Co-Fu [Import]

Co-Fu [Import]

Track Listings

1. Strutin'

2. Zit'r Bug

3. You Looking For

4. Cycle

5. Dizzy

6. A.T.P.

7. Early Summer Daze

8. Jungler Gray

9. Wilbee Wilbee

10. Five Forty

11. Torn Open

Editorial Reviews
Product Description
Japanese Hip Hop/Techno/House.

Tracks:

Birthday Weekend
Tell Me
Pointless Emotion
Learning to Forget
Counting Sheep
Hurts to Hurt
Search for Something More
Goodbye, Good Luck
Life's Little Details
Dialogue
Do You Remember
Holding Back

Average customer rating:

A Worthy Trovatore
Strangely fascinating!

Verdi: Il Trovatore

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Cilea: Adriana Lecouvreur
Verdi: La Forza del Destino
Mascagni: Cavalleria Rusticana
Puccini: La fanciulla del West
Puccini: La Bohème (Tebaldi, Prandelli, Erede)

ASIN: B00006LENP
Release Date: 2003-02-11

Tracks:

All'erta! All'erta! - Giorgio Tozzi
Di Due Figli Vivea Padre Beato - Giorgio Tozzi
Che Piu T'arresti?
Tacea La Notte Placida E Bella In Ciel Sereno
Di Tale Amor, Che Dirsi Mal Puo Dalla Parola
Tace La Notte! ... Il Trovator! - Ugo Savarese
Deserto Sulla Terra ... Anima Mia!
Infida!...- Qual Voce! ... Di Geloso Amor Sprezzato ... Un Istante Almen Dia Loco il Tuo Sdegno Alla Ragione
Vedi! Le Fosche Notturne Spoglie ... Chi Del Gitano I Giorni Abbella? (Anvil Chorus) - Coro Del Maggio Musicale Fiorentino
Stride La Vampa! ... Mesta E La Tua Canzon - Mario Del Monaco
Soli Or Siamo; Deh, Narra Quella Storia Funesta ... Condotta Ell'era In Ceppi - Mario Del Monaco
Non Son Tuo Figlio? - Mario Del Monaco
Mal Reggendo All'aspro Assalto ... L'usato Messo Ruiz Invia! - Mario Del Monaco
Perigliarti Ancor Languente Per Cammin Selvaggio Ed Ermo! - Mario Del Monaco
Tutto E Deserto - Giorgio Tozzi
Il Balen Del Suo Sorriso ... Quel Suono! ... Ardir!... Andiam ... Per Me, Ora Fatale, I Tuoi Momenti Affretta - Giorgio Tozzi
Ah!... Se L'erro T'ingombra, O Figlia D'Eva, I Rai ... Perche Piangete?
E Deggio... E Posso Crederlo? ... Urgel Viva!

Tracks:

Or Co' Dadi, Ma Fra Poco Giocherem Ben Altro Gioco - Giorgio Tozzi
Squilli, Echeggi La Tromba Guerriera - Giorgio Tozzi
In Braccio Al Mio Rival! ... Che Fu? ... Innanzi, O Strega - Giulietta Simionato
Giorni Poveri Vivea ... Tu Vedi Chi L'infame, Orribil Opra Commettea ... Deh, Rallentate, O Barbari, Le Acerbe Mie Ritorte - Giulietta Simionato
Quale D'armi Fragor Poc'anzi Intesi?
Ah! Si, Ben Mio; Coll'essere Io Tuo, Tu Mia Consorte - Mario Del Monaco
L'onda De' Suoni Mistici ... La Zingara, Vieni, Tra Ceppi Mira
Di Quella Pira L'orrendo Foco ... All'armi! All'armi!
Siam Giunti: Ecco La Torre
D'amor Sull'ali Rosee Vanne, Sospir Dolente
Miserere ... Quel Suon, Quelle Preci Solenni ... Ah, Che La Morte Ognora E Tarda Nel Venir
Tu Vedrai Che Amore In Terra Mai Del Mio Non Fu Piu Forte
Udiste? Come Albeggi, La Scure Al Figlio, Ed Alla Madre Il Rogo - Ugo Savarese
A Te Davanti. - Qual Voce!
Mira, Di Acerbe Lagrime Spargo Al Tuo Piede Un Rio
(Vivra!... Contende Il Giubilo I Detti A Me, Signore...)
Madre?... Non Dormi? ... Vedi?... Le Sue Fosche Impronte - Mario Del Monaco
Si; La Stanchezza M'opprime, O Figlio - Mario Del Monaco
Che!... Non M'inganna Quel Fioco Lume?
Parlar Non Vuoi?
Ti Scosta... - Non Respingermi
Prima Che D'altri Vivere... Io Volli Tua Morir! ... Sia Tratto Al Ceppo!

