Dice [Import]

Dice [Import]

Editorial Reviews
Product Description
Taken from the 2003 album, 'Much More Than Much Love', featuring Beth Orton & produced by William Obit. Tracks TBA. Epic.

Tracks:

The Lukewarm
Luxury Of Infancy
Rapid Fire Tollbooth
Thermometer Drinking the Bussness Of Turnstiles
Se Dice Bisonte, No Bufalo
If Gravity Lulls, I Can Hear the World Pant
Please Heat This Eventually
Lurking About In a Cold Sweat (Held Together By Venom)
Boiling Death Request a Body To Rest Its Head On
La Tirania De La Tradicion

Customer Reviews:

It's a Movie Soundtrack not a Mars Volta album.......2007-06-06

Before you base your judgment of this CD soley in comparison to any of The Mars Volta albums you need to realize that it isn't a Mars Volta album. It is a Soundtrack for a film and Omar is even quoted by saying it is a reaction to the film. If you're a die-hard Omar fan then you'll love it. Rapid Fire Toll Booth is now one of my all time favorites and all the other songs sound great in my opinion.

I don't usually write reviews because it's so painful for me to read someone elses review especialy ones that contain the following examples. I only like their older stuff, they keep changing their style, the guitar player is too self induldgent,they should use the same producer as on their first album, there's too much ambience, there's too much guitar noodling, they've become snobs, they're not as good without the old drummer, they're progressive, they're experimental, they took a riff from some other band, I like them less with each album they put out,etc. That was in reference to all bands not just The Mars Volta.

That kinda review irritates me because it's a bunch of garbage. I wish those kinda people would just stick to their MTV lifestyles and leave the real music to those who are true fans and are more open minded. I don't know why it bugs me so much it's not like I'm defending them because I know them on some personal level it's just that some people just don't get it. I'm tired of everyone disecting the music and the musicians. All they want to do is entertain us, not create some sort of musical doctorine that should be discussed as though one was attending a seminar. As a musician I understand the need to experiment and branch out so the music making process doesn't become stale. Do you really want your favorite band to constantly repeat themselves and never evolve. People please I beg of you quit writing these cliche pointless reviews. As for me I'm through writting about this subject for as long as I live. Omar & Cedric have been making music for quite some time now. Let's allow the professionals to do their thing and the rest of you can either tune in or tune out.

Feels Like Half of an Album.......2007-06-01

I've been a fairly faithful Mars Volta fan since the band's first LP debuted back in 2003. However, to say that my admiration for the group has never wavered would be a lie. In fact, with each full-length album that the Mars Volta releases, my love for the band deteriorates just a little bit more. This downward trend is caused largely by the group's insistence on forgoing the largely prog-rock stylings of their debut in favor of more experimental paths. The "Hey, instead of a song, let's just play random crap for 8 minutes" approach was fresh on 2005's "Frances the Mute" but it felt unbelievably stale on their most recent album, "Amputechture." It should be of no surprise then that "Se Dice Bisconte, No Buffalo" is not my favorite of albums. In many ways this album is the embodiment of everything that I've grown to despise about the Mars Volta.

That's not to say that this is an unimpressive collection of songs, however. Quite the opposite! Despite my waning feelings for Omar and Cedric, I can still recognize talent when I hear it. It's just that the talent of these two individuals has been misplaced in recent years. "Buffalo" is just another example of that. For example, the first two tracks on the album "The Lukewarm" and "Luxury of Infancy" are utter throwaways. The first being a 26 second exercise in changing the pitch of your voice, while the second is just more of Omar's signature electric guitar "scribbling." These two tracks serve no purpose on the album whatsoever, as they're pretty much over before you realize it.

