettore Bastianini/Leontyne Price
Part II, Scene 1: 4. Chor Di Zingari E Canzone: 'Vedi! Le Fosche Notturne Spoglie' - Chor Der Wiener Staatsoper/Roberto Benaglio
Part II, Scene 1: 4. Chor Di Zingari E Canzone: 'Stride La Vampa!' - Giulietta Simionato/Chor Der Weiner Staatsoper/Roberto Benaglio/Franco Corelli/Rudolf Zimmer
Part II, Scene 1: 5. Scena E Racconto: 'Soli Or Siam!'/'Condotta Ell'era In Ceppi' - Franco Corelli/Giulietta Simionato
Part II, Scene 1: 6. Scena E Duetto: 'Non Son Tuo Figlio?...Mal Reggendo All'aspro Assalto' - Franco Corelli/Giulietta Simionato
Part II, Scene 1: 6. Scena E Duetto: 'L'usato Messo Ruiz M'invia!' - Franco Corelli/Giulietta Simionato/Kurt Equiluz
Part II, Scene 2: 7. Scena Ed Aria: 'Tutto E Deserto' - Ettore Bastianini/Nicola Zaccaria
Part II, Scene 2: 7. Scena Ed Aria: 'Il Balen Del Suo Sorriso' - Ettore Bastianini
Part II, Scene 2: 7. Scena Ed Aria: 'Qual Suono! Oh Ciel!' - Ettore Bastianini/Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
Part II, Scene 2: 8. Finale II: 'Ah! Se L'error T'ingombra'/'Perche Piangete?' - Leontyne Price/Laurence Dutoit/Ettore Bastianini/Chor Der Wiener Staatsoper/Roberto Benaglio
Part II, Scene 2: 8. Finale II: 'E Deggio, E Posso Crederlo?' - Leontyne Price/Ettore Bastianini/Franco Corelli/Nicola Zaccaria/Laurence Dutoit...

Tracks:

Part III, Scene 1: 9. Chor D'Introduzione: 'Or Co' Dadi...Squilli, Echeggi La Tromba Guerriera' - Chor Der Wiener Staatsoper/Roberto Benaglio/Nicola Zaccaria
Part III, Scene 1: 10. Scena E Terzetto: 'In Braccio Al Mio Rival!' - Ettore Bastianini/Nicola Zaccaria/Giulietta Simionato/Chor Der Wiener Staatsoper/Roberto Benaglio
Part III, Scene 1: 10. Scena E Terzetto: 'Giorni Poveri Vivea' - Giulietta Simioinato/Nicola Zaccaria/Ettore Bastianini/Chor Der Wiener Staatsoper/Roberto Benaglio
Part III, Scene 2: 11. Scene Ed Aria: 'Quale D'armi Fragor Poc'anzi Intesi?' - Leontyne Price/Franco Corelli
Part III, Scene 2: 11. Scene Ed Aria: 'Ah! Si, Ben Mio' - Franco Corelli
Part III, Scene 2: 11. Scene Ed Aria: 'L'onda De' Suoni Mistici' - Leontyne Price/Franco Corelli/Siegfried Rudolf Frese
Part III, Scene 2: 11. Scene Ed Aria: 'Di Quella Pira' - Franco Corelli/Siegfried Rudolf Frese/Chor Der Wiener Staatsoper/Roberto Benaglio
Part IV, Scene 1: 12. Scena, Aria E Miserere: 'Siam Giunti; Ecco La Torre' - Siegfried Rudolf Frese/Leontyne Price
Part IV, Scene 1: 12. Scena, Aria E Miserere: 'D'amor Sull'ali Rosee' - Leontyne Price
Part IV, Scene 1: 12. Scena, Aria E Miserere: 'Miserere'/'Ah! Che La Morte Ognora' - Chor Der Wiener Staatsoper/Roberto Benaglio/Leontyne Price/Franco Corelli
Part IV, Scene 1: 13. Scena A Duetto: 'Udiste? Come Albeggi' - Ettore Bastianini/Leontyne Price
Part IV, Scene 1: 13. Scena A Duetto: 'Vivra! Contende Il Giubilo' - Leontyne Price/Ettore Bastianini
Part IV, Scene 2: 14. Finale Ultimo: 'Madre, Non Dormi?' - Franco Corelli/Giulietta Simionato
Part IV, Scene 2: 14. Finale Ultimo: 'Si, La Stanchezza M'opprime, O Figlio'/'Ai Nostri Monti' - Giulietta Simionato/Franco Corelli
Part IV, Scene 2: 14. Finale Ultimo: 'Che! Non M'inganna Quel Fioco Lume?...Ha Quest'infame L'amor.. - Franco Corelli/Leontyne Price/Giulietta Simionato
Part IV, Scene 2: 14. Finale Ultimo: 'Ti Scosta!'/'Non Respingermi' - Franco Corelli/Leontyne Price/Ettore Bastianini/Giulietta Simionato