Customer Reviews:

A Worthy Trovatore.......2006-05-13

I decided to buy a used copy of this half century old Trovatore on the strength of the earlier review posting. I'm certainly glad I did.

First, there is the pleasure of hearing Tebaldi in a role that wasn't central to her repertory. Having heard her Violetta on an early '50s Decca recording of Traviata I was not expecting much in the way of florid singing. I was pleasantly surprised. True, some of the runs are sketchy and the tone isn't always ideally equalized when she goes for the high notes, but Tebaldi isn't far behind the fabled Milanov, a favorite in this role. Tebaldi's italianate timbre is a decided plus. A few days ago I played the first act aria and cabaletta for some friends without any identification. After some puzzled looks, someone commented that whoever it was, she was great and though she sounded like Tebaldi, the florid singing was too good for it to be her. Needless to say, they were all pleasantly surprised.

I think Simionato is simply the finest Azucena on disc - whether here or in the legendary Salzburg broadcast of a few years later.

Del Monaco isn't an intellectual tenor by any stretch of the imagination, but this is elemental, viscerally exciting singing. I'll give up the subtle nuances for a vital, heroic Manrico like this.

Savarese is a competant Di Luna. He's certainly not offensive, but there's not much here to convince the listener he belongs in the company of the great exponents of the role. I have to admit that I think the role's showpiece, "Il balen" is a problem for any interpreter. I think organ grinder every time I hear it.

It's always a pleasure to hear the young Tozzi's richly overtoned voice as Ferrando.

Erede is no Karajan (or Mehta) but he gives us a well routined reading of the score. Finally, the sonics of this 1956 recording are very impressive early vintage stereo. Despite its occasional flaws, I quickly have become very attached to this venerable Trovatore.

Strangely fascinating!.......2004-01-01

This old Trovatore recording has aspects that would normally make one avoid it. However, I find myself listening to it more and more and actually enjoying it more than other, more popular recordings of this opera.

Mario Del Monaco is, as expected, a heroic Manrico. He rarely sings piano and knows little about elegant phrasing but the sheer vigour and ring of his voice strikes in magnificiently! Only F. Corelli equals Mario in force and exciting high notes. Musically, Corelli is certainly more creative but I've always found Del Monaco's voice more handsome. Tastes differ, though. Del Monaco is particularly thrilling in "mal reggendo, all'aspro assalto", "ah! Si, ben mio" and "Di quella pira" even if he could hold the last note longer in the cabaletta.

The casting of Renata Tebaldi as Leonora is for most opera fans controversial. She is a spinto with little agilty; it's interesting to see what such a voice can offer. Indeed, she barely manages the florid parts and the highest notes sound effortfull. In this part she's nowhere near Caballe, Milanov, Callas or even Price. However, there are other moments that no other soprano in my experience has ever sung so idiomatically. In "mira, di acerbe lagrime" for example, the way she sings those long phrases using her glorious spinto instrument is unique. She firmly grasps each note and the result is intoxicating! Same with Miserere and the proceeding Manrico - Leonora encounter. Dramatically her outbreaks are few. However, Tebaldi was THE FIRST who made me realise that Leonora is a woman in love!