"Rapid Fire Tollbooth" may sound familiar to Mars Volta fans who have been to the band's live shows. Cedric Bixler-Zavala lends his vocals here, and as a result the song sounds very much like a Mars Volta song that couldn't find a home on "Amputechture." In fact, several of the songs on "Buffalo" that features Cedric's vocals sound like they were made during the production of that album, but just weren't good enough to make the cut ("Se Dice Bisonte, No Buffalo," and "Please Heat This Eventually" to be precise). "La Tirania De La Tradicion," on the other hand, is a fantastic song, and the highlight of the album. In this frantic 5-minute long song, Cedric's vocals are all over the place, and the end result is amazing!

In the end, the best moments on "Se Dice Bisconte, No Buffalo" are the ones where Omar and company play actual music as opposed to just random noise. Tracks like "The Lukewarm," "Luxury of Infancy," and "If Gravity Lulls, I Can Hear the World Pant" only serve as a reminder to how self-indulgent these musicians can be. However there are a few others that remind you why you fell in love with these guys in the first place. As a result, "Buffalo" feels more like half of an album than anything else. While some devoted fans may find it to be worthy of a purchase, I'd be much more inclined to download my favorite tracks and live out my life pretending that the others don't exist.

Recommended for fans of The Mars Volta and the Omar Rodriguez Lopez Quintet.

Key Tracks:
1. "Rapid Fire Tollbooth"
2. "Se Dice Bisonte, No Buffalo"
3. "Please Heat This Eventually"
4. "Lurking About In a Cold Sweat (Held Together By Venom)"
5. "La Tirania De La Tradicion"

5 out of 10 Stars

Average customer rating:

Music From The Mound
Daisuke "Dice-K" Matsuzaka / Various Artists
Manufacturer: EMI Catalog Marketing
ProductGroup: Music
Binding: Audio CD

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Only Cards -All Aces..........
Badfinger Rolled A Ten
Pete Ham and the boys create a classic
Badfinger comes of age
way better than straight up

No Dice
Badfinger
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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Badfinger

ASIN: B000006MVI
Release Date: 1992-06-30

Tracks:

I Can't Take It
I Don't Mind
Love Me Do
Midnight Caller
No Matter What
Without You
Blodwyn
Better Days
It Had To Be
Watford John
Believe Me
We're For The Dark
Get Down
Friends Are Hard To Find
Mean Mean Jemima
Loving You
I'll Be The One

Customer Reviews:

Only Cards -All Aces.................2007-05-12

Well. I guess you all heard the news by now. "The Daily Snitch", one of London's top newspapers printed a story with huge headlines, "TOP SEER TO RETIRE FROM REVIEWING", including a picture of me being rushed into a waiting taxi cab. I want to assure all my fans that this is not the case. While it is true that I have stated that I wanted to cut back because of all the work involved. I was thinking of just submitting two sentences as a review, like many others (you have seen them, haven't you?). Two blerbs that say nothing and aren't challenging in the least. Of course it would be safe and non-threatening. And everyone goes home happy. Who cares if Metamorpho's Universal sacrifice is shattered like fine Lennox crystal dropped on the floor? Well.....at least there's glue. :)
But, let's move on to Badfinger, shall we? I knew they were excellent a long time ago, and while I listen to it now, it has lost none of the magic it had since the first time I heard it. Such a phenomenal pop outfit that reminds one of the Beatles. And why shouldn't it since two of them (Paul McCartney and George Harrison) guided Badfinger in so many ways? It was the wisdom and experience of how recording gets done that contributed to their superior sound. Also the smarts to recognize the talent that existed. It is the quintessential format of a pop quartet that is employed here. The harmony vocals, although rougher than the Beatles would use, are used here. We have the rythmn guitar keeping constant as tasty bits from the lead guitar color and shape the sound. The nice bass fill, jumpy and essential, and the sometimes active and sometimes understated drum breaks. Add to that, piano, some horns, and you have a very nicely put together album indeed.
But let us not forget that the songwriting here is above parr in so many respects. They all could write tunes - and none of them were shabby in the least! When you listen to the album you will be astounded on the variation of construction. They include tough rockers like "I Can't Take It", "Love Me Do", "No Matter What", and "Watford John". Semi-sweet odes such as like "Midnight Caller", "Without You", "It Had to Be", and "We're for the Dark". Included with this is the country-flavored rock of "Blodwyn". In fact people, if you like the diversity of what pop/rock can be, then you should investigate this album. There is not one bad cut here.
I suppose by now that everyone knows the story of Badfinger. Pete Ham's suicide, the non-support and atrocious activity of their record company. It is an amazement to me that a group this talented shouldn't have been mega. But, that only supports my wise Seer's outlook (after much reflection) that the best music out there is music you have never heard. Keep in mind, that, in some weird way, we are victims as much as Badfinger in the fact that the music industry has vast power of what you do or do not hear. We are the ones who have to do the work and seek out the gems. This one really was a no-brainer for your Metamorpho (stop that snickering--I hear you!).
Anyway, enough braying on my part. If you like nice melodies, great songs, and beautiful construction, get this c.d. You won't be disappointed. It is a pure joy.
Time to go and see if the newspaper will print a retraction. Hmmm...I think I'd have better luck purchasing another Lennox crystal. Oh well.