Customer Reviews:

Was there ever a more exciting night at Salzburg?.......2006-11-26

Herbert von Karajan was a conductor who made a specialty out of Il Trovatore, and that influence can be seen directly in his handling of the score with De Sabata's orchestra six years earlier. Here, with six years trailing that magnificent recording, we find Karajan in demented form, carressing Verdi's score with passion, pathos, lyricism, and beauty, and driving the Vienna forces with that unique verve which made his Verdi so unique. I believe this is the best recording of Il Trovatore, despite the recording flaws, and with the magnificent cast, it is not easy to see why Deutsche Grammophon coerced the Austrian Broadcasting company to give them the master tapes of this performance. Everything in this performance--the cast, conductor, chorus, and the orchestra--all worked to make this broadcast special, albeit the less-than-ideal sound.

This recording brought Leontyne Price's Leonora to the Salzburg stage, a contribution that was in many ways the ideal combination of vocal beauty, drama, and Verdian sensitivity. Although Price is a lesser Leonora than Maria Callas, she performs very well on this recording, revealing much of Leonora's distress and pathos over Manrico's predicaments. I have never heard a more beautiful Tacea la notte or D'Amor sull'Rosee sung in all the Trovatores I've heard, and she adds a few high notes of her own in bits of the score. A wonderful performance. It was no doubt that Karajan would say that he got goosebumps when he heard her sing.

Corelli is Manrico. He may not have the beautiful legato of Carlo Bergonzi or the smooth discipline of Placido Domingo, but what a Manrico! You could hear a true gyspy in this performer, and he sings with such macho verve that it would be no doubt that Leonora would fall in love with this one tenor. A performance to keep for the ages!

Simionato is Azucena. With Stignani, Cossotto, and Barbieri, Simionato joined these great mezzos in the tier of Azucenas who make this role the center of the opera. She is perhaps the most insightful and powerful mezzo to take the role, and the runs simply pose no problems for her. She is the definitive Azucena, along with today's Dolora Zajick.

Ettore Bastianini is di Luna. Need I say more about this Verdian baritone except that he is excellent in every sense of the word? Bravo!

With Karajan on the podium in demented form, and a cast that matches his pacing word for word, this is probably my Trovatore of choice.

Must We Forget Leontyne Price?.......2006-01-08

I can appreciate all of the reviews given. I wish not so much to review the album of which I have 5 different recordings, but rather to sing the praises of the reviewers that at least acknowledged Leontyne Price. To those who took the time to focus on her performance, justice is finally meted out.

I cannot believe the reviewers who went on and on about Corelli, and the Azucena, and conveiently mentioned Miss Price only in passing or in many cases not at all.

But so much for reviews and reviewers. I can never forget what a teacher of organ, Zubin Mehta's brother, once said to me. Those who can, do. Those who cannot teach, and those with even lesser gifts review those to which they cannot hold a candle.

Thanks to all those reviewers who gave Miss Price the dignity that she deserves. I think history will eventually bear witness to the exceptional gifts of this artist. And to those in question, please read the reviews of Paul Hume circa 1960 from a Washington, DC newspaper, regarding Leontyne Price. He was a reviewer that was the exception.

An old friend returns, yet again.......2005-10-05

This is an old and familiar live performance which has been kicking around in sundry Lp and CD versions for quite awhile. The cast list tells virtually all that anyone needs to know about the thing: Price, Corelli, Bastianini, Simionato, not to mention the Wiener Philharmoniker conducted by Karajan.

I gather this version is in considerably improved sound. Well and good, for some versions have sounded--with the best of good will--pretty awful.

I am giving this only four stars because of Price. Yes, I know that at the time this recording was made she was still a keen and willing performer, not yet immobilized in her diva-hood. Nevertheless, I am simply not willing to give her the benefit of a doubt because I had the misfortune to see her in two live performances, once in "Ballo in maschera" and once in "Il trovatore." One of those two performances was the worst I have ever seen on stage and the other was the second worst--only I am not quite sure which was which. In both cases, she mooched around the stage, ignoring all others, softly crooning to herself until her big solo numbers, then she marched down to the footlights at center stage, faced forward and sang like an angel. That done, and having exhausted the cheers of the audience, she mooched back into the opera, loftily ignoring all others until the final curtain. But forget all that as sour grapes on my part, the fact remains that I can name a half-dozen sopranos easily available on CD who offer Leonoras equal to or better than this one from Price, starting with Bianca Scacciati, way back in 1930.

The previous Amazon reviewer downgraded this recording because of the presence of Corelli, calling him "a ludicrously vulgar Manrico." I do not object to that. Everyone has a right to his or her opinion. I must point out, however, that Manrico is a ludicrously vulgar part in a gloriously, marvelously, ludicrously vulgar opera. (And also this: computers have a wonderful thing called a spell-checker. Use it!)

A minority opinion on this famous Trovatore.......2005-10-05

This must have been a great night at the opera, and thanks to the official Radio Austria tapes, one can hear it in easonable mono sound. the glory of the evening was Leontyne Price, who had already earned herself a half-hour ovation as Leonora when she debuted at the Met. Thanks to the close mike placement, you can hear her quite clearly without distortion, and Karajan does an exemplary job from the pit. Simiantato is also a excellent Azucena, avoiding the out-of-control histrionics usually inflicted on this part and actually singing the notes.

But the good news stops there. The Conte di Luna of Bastianini, well past his vocal prime, is full of hollow tones and hokey overplaying. Corelli was a shameless primo tenore who had no patience for phrasing and no intelligence for much else besides singing as loud as he could and turning his handsome profile to best advantage. He is a ludicrously vulgar Manrico, second only to Tucker, who unfortunately paired with Price on her first Trovatore in 1959 for RCA.

Given all that, I think it's worthwhile to buy the cheapest version of this Trovatore that you can find--I have the super-bargain set from Opera d'Oro--so that you can revel in Price's singing and skip very quickly past Corelli's. The recent reawakening of enthusiasm for this crude singer is beyond me.

A riveting live performance.......2005-04-04

Corelli is quite overwhelming. He is in truly brilliant voice, and sings with great feeling and brio. The duos are all dead-on, and the aria Ah si, ben mio is sung with a longing and melancholia that are quite memorable. Reminds me of Pertile at his best, though Franco, of course, had basically a much finer voice.

As usual, rhythm is the weakest element in Corelli's performance, but Herbert von Karajan, master of rubato, stays with him almost preternaturally, providing a cushion of musical continuity that is like a masterclass in opera conducting. The aria thus becomes an unusual marriage of Italian feeling and Austrian grandeur: quite a performance! (And how the Vienna Philharmonic breathe with von K !!)

The Pira is the one instance when HvK decides not to accomodate: he wants to go very fast, martial style. Franco wants to go considerably slower, and the two are never once together, except in the first High C, which seems to last forever. In the choral/orchestral coda, Karajan forges ahead, as if to say: "I'll show you!". But, at such speed, chorus and orchestra fall apart (the very loud trumpets and percussion end up in different counties!) and then Franco comes in for the kill with a second High C that has to be heard to be believed!! It does last forever! Live!

Part of Corelli's rhythmic issues have to do with von Karajan's love for many different and contrasting speeds. This is absolutely idiomatic in an opera like Trovatore, but not every singer can keep up with that.

One who sure can is Giulietta Simionato, the Azucena. Whatever von K throws her way, she can handle: she is like a mad dog. Every syllable, every word, every phrase is "burnt in" with a volcanic power and a supreme self-assurance that I have not heard in any other Azucena. No matter how slow a waltz-rhythm, she never runs out of breath or steam. If fast, she eats it up. Loud? She is like Vesuvius. Soft? Just listen to the ending of the Condotta ell' era in ceppi, when she seems to be humming from inside her skull, as in a vision.

My favourite moment is the finale of the first scene of act III. Giorni poveri vivea. K sets a slow, weary movement to the initial arioso for Azucena, which Simionato handles with a dark, mournful colour and seemingly endless supplies of breath. Then K goes as fast as the wind into the stretta, and old Giulietta digs into it like a starved greyhound, taking, but of course, all the high options. Brava, diva! Karajan had found his match.

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