If one can argue about the performances of Tebaldi and Del Monaco, little can be said about Simionato's Acuzena. Along with Barbieri and Cossotto she's one of the best interpreters of this wonderful role, probably Verdi's greatest mezzo part. The weakest link of the cast is Ugo Savarese's routine Conte di Luna. If only Bastianini had joined this recording instead. Tozzi does an OK job as Ferrando. Erede conducts well but nothing really memorable. Decca's early stereo sound certainly impresses; pity that EMI and RCA didn't adopt stereo so early as well.

Tracks:

I Feel, I Feel The Deity Within
Judas Maccabaeus HWV 63: Arm, Arm Ye Brave!
Dettingen Te Deum HWV 283: Vouchsafe, O Lord
Samson HWV 57: Honour And Arms Scorn Such A Foe
Berenice HWV 38: Si, tra i ceppi e le ritorte
Alcina HWV 34: Verdi prati, selve amene
O voi, del mio poter
Orlando HWV 31: Sorge infausta una procella
I Rage, I Melt, I Burn!
Acis And Galatea HWV 49: O Ruddier Than The Cherry
Semele HWV 58: Where'er You Walk
Alexander's Feast HWV 75: Revenge, Revenge, Timotheus Cries - Behold A Ghastly Band
Giulio Cesare HWV 17: Va tacito e nascosto
Frondi tenere e belle
Serse HWV 40: Ombra mai fu
Thus Saith The Lord Of Hosts
Messiah HWV 56: But Who May Abide The Day Of His Coming
Messiah HWV 56: Why Do The Nations
Behold, I Tell You A Mystery
Messiah HWV 56: The Trumpet Shall Sound

Amazon.com essential recording

Bryn Terfel has it all. His rich, deep baritone voice is capable of navigating the rapids and doing the vocal leaps and cartwheels that Handel routinely demands of his singers, even the ones with big, deep voices that usually move more slowly. He is Welsh, and in his mastery of words--clarity of projection and precise emotional expression--he calls to mind another great Welsh performer, Richard Burton. This recital, accompanied by Sir Charles Mackerras with skill and sensitivity, runs the whole gamut of Handel's vocal styles, from military bluster (powerfully present in the first aria, "Arm, arm, ye brave") to humble piety (in the second selection, "Vouchsafe, O Lord"). There is erotic awe in "Where'er you walk," comic grotesquerie in "O ruddier than the cherry," and pure splendor in "The trumpet shall sound." A marvelous recital. --Joe McLellan

Customer Reviews:

Great fun and a tour de force for Bryn Terfel.......2005-09-18

Bryn Terfel's flexible, powerful, and velvety (give me a better adjective for this) voice is well suited to navigating the variety of bombastic and melodramatic arias characterizing Handel's various offerings. These are well punctuated by more tender passages which the composer was equally adept at producing. All in all a most satisfying recording that I seem never to tire of hearing.

Outstanding variety of Baritone Repertoire.......2004-02-19

Bryn Terfel offers an engaging sound, and a very historically accurate performance of the works, other than the arias that were originally written for counter tenors. For all Baritones and Basses, and those studying and teaching the repertoire, this is a must have CD, as it employs an outstanding combination of the finest arias and the most often performed.

"I rage, I rage, I melt, I burn!".......2003-11-06

This CD showcases popular Welsh bass-baritone Bryn Terfel raging, melting, and burning his way through a wonderful variety of Handel arias (although I would have left out the 'Messiah' selections and gone for a few of Handel's 2,000 or so less-recorded songs).

According to Gerald Abraham in "Handel, a Symposium" the heroes that Terfel chose to bring to life in this recording generally had high soprano voices. Tenors and baritones were relegated to subordinate parts, and basses to those of tyrants or sages: "... in modern revivals of Handel's operas it is generally fatal to give [the castrato] parts to tenors or baritones to sing an octave lower."