Well beyond the looking glass - your "non-retired" Metamorpho

Badfinger Rolled A Ten.......2007-04-14

Badfinger's best, most cohesive album. This is on par with Lou Reed's Transformer, T. Rex's The Slider, Mott the Hoople's All The Young Dudes, and David Bowie's Ziggy Stardust. I have personally worn out three vinyl LPs, I like this album so much. Pete Ham's guitar work is the under-rated under-appreciated strength of this album. Soaring vintage Les Paul solos, both laidback and in-your-face, are the common thread connecting the feel and atmosphere of all twelve original songs. This is a great guitar album. The extra tracks are dismissable, with the exception of the superb "I'll Be The One". (Rumor has it that the cover model is Joey Molland's wife, Kathy.)

Pete Ham and the boys create a classic.......2005-11-28

For a short time Badfinger filled the void left by the breakup of the Beatles. "No Dice" and the following album "Straight Up" are classic pop albums that had the harmony, melodic sense, energy and feeling that were the hallmark of the best of the Beatles music. While the Beatles had Lennon and McCartney Badfinger only had one great singer songwriter-Pete Ham. The other members wrote and sang but it was Ham who provided the group with the best songs and the most inspired vocals.
The heartbreak of his finest song "Without You" is only heightened by the knowledge of his tragic suicide, and with no disrespect to Harry Nilsson, this is the definitive version.
Pete of course was surrounded by a group of solid singer, writer, players that made Badfinger one of the best groups in the early 1970's and "No Matter What" is one of the few songs that have stood the test of time and still seem fresh every time you hear it.

Badfinger comes of age.......2004-05-11

No Dice (1970.) Badfinger's second album.

From their infancy when they were known as the Iveys to Pete Ham's untimely suicide in the mid-seventies, Badfinger was a damn fine (and severely underrated) classic rock group. Because they were on Apple Records, they were often forced to live in the shadow of the Beatles - and some people unfairly coin them a Beatles rip-off. This really is a shame. Badfinger's music is nothing short of excellent, and there's no place this shows like on the band's sophomore LP, No Dice. Read on for my review.

It is on this album that Badfinger truly discovered their sound. Their Iveys LP and first Badfinger LP were excellent, too, but it was obvious that the band was still strugging to find their sound. Well, they found it here. Pete Ham and the boys serve up a damn fine classic rock and roll album here, that doesn't have a single weak track. One of the band's biggest hits of all, the classic No Matter What, comes from this album. The track still get classic rock radio play to this day, and with good reason. But, the other non-hit tracks are also excellent. Many are what you'd expect from a classic rock band, and many even take on somewhat of a country-rock sound, reminiscent of Crosby, Stills, Nash, and Young. All in all, this is probably Badfinger's strongest LP overall.