In the first selection, Terfel takes on the role of Simon, brother of Judas Maccabaeus, which was originally a bass role. Critic Abraham could not object to this, although he might have a problem with the transposition of the arias for Demetrius ("Berenice, Queen of Egypt"), Caesar ("Julius Caesar in Egypt"), and Xerxes ("Xerxes"). If you are a purist, this CD might not be for you, but you'll miss out on some grand singing.

I'm especially fond of Terfel's handling of the slow, reflective arias "Verdi prati, selve amene" from 'Alcina,' and "Ombra mai fu" from 'Xerxes' (often called "Handel's Largo" despite the composer's "larghetto" marking). Here, the singer shuns lachrymose emoting. It is the purity of his tone and choice of dynamics that touch the heart.

"O ruddier than the cherry" from "Acis and Galatea" is robustly sung by the love-sick Polyphemus/Terfel. In spite of the buoyant central rhythm, every word is clearly enunciated. The preceding, accompanied recitative "I rage, I rage, I melt, I burn!" is a masterful, shimmering growl of emotion.

Along with Xerxes's plane tree and Polyphemus's cherries, Terfel returns to an arboreal subject in "Where'er you walk" from Semele. His command of musical and textual nuance is impressive in this tenderly sung aria. The ornamentation by Sir Charles Mackerras enhances rather than detracts from this beautiful love song.

Another highlight of this CD is Terfel's interpretation of "Revenge, revenge, Timotheus cries" from "Alexander's Feast." He snarls through the trumpets with frenzied, dead-on ornamentation. However there are a few unusual hesitations, such as a slight pause between 'Timotheus' and 'cries,' and at first hearing, I didn't care for them. Now they make textual sense to me. His hissing snakes and sparkling eyes are flawlessly emphasized. Each melisma is rhythmically unique and perfectly inflected.

The last three selections from Handel's "Messiah" are unfortunately rather ordinary. "Why do the nations" has a strange repeat, and Terfel seems to be singing it up into his mask which makes it sound two-dimensional. There is also a little too much flattening or 'whitening' of the melismas, plus an occasional unattractive growl. I much prefer Samuel Ramey's deep, seamless coloratura in these three bass arias.

Perhaps Handel's "Messiah" is one of those works that truly separates the bass-baritones from the basses.

Other than the above complaint, Bryn Terfel pays grand homage to the dramatic tension, the text, and the musicality of Handel's arias.

Gran trabajo Bryn!.......2003-10-05

BRYN TERFEL exhibe en estas paginas bellisimas de operas y oratorios de Haendel una voz bellisima, aunque algo basta a veces, y algo inexacta de coloratura. No obstante, el gusto conque canta las partes es mas que suficiente pretexto para tener el disco. CHARLES MACKERRAS dirige a la Scotish Chamber Orchestra, que suena divinamente, para redondear un producto altamente recomendable para los amantes del barroco.

LISTEN TO TERFEL.......2002-02-03

Since leading roles for bass-baritones in the operas of Handel are very, very rare, it is quite doubtful that we'll soon be seeing operatic super-star BRYN TERFEL in any international theatre performing what he says is a great love of his. This is truly a pity since it is more than a little uncommon to see and hear acting as fine as Terfel's coupled with a voice as rich and expressive as his.

Just a few nights ago, I was watching a television concert from Europe in which Anne Sofie von Otter sang 'Carmen' to Terfel's 'Escamillo' in selections from Bizet's opera. The old war horse 'The Toreador Song' has never sounded this fresh and exciting. Terfel can do what few others in his profession know how to do: he gets into the words as well as the music; he actually plays the character and presents what the composer and librettist might only have dreamed about.

Handel's operas, all of them so difficult in their coloratura passages, are seldom actually acted. One might as well just hear a concert version. But Terfel, as proven in this recording, acts as well as sings. My favorites include arias from JULIUS CAESAR and ALCINA, but every band on this CD is a winner.