The new reissue of this album doesn't just remaster the album and expand the liner notes - it also adds some rare bonus tracks! The original album, as it was, was already a five-star masterpiece, but these bonus tracks are the icing on the cake - they take an already-great album and make it even better.

In the end you were left with a damn good classic rock album, arguably Badfinger's finest. It's a shame these guys tend to be so underrated in this day and age, because their music was some of the finest classic rock out there. If you like classic rock, this album is not to be missed.

way better than straight up.......2004-03-24

I dont need to repeat everyone here, but this is a must own cd. You can thank us (and Joey when you see him at the Chicago Beatlefest in August) later.

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Andrew Dice Clay - 'Day The Laughter Died' (Warner Bros.)
No Material...No Fear....No Guts, No Glory

Day the Laughter Died
Andrew Dice Clay
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

Andrew Dice Clay - 'Day The Laughter Died' (Warner Bros.).......2006-12-25

Right along with the late Sam Kinison's debut CD,'Have You Seen Me Lately?'(see my review),this 2-CD release by the 'Diceman' himself is an absolute must-have comedy title. I listened to these two discs SO much,I'm amazed they still play. Simply love this New Yorker's extremely dry/sick sense of humor. Some of my favorite lines are, "Here's a nice family sitting down up front. Mom and the two daughters have the SAME haircut. Very nice!Dad..., he too has the same ****ing silly haircut". Another one: "So,you don't like fat chicks,pal? Check back with after you turn thirty. Ever date a 600 pound woman? It's like a ride at Wet&Wild...unbelievable, you know what I'm saying? So,I'm at this dive in the Bronx and I spot this cow of a woman, standing against the wall, like she's actually holding up the building. She's got six chins,her legs look like one(I dunno)and she has an eye patch and a neatly trimmed beard. So,I lure her back to my apartment with a bag of hershey kisses". You get the idea. Honestly, a laugh a minute. Get it!

No Material...No Fear....No Guts, No Glory.......2004-12-12

Dice was at the top of his game when he decided to make this double album, affectionatly known to fans as TDTLD. He stood on stage for a few nights at Dangerfield's with no material whatsoever....and made a comedy classic not unlike Pryor's That Nigger's Crazy and Sam Kineson's Have You Seen Me Lately?
Dice made a ballsy move in doing this album. He wasn't yet the comic who sold out Madison Square Garden, nor the man who went crazy with TDTLD Part II...avoid that one, BTW. The album was perfectly stated in his routine "...Laughter verses comedy...you don't have to laugh to enjoy it." If you love Dice, and you want his albums, then this is the one to get.

Puccini: Tosca (Highlights) / Freni, Pavarotti

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A masterpiece

Puccini: Tosca (Highlights) / Freni, Pavarotti

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000026BVF
Release Date: 2000-09-12

Tracks:

TOSCA: Atto I: Sante ampolle! ... Recondita armonia (Cavaradossi)
TOSCA: Atto I: Gente la dentro! (Cavaradossi)
TOSCA: Atto I: Mario! Mario! Mario! (Tosca)
TOSCA: Atto I: Or lasciami al lavoro (Cavaradossi)
TOSCA: Atto I: Tre sbirri, una carrozza ... Te Deum (Scarpia)
TOSCA: Atto II: Ov'e Angelotti? (Scarpia)
TOSCA: Atto II: Sciarrone, che dice il Cavalier? (Scarpia)
TOSCA: Atto II: Orsu, Tosca, parlate (Scarpia)
TOSCA: Atto II: Foria... - Amore (Cavaradossi, Tosca)
TOSCA: Atto II: Vittoria! Vittoria! (Cavaradossi)
TOSCA: Atto II: Vissi d'arte (Tosca)
TOSCA: Atto II: Chi e la? (Scarpia)
TOSCA: Atto II: Io tenni la promess (Scarpia)
TOSCA: Atto III: E lucevan le stelle (Cavaradossi)
TOSCA: Atto III: Ah! Franchigia a Floria Tosca (Cavaradossi)
TOSCA: Atto III: O dolci mani (Cavaradossi)
TOSCA: Atto III: Come e lunga l'attesa! (Tosca)
TOSCA: Atto III: Presto, su! Mario! Mario! (Tosca)

Customer Reviews:

A masterpiece.......2001-04-25

Tosca a great work of operatic genius is not one to be missed as Puccini and his work stand as timeless as when they were first performed.