Tracks:

Rigoletto, Act I: Studenti! Udite!
Rigoletto, Act I: Questa o quella
Aida, Act I: Celeste Aida
Manon, Act II: Chiudi gli occhi (II Sogno)
L'elisir d'amore, Act II: Una furtiva lagrima
Mefistofele, Epilogue: Giunto sul passo estremo
Germania, Act I: Ah, vieni qui ... No, non chiuder gli occhi vaghi
Mefistofele, Act I: Dai campi, dai prati
Tosca, Act III: E lucevan le stelle
Iris, Act I: Apri la tua finestra
Mefistofele, Act I: Dai campi, dai prati
Fedora, Act II: Amor ti vieta
Aida, Act I: Celeste Aida
La Gioconda, Act II: Cielo e mar
Pagliacci, Act I: Recitar! mentre preso dal delirio...Vesti la giubba
Cavalleria Rusticana: O Lola (Siciliana)
Non t'amo piu
La mia canzone
Adriana Lecouvreur, Act II: No, pui nobile
Luna fedel
Un bacio ancora
Luna fedel
L'elisir d'amore, Act II: Una furtiva lagrima
Tosca, Act III: E lucevan le stelle
Germania, Act I: Ah, vieni qui ... No, non chiuder gli occhi vaghi
Rigoletto, Act IV: La donna e mobile
Cavalleria Rusticana: O Lola (Seciliana)

Tracks:

Tu non mi vuoi piu ben
Tosca, Act III: E lucevan le stelle
Gli Ugonotti (Les Hugenots), Act I: Qui sotto ii ciel
Rigoletto, Act I: Questa o quella
Rigoletto, Act IV: La donna e mobile
L'elisir d'amore, Act II: Una furtiva lagrima...Un solo isante
Aida, Act I: Celeste Aida
Tosca, Act III: E lucevan le stelle
Tosca, Act I: Recondite armonia
Cavalleria Rusticana: O Lola (Siciliana)
I Pagliacci, Act I: Recitar! mentre preso dal delirio...Vesti la giubba
Maron, Act II: Chiudi gli occhi (II Sogno)
Mattinata
I pescatori di perle (Les pecheurs de perles), Act I: Mi par d'udir ancora
Don Pasquale, Act III: Com'e gentil (Serenata)
Carmen, Act II: Il fior che avevi a me tu dato
Gli Ugonotti (Les Huguenots), Act I: Ah, quel soave vision
La Gioconda, Act II: Cielo e mar
Cavalleria Rusticana: Intanto amici...Viva il vino (Brindisi)
Marta, Act III: M'appari tutt'amore
La Boheme, Act I: Che gelida manina
Faust, Act III: Salut demeure chaste et pure
Il Trovota, Act III: Di quella pira

Tracks:

La Favorita, Act IV: Spirito gentil, ne' sogni miei (Romanza)
La forza del destino, Act III: Solenne in quest'ora
Aida, Act I: Celeste Aida
Triste ritorno
Ideale
L'Africana (L'Africaine), Act IV: O Mimi, tu piu non torni
Rigoletto, Act IV: Bella figlia dell'amore (Quartet)
La Boheme, Act IV: O mimi, tu piu non torni
Andrea Chenier, Act I: Un di all'azzurro spazio (Improvviso)
I Pagliacci, Act I: Recitar! mentre preso dal delirio...Vesti la giubba
La Boheme, Act I: O soave fanciulla
I prescatori di perle (Les pecheurs de perles), Act I: Del tempio al limitar
Don Sebastiano, Act II: Deserto in terra
Don Sebastiano, Act II: Deserto in terra
Adorables tourments (Valse lente)
Lucia di Lammermoor, Act II: Chi mi frena in tal mometno? (Sextet)
Rigoletto, Act IV: Bella figlia dell'amore (Quartet)
La Boheme, Act III: Addio, dolce svegliare alla mattina
Madama Butterfly, Act I: Un po' di vero c'e...Oh quanti occhi fisi

Tracks:

Lolita (Spanish Serenade)
Rigoletto, Act I: Questa o quella
Rigoletto, Act IV: La donna e mobile
Il Travatore, Act III: Ah si ben mio
Il Trovatore, Act IV: Se m'ami ancor... Ai nostri monti
Aida, Act I: Celeste Aida
Pour un baiser
Tosca, Act I: Recondita armonia
Tosca, Act III: E lucevan le stelle
Mamma mia che vo' sape
La forza del destino, Act III: Della natal sua terra il padre...O tu che in sena agl' angeli
Aida, Act IV: O terra addio
Aida, Act IV: La fatal pietra
La Regina di Saba (Die Konigin von Saba), Act II: Magiche note
Carman, Act II: Il fior che avevi a me tu dato
Carmen, Act II: La fleur que tu m'avais jetee
Gli Ugonotti (Les Huguenots), Act I: Ah, qual soave vision...bianca al par di neve
Il Trovatore, Act IV: Quel suon, quelle preci...Ah! che la morte (Miserere)
Il Trovatore, Act IV: Quel suon, quelle preci...Ah! che la morte (Miserere)
Marta, Act I: Solo, profugo, reietto!

Tracks:

Faust, Act I: O mereveille!...A moi les plaisirs
Faust, Act III: Siegneur dieu, que voi-je!
Faust, Act III: Eh! quoi! toujours seule?
Faust, Act III: Il se fait tard...Laisse moi...Eterbekke! O nuit d'amour
Faust, Act IV: Que voulez vous messieurs?
Faust, Act V: Mon coeur est penetre d'epouvante...Attends!Voici la rue...Alerte! ou vous etes perdus
Germania, Act I: Studenti! Udite!
Germania, Act I: Ah, vieni qui...no, non chiudi gli occchi vaghi
La Gionconda, Act II: Cielo e mar
Madama Butterfly, Act I: Amore o grllo dir non saprei
Madama Butterfly, Act III: Non ve l'avevo detto...addio fiorito asil
For You Alone
Otello, Act II: Nell'ore arcane della sua lussuria...Ora e par sempre addio
Cavalleria Rusticana: O Lola (Siciliana)
I Pagliacci, Act II: No, pagliaccio non son
Addio
Il Trovatore, Act II: Mal reggenda all'aspro assalto
Il Trovatore, Act IV: Se m'ami ancor...Ai nostri moni

Tracks:

Aida Act IV: Gia i sacerdoti adunansi...Misero appien mi festi...Aida a me togliesti
Un ballo in machera, Act I: Di tu se fedele
La Boheme, Act III: Musette! O gioia della mia dimora...Testa adorata
Eternamente
Core' ngrato
Lo Schiavo (O Escravo), Act II: L'importuna insistenza...Quando nascesti tu
Canta pe' me
La Boheme, Act II: Io non ho che una povero stanzetta
L'elisir d'amore, Act II: Una furtiva lagrima
La forza del destino, Act IV: Invano, Alvaro...Le minaccie, i fieri accenti
Walter B. Rogers: Love Is Mine
Aida, Act I: Se quel quel guerrier io fossi...Celeste Aida
Un ballo in maschera, Act III: Forse la soglia attinse...ma se m'efora perderti
Je suis seul...Ah, fuyez, douce image
Crucifix
I Lombardi, Act III: Qual volutta trascorere

Tracks:

Marta, Act II: Siam giunti, o giovanette...Questa camera e per voi!...Che vuol dir cio?...Presto, presto andiam
Marta, Act II: T'ho raggiunta, sciagurata!...Dormi pur ('Goodnight' Quartet)
Tarantella sincera
Lucia di Lammermoor, Act II: Chi mi frena in tal momento? (Sextet)
Les soirees musicales, No.8: La danza (Tarantella napolitana)
Rigoletto, Act IV: Bella figlia dell'amore (Quartet)
Dreams Of Long Ago
The Lost Chord
Because
Hosanna
Manon, Act II: Manon! Avez-vous peur...On l'appelle Manon
La Boheme, Act I: O soave fanciulla
Don Carlo, Act I: Domanda al ciel...Dio, che nell'alma infondere
Il Trovatore, Act IV: Se m'ami ancor...Ai nostri monti
Op. 38, No. 6: Pimpinella (Canzone floretina)
Rigoletto, Act III: Ella mi fu rapita!...Parmi veder le lagrime
Agnus Dei

Tracks:

Manon Lescaut, Act I: Donna non vidi mai
Ave Maria
Elegie (Song of Mourning)
Lasciati amar
Guardanno 'a luna
Your Eyes Have Told Me What I Did Not Know
Fenesta che lucive
Stabat Mater: Cujus animam
The Palms
Cavalleria Rusticana: Mamma, Mamma, quel vino!...Voi dovrete far (Addio alla madre)
Otello, Act II: Oh! Mostruosa colpa!..Si, pel ciel
Op. 38, No. 1: Serenade de Don Juan
Amor mio
Manella mia
The Palms
Trusting Eyes
Serenade espagnole
Parted
Un ballo in maschera, Act I: Amici miei, soldati...La rivedra nell'estasi
Un ballo in maschera, Act I: Cosi scritto e lassu...E'scherzo od e follia

Tracks:

La Partida
El Milagro de la Virgen: Flores purisimas
La Traviata, Act I: Libiamo, libiamo (Brindisi)
Il Guarany (O Guarani), Act I: Sento una forza indomita
Hantis d'amour
Carman, Act I: Parle-moi de ma mere ( w Frances Alda)
La mia canzone
Cielo turchino
Pecche
Messa da requiem: Ingemisco
Il Duca d'Alba, Act IV: Angelo casto e bel
Si vous l'aviez compris
Les duex serenades: Serenade francaise
La procession
Le Cid, Act III: Ah! tout est bien fini!...O Souverain, o Juge,o Pere!
Luna d'estate
'O sole mio
La Reine de Saba, Act II: Faiblesse de la race humaine!...Inspirez-moi, race divine
Mia sposa sara la mia bandiera

Tracks:

Macbeth, Act IV: O fifgli, o figli miei...Ah, la paterna mano
La Boheme, Act IV: Vecchia zimarra, senti
Cantique de Noel
Sancta Maria
Tiempo antico
Santa Lucia
Op. 6, No. 5: Pourquoi?
Eugene Oneguine (Evgeny Onegin), Act II: Pour moi ce jour est tout mystere
Op. 102, No. 6: Chanson de juin
Andrea Chenier, Act IV: Come un bel di di maggio
Samson et Dalila, Act III: Vois ma misere, helas
Les pecheurs de perles, Act I: A cette voix quel trouble...Je crois entendre encore
Les pecheurs de perles, Act II: De mon amie, fleur endormie
Rigoletto, Act IV: Bella figlia dell'amore (Quartet)
Verdi: Bella figlia dell'amore (Quartet)
Lucia di Lammermoor, Act II: Chi mi frena in tal momento? (Sextet)
Lucia di Lammermoor, Act II: Chi mi frena in tal momento? (Sextet)
M'appari tutt'amor
Op. 5: Musica proibita
Uocchie celeste

Tracks:

L'alba separa dalla luce l'ombra
L'alba separa dalla luce l'ombra
Neron, Act II: Oh! lumiere du jour
Neron, Act III: Oh! lumiere du jour
A la luz de la luna
Sei morta ne la vita mia
La Partida
La forza del destino, Act III: Ne gustare m'e dato un'ora...Sleale! il segreto fu dunque violato
Over There...Par la-bas
Niedermeyer: Pieta, Signore
A Granada
Campane a sera
Inno di Garibaldi
Rosario Bourdon: La Campana di San Giusto
Le Regiment de Sambre et Meuse
Sultanto a tte
Samson et Dalila: Je viens celbrer la victoire
Venti scudi!

Tracks:

A' Vucchella
Vieni sul mar
Tu ca nun chiagne
L'addio a napoli
Nina (Tre giorni son che Nina)
Premiere caresse
Senza nisciuno
Salavator Rosa, Act I: Mia piccirella
Memories Of A Concert
Scordame
Love Me or Not
Serse, Act I: Frondi tenere e belle...Ombra mai fu (Largo)
Noche feliz
Rachel, quand du Seigneur
I' m'arricordo 'e Napule
Vaghissima sembianza
L'Africana (L'Africaine) Act III: Che dicon mai?...Deh, ch'io ritorni
Amadis de Gaule, Act III: Bois epais
A Dream
Petite Messe solennelle: Domine Deus
Petite Messe solennelle: Crucifixus

Amazon.com essential recording

From the youthful bloom and impetuous swagger of Enrico Caruso's debut 1902 recordings to the darker, almost baritonal overtones typifying his final sessions before the acoustic horn, the singer's resplendent vocalism and generous performing style remain the archetype for Italian tenors. As a child of the late 19th century, Caruso was prone to embellish upon composers' texts, yet his passion, communicative power, and soaring musicality transcend time. The Italian sessions from 1902 to 1904 and Caruso's recordings with piano between 1904 and 1905, along with two later sides, receive conventional, unaltered transfers. The remaining material is restored via the controversial Soundstream computer process, which fleshes out the lower partials of the voice while compromising its overtones, relegating the orchestral accompaniment to a rumbling backdrop rather than contributing partner. Yet many will find the Soundstream transfers easier on the ear. Those who wish to acquire the complete Caruso in a single package at midprice should not hesitate to purchase this significant set. --Jed Distler

Customer Reviews:

No - the deffect is NOT on EVERY set!!!.......2006-12-08

The deffect that some previous reviewers were so mad about did not happen to my set. After purchasing it for two years and listening to the disks every other day, they are still shiny and beautiful like new. You can't use the word "EVERY" so cavelierly, because you have not listened to EVERY set.

The Master of Italian Tenor Singing-Get it.......2006-05-20

I have been collecting Caruso performance since 1960- of course they were on vinyl- I even had some 78's. I think the 78 and vinyl records produced a warmer tone, but it is a delight to have the Master's performances in one place. My vinyls are worn to shreds.

Except for the lighter and bel canto roles, Caruso is supreme in the Italian and some of the French repetoire. Last night I listened to the Quartet from Martha for the first time in many years. Caruso sings about a 20 second phrase beginning "Dormi
Pur" which had me in tears as it had in the past. The ease of Caruso cadenzas in "La donna e Mobile" and "Una Furtiva Lagrima" put most tenors with a 1/4 of Caruso's vocal weight and size to shame.

There are no American/Swedish or any other hyphenated Carusos. He was unique and I am a Bjoerling freak. I find it
odd that a previous reviwer mentioned Mario Lanza favorably with Caruso.

Lanza rarely performed on an opera stage. On recording his voice seems large but his singing is amateurish. He squeezes, forces, barks and croons. At times one can hear a pretty sound but I do not consider him a major opera singer.

Rudolf Bing's comment that people who heard Richard Tucker were just as lucky as those who heard Caruso is silly. Tucker was excellent but NOT Caruso.

Lauritz Melchior, in the heavy German repetoire and to my mind Otello, is as unique and uncomparable as Caruso is in the Italian and French repetoire.

WARNING-All Original Releases Corrode Because of Dye.......2005-04-24

EVERYONE who bought the ORIGINAL multi-disc release has seen each disc become unplayable through corrosion because of a dye used to print the label side. BMG is well aware of this and has been inundated with demands for replacement.

This set is available in a subsequently released BUDGET compilation, also available through AMAZON. There are no manufacturing defects.

from a 13 year old kid.......2005-03-15

it is a great cd. when they say complete, they mean complete! 12 cds about 70mins each. comes with booklet with recording dates and matrix #s. in cardboardy-leather box. i did not have a probelem with red batwing labels making a clear film. the set is from the 70's but is the quality that great any way? contains private recordings.

There are other, better options.......2004-05-17

I was surprised to see that this set was still available. These transfers were made in the late 1970's at the dawn of the digital era and were state of the art for that time. But in cleaning up the surface noise these old digital transfers seriously flatten out the sound of Caruso's voice.