Average customer rating:

Andrew Dice Clay
Andrew Dice Clay
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Attitude Dude

Adventures of Ford Fairlane
Billy Idol , Dion , Sheila E. , Teddy Pendergrass and Lisa Fisher , Tone Loc , Motley Crue , Andrew Dice Clay , Queensryche , Yello , and Richie Sambora
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Binding: Audio CD

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ASIN: B000008CPS
Release Date: 1990-06-12

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Sea Cruise - Dion
Funky Attitude - Sheila E.
Glad to Be Alive - Lisa Fisher, Teddy Pendergrass
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I Ain't Got You - Andrew Dice Clay
Last Time in Paris - Queensr
Unbelievable - Yello
Wind Cries Mary - Richie Sambora

Customer Reviews:

Attitude Dude.......2005-05-29

A ten track CD is a hard sell these days but this soundtrack has a few jems that should be worth the price. I wll address the standouts - Billy Idol's Cradle Of Love and Wind Cries Mary by Richie Sambora and Andrew Dice Clay's I Ain't Got You are very good - yea I know but the Dice Mans singing is actually good. The real Jem on this disc is the end title track, Dion's (from Dion & The Belmonts) version of Sea Cruise the old Frankie Ford track - updated and very good. I bought this disc for this track alone.

Mozart - Don Giovanni / Furlanetto · Tomlinson · Salminen · Heilmann · Pertusi · Cuberli · Meier · Rodgers · Barenboim

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Sleeper Don

Mozart - Don Giovanni / Furlanetto · Tomlinson · Salminen · Heilmann · Pertusi · Cuberli · Meier · Rodgers · Barenboim
Wolfgang Amadeus Mozart , Daniel Barenboim , Ferruccio Furlanetto , Waltraud Meier , Berliner Philharmoniker , RIAS-Kammerchor , Matti Salminen, Lella Cuberli, Uwe Heilmann John Tomlinson , and Joan Rodgers, Marcus Creed Michele Pertusi
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005E7I
Release Date: 1992-01-28

Tracks:

Don Giovanni KV 527: Overture
Don Giovanni KV 527: Act One: Scene 1: No. 1 - Introduzione: 'Notte e giorne faticar' (Leporello, Donna Anna, Don Giovanni, Il Commendatore)
Don Giovanni KV 527: Act One: Scene 2: Recitativo: 'Leporello, ove sei?' (Don Giovanni, Leporello)
Don Giovanni KV 527: Act One: Scene 3: Recitativo: 'Ah! del padre in periglio' (Donna Anna, Don Ottavio)
Don Giovanni KV 527: Act One: Scene 3: N. 2 - Recitativo accompagnato e duetto - Recitativo accompagnato (Donna Anna, Don Ottavio)
Don Giovanni KV 527: Act One: Scene 3: Duetto: 'Fuggi, crudele, fuggi!' (Donna Anna, Don Ottavio)
Don Giovanni KV 527: Act One: Scene 4: Recitativo: 'Orsu, spicciati presto' (Don Giovanni, Leporello)
Don Giovanni KV 527: Act One: Scene 5: N. 3 Aria: 'Ah! chi mi dice mai' (Donna Elvira, Don Giovanni, Leporello)
Don Giovanni KV 527: Act One: Scene 5: Recitativo: 'Chi e la?' (Donna Elvira, Don Giovanni, Leporello)
Don Giovanni KV 527: Act One: Scene 5: N. 4 Aria: 'Madamina, il catalogo e questo' (Leporello)
Don Giovanni KV 527: Act One: Scene 6: Recitativo: 'In questa forma' (Donna Elvira)
Don Giovanni KV 527: Act One: Scene 7: N. 5 Coro: 'Giovinette che fate all'amore' (Zerlina, Masetto)
Don Giovanni KV 527: Act One: Scene 8: Recitativo: 'Manco male, e partita' (Don Giovanni, Leporello, Zerlina, Masetto)
Don Giovanni KV 527: Act One: Scene 8: N. 6 Aria: 'Ho capito, signor, si!' (Masetto)
Don Giovanni KV 527: Act One: Scene 9: Recitativo: 'Alfin siamo liberati' (Don Giovanni, Zerlina)
Don Giovanni KV 527: Act One: Scene 9: N. 7 Duettino: 'La ci darem la manto' (Don Giovanni, Zerlina)
Don Giovanni KV 527: Act One: Scene 10: Recitativo: 'Fermati, scellerato!' (Donna Elvira, Zerlina, Don Giovanni)
Don Giovanni KV 527: Act One: Scene 10: N. 8 Aria: 'Ah, fuggi il traditor' (Donna Elvira)
Don Giovanni KV 527: Act One: Scene 11: Recitativo: 'Mi par ch'oggi il demonio si diverta' (Don Giovanni, Don Ottavio, Donna Anna)
Don Giovanni KV 527: Act One: Scene 12: N. 9 Quartetto 'Non ti fidar, o misera' (Donna Elvira, Don Ottavio, Donna Anna, Don Giovanni)
Don Giovanni KV 527: Act One: Scene 12: Recitativo: 'Povera sventurata!'
Don Giovanni KV 527: Act One: Scene 13: N. 10 Recitativo accompagnato ed aria - Recitativo accompagnato 'Don Ottavio...son morta!' (Donna Anna)
Don Giovanni KV 527: Act One: Scene 13: Aria: 'Or sai chi l'onore' (Donna Anna)
Don Giovanni KV 527: Act One: Scene 14: Recitativo: 'Come mai creder deggio' (Don Ottavio)
Don Giovanni KV 527: Act One: Scene 14: N. 10a Aria: 'Dalla sua pace' (Don Ottavio)

Tracks:

Don Giovanni KV 527: Act One: Scene 15: Recitativo: 'Io deggio ad ogni patto' (Leporello, Don Giovanni)
Don Giovanni KV 527: Act One: Scene 15: N. 11 Aria: 'Fin ch'han dal vino' (Don Giovanni)
Don Giovanni KV 527: Act One: Scene 16: Recitativo: 'Masetto...' (Zerlina, Masetto)
Don Giovanni KV 527: Act One: Scene 16: N. 12 Aria: 'Batti, batti, o bel Masetto' (Zerlina)
Don Giovanni KV 527: Act One: Scene 16: Recitativo: 'Guarda un po' come sepe' (Masetto, Don Giovanni, Zerlina)
Don Giovanni KV 527: Act One: Scene 17-21: N. 13 Finale: 'Presto, presto, pria ch'ei venga' (All)
Don Giovanni KV 527: Act Two: Scene 1: N. 14 Duetto: 'Eh, via, buffone' (Don Giovanni, Leporello)
Don Giovanni KV 527: Act Two: Scene 1: Recitativo: 'Leporello' (Don Giovanni, Leporello)
Don Giovanni KV 527: Act Two: Scene 2: N. 15 Terzetto: 'Ah, taci, ingiusto core' (Donna Elvira, Leporello, Don Giovanni)
Don Giovanni KV 527: Act Two: Scene 2: Recitativo: 'Amico, che ti par?' (Don Giovanni, Leporello)
Don Giovanni KV 527: Act Two: Scene 3: Recitativo: 'Eccomi a voi' (Donna Elvira, Don Giovanni, Leporello)
Don Giovanni KV 527: Act Two: Scene 3: N. 16 - Canzonetta: 'Deh, vieni alla finestra' (Don Giovanni)
Don Giovanni KV 527: Act Two: Scene 4: 'V'e gente alla finestra' (Don Giovanni, Masetto)
Don Giovanni KV 527: Act Two: Scene 4: N. 17 Aria: 'Meta di voi qua vadano' (Don Giovanni)
Don Giovanni KV 527: Act Two: Scene 5: Recitativo: 'Zitto...' (Don Giovanni, Masetto)
Don Giovanni KV 527: Act Two: Scene 6: Recitativo: 'Ahi ! Ahi !' (Masetto, Zerlina)
Don Giovanni KV 527: Act Two: Scene 6: N. 18 Aria: 'Vedrai, carino' (Zerlina)
Don Giovanni KV 527: Act Two: Scene 7-8: Recitativo: 'Di molte faci il lune' (Leporello, Donna Elvira)
Don Giovanni KV 527: Act Two: Scene 7-8: N. 19 Sestetto: 'Sola sola, in buio loco' (Zerlina, Donna Elvira, Don Ottavio, Masetto)
Don Giovanni KV 527: Act Two: Scene 9: Recitativo: 'Dunque, quello sei tu' (Zerlina, Donna Elvira, Don Ottavio, Masetto)
Don Giovanni KV 527: Act Two: Scene 9: N. 20 Aria: 'Ah, pieta, signori miei!' (Leporello)
Don Giovanni KV 527: Act Two: Scene 10: Recitativo: 'Ferma, perfido!' (Donna Elvira, Masetto, Zerlina, Don Ottavio)
Don Giovanni KV 527: Act Two: Scene 10: N. 21 Aria: 'Il mio tesoro intanto' (Ottavio, Zerlina, Donna Elvira, Masetto)

Tracks:

Don Giovanni KV 527: Act Two: Scene 10: N. 21b Recitativo accompagnato ed aria: Recitativo: 'In quali eccessi, o Numi' (Donna Elvira)
Don Giovanni KV 527: Act Two: Scene 10: N. 21b Recitativo accompagnato ed aria: Aria: 'Mi tradi, quell'alma ingrata' (Donna Elvira)
Don Giovanni KV 527: Act Two: Scene 11: N. 21b Recitativo accompagnato ed aria: Recitativo: 'Ah! Ah! questa e buona!' (Don Giovanni, Leporello, Il Commendatore)
Don Giovanni KV 527: Act Two: Scene 11: N. 22 Duetto: 'O statua gentilissima' (Leporello, Don Giovanni, Il Commendatore)
Don Giovanni KV 527: Act Two: Scene 12: Recitativo: 'Calmatevi, idol mio' (Don Ottavio, Donna Anna)
Don Giovanni KV 527: Act Two: Scene 12: N. 23 Recitativo Accompagnato e rondo: Recitativo: 'Crudele!' (Donna Anna)
Don Giovanni KV 527: Act Two: Scene 12: N. 23 Recitativo Accompagnato e rondo: Rondo: 'Non mi dir, bell'idol mio' (Donna Anna)
Don Giovanni KV 527: Act Two: Scene 12: N. 23 Recitativo Accompagnato e rondo: Recitativo: 'Ah, si segua il suo passo' (Don Ottavio)
Don Giovanni KV 527: Act Two: Scene 13-16: N. 24 Finale: 'Gia la mensa e preparato' (All)

Customer Reviews:

Sleeper Don.......2005-09-10

For some reason, Daniel Barenboim's recordings of the Mozart-Da Ponte masterpieces have been overlooked. All three have splendid casts - and among them, this may be the least spectacular, but it is nonetheless a wonderful performance.

Joan Rodgers has a gorgeous voice, and sings Zerlina with radiant and womanly warmth - no voce infantile here, thank the gods. It's a pity she hasn't recorded more. She is, fortunately, in Barenboim's two other Mozart-Da Ponte operas, singing her heart out as Susanna and Despina.

Furlanetto has an interesting take on the role of the Don. He usually sings Leprello, but here he sings the part of Don Giovanni with a rather unique interpretation. He plays the Don as somewhat of a fool, with more of a comic slant than I have ever heard. But humor was part of Mozart's original intention, and the Don does have his roots in street theater, so in this case a buffo Don works.

Tomlinson as Leporello is more of the Don's straight man, and there seems to be a bit of role reversal going on here between the clownish Don and his more dignified servant. Tomlinson's voice can be, I think, rather boring - a kind of voice-in-a-box, like Samuel Ramey. Good, strong, accurate, but not much drama or artfulness.

Ewe Heilmann's ravishingly beautiful Mozartian tenor voice adds a welcome dimension of eros to the role of the too-often bland and wimpy Don Ottavio. Waltraud Meier's Donna Elvira, though occassionally a bit on the shrill side, and Leila Cuberli's Donna Anna are both rich, full-bodied, exciting and very womanly. Barenboim seems to have a talent for drawing out highly passionate responses from women. It must be his Scorpio........

There are many great recordings of this magnificent opera. Especially if you go off the beaten path and get away from the Giulini crowd, you'll discover a large number of rare but excellent performances, many of them live. Among these musical feasts are the three Furtwanglers, Busch, Haitink on EMI, Bohm's phenomenal 1955 German-language version on RCA Red Seal (I usually avoid translated performances but this is such an exceptional performance the German can be overlooked), Guild's offering conducted by Breisach with Zinka Milanov's superlative Donna Anna (you won't believe that she can sing like this!), Szell's 1944 performance on Archipel, and on the Naxos Historical series, Bruno Walter with Alexander Kipnis' very Russian and very funny Leporello. The last three all feature Ezio Pinza as the Don.

Add Barenboim's performance to this more exotic list of Don Giovannis and you'll have quite a variety of interpretations from highly gifted artists. Some of Barenboim's opera recordings are outstanding for their dramatic content, the tightness of the performance, and his excellent taste in singers.

Average customer rating:

Dice Rules
Andrew Dice Clay
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

General | Miscellaneous | Styles | Music

General | Comedy | Miscellaneous | Styles | Music

Country Comedy | Comedy | Miscellaneous | Styles | Music
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Day the Laughter Died
Andrew Dice Clay
Face Down, Ass Up
Andrew Dice Clay - Dice Rules!
Andrew Dice Clay: No Apologies

ASIN: B000002LOV
Release Date: 1991-04-16

Tracks:

Intro
How Are Ya?
Birds
Phone Sex
Ya Can't Be Nice To Them
Christmas Presents
Hoidy Toidy Chicks
Opportunity In America (Al Capone's Safe)
Japs
Handicaps, Cripples
Don't Move
Double Parking
The Car Ride (Goin' To A Party)
The Driveway
Subway Travel
The Grocery Store
Industrial Size
The Urinal
1989-A Review
Bad Press
Backwards
Shakin' Hands
Chicks Aren't Funny (Joey Will)
Bambi
3 Beautiful Dates
Action
Debbie Duz Everything
Filthy In Bed
Salt & Pepper
Smokin' For Your Health
The News
Fat Orgasms
Black Chicks
A Vibrant Beautiful Woman
Woman's World
The First Blow-Job
People Are Pricks
Ya Hear?
Apartment Life
Brooklyn Bad Boy

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman

Average customer rating:

Refreshing and Surprising!
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.
Best ever!!

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

The Decca Records Store | Specialty Stores | Music
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Beethoven: Symphonies Nos. 1-9 (Fra)
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Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin

ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.

Music: