Sei Felice? [Import]

Track Listings

1. Canzone D'amore

2. Unioni Fragili

3. Vicious

4. La Mia Immagine

5. Maestro Della Voce

6. I'm Not Cool

7. Blower's Daughter

8. Solo Per Sapere

9. Io Via

10. Sei Felice

Editorial Reviews
Product Description
2005 Return of the Italian Hip Hop Band after a 12 Year Absence. Includes Covers of Lou Reed, Pfm and Le Orme.

Sei Felice?,Aeroplanitaliani,Universal/Sugar,World Music

Philips and Decca Recordings, 1961-1979 (Limited Edition)

Average customer rating:

Essential Performances from a Great & Beloved Singer

Philips and Decca Recordings, 1961-1979 (Limited Edition)
Janet Baker , John Shirley-Quirk , Graham Sheen , Johann Sebastian Bach , Ludwig van Beethoven , Hector Berlioz , Giovanni Bononcini , Benjamin Britten , Giulio Caccini , and Antonio Caldara
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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The Very Best of Janet Baker
Artistry of Elly Ameling (Coll)
Ernest Ansermet: Decca Recordings 1953-1967
Great Recordings Of The Century - Janet Baker Sings Mahler / Barbirolli, et al
Purcell: Dido and Aeneas / James, Lewis, Baker, Herincx

ASIN: B0000B0A0Q
Release Date: 2003-11-25

Customer Reviews:

Essential Performances from a Great & Beloved Singer.......2004-01-09

For those of us who grew up on Janet Baker's recordings (and were lucky enough to hear her "live" as well), the sound of her voice and her singular artstic personality - British restraint coupled with fierce emotional and spiritual commitment - are indelibly imprinted in our minds and hearts. The closest current equivalent is Lorraine Hunt Lieberson, another superb artist who has charted her own course, and not surprisingly there is some overlap of repertoire, in the music of J.S. Bach, of course, but also Berlioz's Didon and Beatrice, Handel's Ariodante and Britten's Phaedra (composed for Baker).
This wonderful compilation is complementary to EMI's 2-CD "The Very Best of Janet Baker" -- no overlap of repertoire whatsoever. Unlike that set, which focused on concert repertoire (with orchestra or piano) there's a generous sampling here of Baker's operatic roles including Handel, Mozart, Purcell, Rameau, Gluck, and Britten. Also welcome is "Phaedra," one of Britten's strongest late works. And it's good to have the Berlioz: "Cleopatre" and "Herminie" complete, the big aria from "Beatrice et Benedict." (Why EMI included nothing from her recording of the last 2 scenes of "Les Troyens" is unfathomable.) The wide time-span allows us to hear Baker's voice in all its youthful, "sappy" warmth, as well as in its artistic maturity (though truth to tell she was pretty much a complete artist from the start). There are a few signs of wear in later items, nothing serious, in fact rather less than I remembered. I could have done with fewer of the "Arie Amorose" in favor of more cuts from her Gluck LP, which I believe has never been issued complete on CD, but that's just personal preference. The focus here is entirely on orchestrally accompanied works (or, in the case of the marvelous early disc of Ravel, Chausson & Delage songs, with chamber ensemble) so for Baker the supreme interpreter of English, German and French song you'll need to go elsewhere (the EMI has a fair sampling, especially of her Schubert). But everything here is indispensible.

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Magnificent
Stunning Whitman's Sampler of Vivaldi Vocal Magic
A Treasure Trove of Vivaldi Opera Arias and Ensembles

Vivaldi Edition: Operas

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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Vivaldi Edition: Arie d'Opera
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ASIN: B00022LDI4
Release Date: 2004-08-17

Customer Reviews:

Magnificent.......2006-09-09

This audio CD is the perfect vehicle to drive anyone crazy about Vivaldi operas. All arias seemed to have been carefully selected across many opera albums from Naive's Vivaldi Edition to entice the listener to hear those works. Magdalena Kozena astounds brilliantly with two arias from Juditha Triumphans "Veni, me sequere fidu" and "Agitata infido flatu". In "Agitata" Kozena perfects two long legatos and tops them with a climatic trill. In "Veni", she hypnotizes with a cadenza evocative of a dove's sinusoidal singing. The Naive label should do well in producing another similar CD now that it has recorded additional Vivaldi Operas to draw from.

Stunning Whitman's Sampler of Vivaldi Vocal Magic.......2005-04-06

This is as strong a sampler of Vivaldi's operas as one can get without purchasing entire opera recordings. Highlights from four have been selected here, each recorded in complete form on the Naïve label. They are "Orlando finto pazzo", "La verità in cimento", "Juditha triumphans" and "L'Olimpiade". What the producers have chosen here is the true cream of the crop, a roster of superb, top-of-the-class performances from nearly a dozen world-class singers.

Rising countertenor Philippe Jaroussky starts the program off with an almost religious-sounding lament as Zelim from "La verità in cimento", which he sings in a strikingly ethereal manner. But the women rule the roost in this recording. Mezzo-soprano Magdalena Koena makes clear why she is moving quickly to the major leagues by singing two magnificent arias from "Juditha triumphans", "Veni, veni, me sequere fida", caressed by a clarinet-like instrument called a chalumeau, and "Agitata infio flatu", where she captures the sweeping fury of her character with stunning flourish. Contralto Sara Mingardo is another stand-out with her double-dip, full-throated voice dodging the aggressive strings on Licida's aria from "L'Olimpiade", "Gemo in un punto e fremo," and expertly riding the dramatic playing of Ensemble Matheus on Melindo's aria from "La verità in cimento", "Mivui trader, lo so". If not quite in the league of Koena and Mingardo, soprano Roberta Invernizzi and contralto Sonia Prina acquit themselves admirably with an aria each and especially when they perform the striking duetto of Megacle and Aristea from "L'Olimpiade", "Ne'giorni tuoi felici". There is also an impressive quintetto from "La verità in cimento", "Anima mia, mio ben", which for maximum dramatic impact emphasizes the disparate voices of Jaroussky, Mingardo, tenor Anthony Rolfe Johnson, mezzo-soprano Guillemette Laurens and contralto Nathalie Stutzmann. The disc ends appropriately with a beautiful choral piece, "O quam vaga, venusta, o quam decora" from "Juditha triumphans" with the Coro Giovanile dell'Accademia Nazionale di Santa Cecilia, led by soprano Marina Comparato.

Rarely has a compilation disc sounded so seamless and without the additional burden of carrying different story contexts. Aurally it sounds like one consolidated piece, and credit needs to go to music directors Alessandro De Marchi, Rinaldo Alessandrini and Jean-Christophe Spinosi, who conducted the originally presented operas. Strongly recommended especially for neophytes to Vivaldi's operas like myself.

A Treasure Trove of Vivaldi Opera Arias and Ensembles.......2004-10-02

The National Bibliotheque in Turin, Italy is the repository for uncounted manuscripts by Antonio Vivaldi (1678-1741) and includes more than twenty opera scores, many of which have not seen productions since the 18th century. The Opus 111 record label is industriously releasing performances, about one a season, of these gems and their intention is to record all these scores, plus many arias and ensembles that have become separated from their complete works. This CD is a compilation of music from four of those works - 'La verità in cimento,' 'Juditha triumphans,' 'L'Olimpiade,' and 'Orlando finto pazzo,' all of which have already been recorded as complete operatic performances. The producers of this set have selected some of the choicest morsels for those music-lovers who would not otherwise obtain all four complete sets. The musicians involved - a different group for each opera - are among the most honored among singers and instrumentalists currently performing baroque works. The instrumental groups include the Academia Montis Regalis conducted by Alessandro de Marchi, Concerto Italiano conducted by Rinaldo Alessandrini, and Ensemble Matheus conducted by Jean-Christophe Spinosi. Singers include such standouts as sopranos Marina Comparato, Gemma Bertagnoli, and Roberta Invernizzi, mezzos Magdalena Kozena and Guillemette Laurens, contraltos Sara Mingardo, Nathalie Stutzmann and Sonia Prini, countertenor Philippe Jaroussky, tenor Anthony Rolfe Johnson, and basso Sergio Foresti--an outstanding collection of talented performers.

It would be impossible to comment about all sixteen selections here, but I would want to single out Magdalena Kozena's delectable performance of 'Veni, me sequere fida' from 'Juditha triumphans,' with the luscious solo contribution of an unnamed player of the chalumeau (an ancestor of the modern clarinet). [By the way, 'Juditha triumphans' is actually a dramatic oratorio, but it has sometimes been staged as an opera.] Also outstanding is the dramatic 'Gemo in un punto e fremo' from 'L'Olimpiade,' sung by one of today's stellar contraltos, Sara Mingardo.

Finally, I could not end this note without commenting on the fabulous quintet from 'La verità in cimento' entitled 'Anima mia, mio ben.' There is no question that Vivaldi must have been working with both musically and dramatically superb singers for whom he wrote this. This performance, featuring Rolfe Johnson, Laurens, Stutzmann, Jaroussky and Mingardo, is moving. And it is followed by a simply stunning performance, by Sara Mingardo, of Melindo's aria, 'Mi vuoi tradir, lo so' from the same opera. Mingardo's coloratura is absolutely spot on. (Think of Marilyn Horne and you'll have an idea of what this young Italian contralto sounds like.)

I strongly suspect this release will have value for those who want to dip their toes into the Vivaldian operatic waters. Every single selection is well-done, and it certainly gives an idea of Vivaldi's theatrical output, something that we've tended to neglect in favor of his sacred and instrumental music up to now.

Strongly recommended.

TT=63:20

Scott Morrison

Rossini - The Barber of Seville / Roberta Peters · Leinsdorf

Average customer rating:

Perfection in Seville
Un 'Barbero' sorprendente
Strange to say, but probably one of the best Barbers
Pure Bliss!!! YOU MUST GET THIS!!
Hey! This is one of the BEST!

Rossini - The Barber of Seville / Roberta Peters · Leinsdorf
Gioachino Rossini , Erich Leinsdorf , Roberta Peters , Robert Merrill , Fernando Corena , Margaret Roggero , Carlo Tomanelli , and Giorgio Tozzi
Manufacturer: RCA
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Binding: Audio CD

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ASIN: B000003G4F
Release Date: 1996-09-17

Tracks:

The Barber Of Seville: Overture
The Barber Of Seville: Act I: Scene 1: Piano, pianissimo (Count)
The Barber Of Seville: Act I: Scene 1: Ecco ridente il cielo (Count)
The Barber Of Seville: Act I: Scene 1: Ehi, Fiorello! - Mio signore! (Count)
The Barber Of Seville: Act I: Scene 1: Mille grazie, mio signore (Count)
The Barber Of Seville: Act I: Scene 1: Gente indiscreta! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: La ran le lera; Largo al factotum (Figaro)
The Barber Of Seville: Act I: Scene 1: Ah, ah! che bella vita! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: Non e venuto ancora (Rosina, Count, Bartolo, Figaro)
The Barber Of Seville: Act I: Scene 1: Se il nome saper voi bramate (Rosina, Count, Figaro)
The Barber Of Seville: Act I: Scene 1: Oh, cielo! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: All'idea di quel metallo (Count, Figaro)

Tracks:

The Barber Of Seville: Act I: Scene 1: Evviva il mio padrone - Rossini
The Barber Of Seville: Act I: Scene: 2: Una voce poco fa (Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Si, si, la vincero! (Rosina, Figaro, Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: La calunnia e un venticello (Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ah, che ne dite? (Basilio, Bartolo, Figaro, Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Dunque io son... tu non m'inganni? (Rosina, Figaro) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ora mi sento meglio (Rosina, Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: A un dottor della mia sorte (Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: Brontola quanto vuoi (Rosina, Count) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ehi, di casa... buona gente (Count, Bartolo, Rosina, Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Che cosa accadde, signori miei (Figaro, Bartolo, Count, Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Fermi tutti, nessun si mova (Bartolo, Figaro, Basilio, Count, Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Mi par d'esser con la testa (Rosina, Count, Basilio, Bartolo, Figaro) - Rossini

Tracks:

The Barber Of Seville: Act II: Ma vedi il mio destino! (Bartolo)
The Barber Of Seville: Act II: Pace e gioia sia con voi (Count, Bartolo)
The Barber Of Seville: Act II: Insomma, mio signore (Bartolo, Count, Rosina)
The Barber Of Seville: Act II: 'Contro un cor che accende amore...' (Rosina, Count)
The Barber Of Seville: Act II: Bella voce! (Count, Rosina, Bartolo)
The Barber Of Seville: Act II: 'Quando mi sei vicina...' (Count, Bartolo)
The Barber Of Seville: Act II: Bravo,signor barbiere,ma bravo! (Figaro, Bartolo, Rosina, Count)
The Barber Of Seville: Act II: Don Basilio! Cosa veggo! (Rosina, Count, Figaro, Bartolo, Basilio)
The Barber Of Seville: Act II: Buona sera, mio signore (Count, Figaro, Basilio, Rosina, Figaro, Bartolo)
The Barber Of Seville: Act II: Orsu, signor don Bartolo (Figaro, Bartolo, Count, Rosina)
The Barber Of Seville: Act II: Ah! Disgraziato me! ma come? (Bartolo,
The Barber Of Seville: Act II: Il vechiotto cerca moglie
The Barber Of Seville: Act II: Dunque voi don Alonso non conoscete affatto? (Bartolo, Basilio, Rosina)
The Barber Of Seville: Act II: Temporale - Storm
The Barber Of Seville: Act II: Alfine eccoci qua (Figaro, Count, Rosina)
The Barber Of Seville: Act II: Ah! qual colpo inaspettato! (Rosina, Figaro, Count)
The Barber Of Seville: Act II: Ah,disgraziati noi! come si fa? (Figaro, Count, Rosina, Basilio)
The Barber Of Seville: Act II: Il conte! ah che mai sento! (Bartolo, Count)
The Barber Of Seville: Act II: Cessa di piu resistere (Count)
The Barber Of Seville: Act II: Insomma, io ho tutti i torti! (Bartolo, Figaro, Basilio, Rosina)
The Barber Of Seville: Act II: Di si felice innesto (Figaro, Bartolo, Basilio, Rosina, Count)

Customer Reviews:

Perfection in Seville.......2007-05-14

I think the mezzo vs high coloratura soprano as Rosina is irrelevant when considering the merits of this recording. This is almost a complete reading of the score which benefits from the casting of most of the original cast of a production that was still relatively new in 1958 when the recording was made.

All the soloists have the bel canto style nailed down. The Figaro of this recording is Robert Merrill and his voice is caught in all of it's prime time state. Simply gorgeous golden tone here that is richly masculine with an easy upper register. The rest of the cast, the conducting and playing of the Met Opera orchestra and chorus are perfection.

Although there is some minor master tape related problems, and they are really minor, RCA's Living Stereo process is remarkable. This edition's sonics are an incredible improvement over RCA's original CD release.

Un 'Barbero' sorprendente.......2004-10-31

Este 'Barbero de Sevilla' (grabado en 1956 por el sello RCA) depara muchas sorpresas agradables. Se trata de una version completisima (se incluyen todos los recitativos y ademas el aria de Almaviva 'Cessa di piu resistere', que suele suprimirse y que aparece aqui por primera vez en la historia en grabacion de esta opera).
El reparto se acerca bastantea la realidad rossiniana de los canones de hoy en dia (lo que debe sorprender, porque en 1956 eran bien diferentes) Como Almaviva tenemos al tenor CESARE VALLETTI, que combina una bella voz con un dominio de la coloratura bastante correcto para la epoca. La Rosina de ROBERTA PETERS (en version soprano ligera) derrocha una cantidad de agudos y sobreagudos con una seguridad y limpieza absolutamente pasmosa: la voz puede gustar o no, pero su dominio del agudo y del registro agudo no se le puede negar.
ROBERT MERRILL es un Figaro diferente, que quiza pueda chocar un poco, porque es el que mas alejado esta de la realidad rossiniana de hoy en dia. FERNANDO CORENA es un Don Bartolo que quiza peca de excesos de comico y GIRGIO TOZZI es un Don Basilio imponente. La lista de secundarios cumple perfectamente con sus cometidos y ERICH LEINSDORF realiza una lectura que, aunque hoy en dia puede resultar poco rossiniana, no deja de ser interesante ante unos cuerpos estables del Metropolitan de Neuva York que, como siempre, responden con calidad.
En definitiva, sin ser un Barbero de primera opcion, es una buena forma de ver cuanto ha evolucionado la historia del canto y de la conduccion rossiniana, disfrutando y sorprendiendose. Una version que, aunque a priori pueda prometer poco, ofrece bastante. Recomendable.

Strange to say, but probably one of the best Barbers.......2004-10-27

It's funny how some "classic" recordings might be classic but they arent necessarily good introductions to an opera. For example, the Maria Callas/Tito Gobbi/Luigi Alva Barber of Seville is often thought to be the classic recording of Rossini's comic gem. While I agree that recording is unique, it's also extremely cut, and it goes for a drier, more "subtle" humor.
OTOH, the Leinsdorf recording, with a cast of Cesare Valletti, Roberta Peters, Robert Merrill, and Fernando Corena is well-sung, relatively complete, well-recorded, and most of all has a freewheeling sense of fun that I think perfectly captures the charm of this opera.
Roberta Peters was a high, light soprano. Her voice can sound a bit glassy and colorless, but her Rosina is lively, virtuostic, and properly spunky. The only caveat is that like some sopranos she transposes "Una voce poco fa' up to F, while the aria IMO is much more charming in its original key of E. Cesare Valleti's Almaviva is more caressing than dazzling (unlike Juan Diego Florez), but unlike many Almavivas he actually sings the whole part. He does not cut his final aria "Cessa di piu resistere."
Overall, I'd say none of the individual singers on this recording are necessarily the best, but together this is a great ensemble recording, and I highly recommend it as an introduction to the opera. To opera, in fact.

Pure Bliss!!! YOU MUST GET THIS!!.......2003-07-29

Okay, if you are just browsing amazon and this set caught your eye let me just say STOP!! GO NO FURTHER!! THIS IS THE BEST!!
THIS IS PERFECTION!! THIS BORDERS ON DIVINE!! There is simply no point in looking for that all important "most enjoyable piece of opera in the world" BECAUSE THIS IS IT! Its this simple folks, if you like opera, if you like beautiful voices, if you like perfect timing, pitch and recording quality you must get this. This is the DEFINITIVE Barber of Seville. I will let the previous reviews here tell you about the story and the performers. My review is here for just one reason - to let people that are on the fence wondering if they should really get this -YES YOU SHOULD! You absolutely will not be dissappointed - I stake my brothers life on it. :)
End of rant.

Hey! This is one of the BEST!.......2002-07-18

I've owned this on vinyl for decades, and it seldom comes any better. Most of you know that, being familiar with Roberta Peters in her prime, along with Valletti, Merrill, Corena, and Tozzi. This is one of the most balanced casts ever assembled. I happen to like both approaches to Rosina- high in the stratosphere vocalizing and the more down-to-earth approach of Teresa Berganza. In Cesare Valletti, we have one of the finest Almavivas since the days of Fernando de Lucia. Valletti gets right into the meat of this character, with Nicolai Gedda being the only modern Almaviva to rival Valletti's voice. (I can't wait to hear Florez sing this!) What can one say about Robert Merrill? If he didn't love singing Figaro, he's done a fine job of fooling me. I do not agree with all of his interpretation, but this is one of the finest baritones having fun with a role that deserves it. (He has formidable competition here: Stracciari is incredible as Figaro. He had one of the most glorious high baritone voices you could ever want to hear and he's darned funny as Figaro to boot. Then there's Sherrill Milnes, who had a voice to rival Stracciari's formidable instrument and the same sense of fun.)

Then there are the not so minor roles of Bartolo and Basilio. Corena had a powerful, rich voice used here with a sense of character that's almost impossible to surpass. Has anyone ever had a better voice for Bartolo? Not in my memory! Giorgio Tozzi's Basilio is one of the glories of this performance; a rich, colorful voice with great beauty of tone... all at the service of one of opera's funniest `villains'. Leinsdorf does a fine job capturing the ambience of Barbiere, so I find it hard to go wrong with this recording...

Tracks:

K272: 'Ah, lo previdi!...Ah, t'invola,'
K583: 'Vado, ma dove? oh Dei!'
K79: 'Oh, temerario Arbace!...Per quel paterno amplesso'
K582: 'Chi sa, ch sa, qual sia'
K490: 'Non piu. Tutto ascoltai..Non temer'
K528: 'Bella mia fiamma, addio!...'
K383: 'Nehmt meinen Dank, ihr holden Gonner!'
K580: 'Schon lacht der holde Fruhling'
K78: 'Per pieta, bell'idol mio'
K369: 'Misera, dove son?...Ah! non son io che parlo'
K579: 'Un moto di gioia'

Tracks:

K496a: 'Basta, vincesti...Ah, non lasciarmi'
K578: 'Alma grande e nobil core'
K374: 'A questo seno deh vieni...Or che il cielo a me ti rende'
K83: 'Se tutti i mali miei'
K217: 'Voi avete un cor fedele'
255: Ombra felice!...lo ti lascio
K77: 'Misero me!...Misero pargoletto'
K577: 'Giunse alfin il momento...Al desio di chi t'adora'
K82: 'Se ardire e speranza'

Tracks:

K23: Conservati fedele
K505: Ch'io mi scordi di te?... Non temer amato bene
K88: Fra cento affanni
K74b: Non curo l'affetto
K294: Ah! spiegarti, oh Dio
K119: Der Liebe himmlisches Gefuhl
K294 (Version 1): Alcandro, lo confesso... Non so d'onde viene
K294 (Version 2): Non so d'onde viene
K538: Ah se in ciel, benigne stelle

Tracks:

K368: Ma che vi fece, o stelle... Sperai vicino il lido
K416: Mia speranza adorata!... Ah non sai qual pena sia
K418: Vorrei spiegarvi, oh Dio!
K419: No, che non sei capace
K70: A Berenice... Sol nascente
K316: Popoli di Tessaglia!... lo non chiedo, eterni Dei
K21: Va, dal furor portata
K209: Si mostra la sorte
K210: Con ossequio, con rispetto
K431: Misero! O sogno... Aura, che intorno spiri

Tracks:

K368: Clarice cara mia sposa
K416: Se al labbro mio non credi
K418: Or che il dover... Tali e cotanti sono
K419: Per pieta, non ricercate
K433: Manner suchen stets zu naschen (Warnung)
K539: Ich mochte wohl der Kaiser sein!
K513: Mentre ti lascio, oh figlia
K432: Cosi dunque tradisci... Aspri rimorsi atroci
K541: Un bacio di mano
K512: Alcandro, lo confesso... Non so d'onde viene
K584: Rivolgete a lui lo sguardo
K612: Per questa bella mano

Customer Reviews:

Excellent product and service!.......2005-09-11

Love the product and received it record time overseas. Thank you!

A must if you love Mozart Opera.......2002-04-06

The LA Reviewer said it all and I totally agree. The sound is wonderful and singing top notch. A great discovery and a must for any opera collector. Mozart gets better the more you listen to his opera compositions - the set contains many of the outstanding arias not always done in concert but which are lovely and some rediscoveries. Also, our recent loss of Winbergh makes this a buy as we don't have alot of recordings of his beautiful tenor voice. This set features him on 4 arias and his Mozart singing is truly outstanding. This set of 5 CD's a great value and highly recommended.

Great CD but beware!.......2002-02-24

This has to be the ultimate compendium of these undeservedly neglected arias. Many of the arias themselves rival the most glorious moments in the operas, and some of them, particularly the high soprano arias, are highly-charged vocal stuntfests that have to be heard to be believed.

This set has much to recommend it but does have one major technical flaw. Every copy that I have heard (and that is several) has a skip near the end of Track 10 of Disc 1. It seems to be part of the master and many listeners will be able to live with it, but I do wish that producers would take the time to fix a defect like this for such a significant musical document. Purists beware!

A MUST-BUY treasure trove!.......1999-09-04

Can't get enough of sublime Mozartian aria music? This complete compilation of concert arias should be part of every Mozart lover's collection, especially as a supplement to better known opera arias. There are gems among the concert collection that challenge even the loveliest of Mozart's better known operatic work. I can't say this is the only version of the concert arias ever to buy... the more versions I hear, the more I love the different interpretations. But if you're only going to sample one set, this could be the winner. The singers represented are masters of the Mozart craft; one virtuoso piece after another - for five discs, each over an hour long! The arrangement of voices, mostly soprano (since they sing the originally castrati arias as well), is also wonderful; no one sound is heard for too long before a very different one takes its place to give a contrasting flavor. And they're all in top form: Kiri Te Kanawa with her trademark creamy mildness is followed by Edita Gruberova's agile, silver-haunted coloratura. Teresa Berganza, whom I usually link with mezzo roles, is a tour de force of golden warmth; her Ch'io mi scordi de te? on disc 3 (piano accompaniment originally played by Mozart himself) is magnificent and deserves special note. Krisztina Laki and Elfriede Hobarth were lesser known to me; both are quite fine, although Laki's crystal sweetness is stronger and more pitch-perfect than Hobarth's, particularly in the highest notes of some mind-boggling musical phrases. The final 1.5 discs are handed to the men; Gosta Winbergh sings the tenor arias with heroic beauty and Dietrich Fischer-Dieskau and Fernando Corena as the bass-baritones are simply the richly toned legends one would expect. A very nice booklet with notes, lyrics and translations to each aria is included. It's a marvelous set; one of my favorite discoveries.

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A Wonderful Recital with Caballe at her Best
no news
Montserrat Caballe's Claim To Fame
Welcome to the Caballe school of singing!

Rarities: Donizetti, Rossini, Verdi

Manufacturer: RCA
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Donizetti: Lucrezia Borgia
Leyla Gencer, Vol. 2
The Spectacular Voice of Marilyn Horne: Rossini / Horne
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Meyerbeer: Semiramide

ASIN: B0002VYE0O
Release Date: 2004-10-12

Customer Reviews:

A Wonderful Recital with Caballe at her Best.......2006-12-10

At the wake of Maria Callas' explorations into the bel canto repertoire, great sopranos such as Joan Sutherland, Leyla Gencer, and most importantly, Montserrat Caballe, dominated the Italian repertoire during their careers to revive the forgotten operas of Donizetti, Bellini, Verdi, and Rossini. I say that Caballe is the most important of these three post-Callas sopranos because more so than any of these divas, she epitomized the true bel canto style needed to make her characterizations come to life. Sutherland had an excellent technique, but her characterizations were sadly lacking in verve, and Leyla Gencer was too often in an undesirable state of voice despite her thespian histrionics. Montserrat had both, and she championed the great operas of Verdi, Puccini, Donizetti, Bellini, Rossini, Massenet, Wagner, Strauss, Mozart, Giordano, Pergolesi, and all the other great, almost-unknown composers who became part of her core repertoire, if there was any at all. Her excellent technique allowed her to continue assuming roles that displayed her magnificent artistry well into her 70's...up to today! Yes, she is still singing, and in fact she is going to be starring in a role in the Vienna Opera next year.

This recital shows Caballe in the repertoire that was arguably her best. Although I found her compelling in some Verdi, I thought that she lacked the spinto sound needed to set those Verdi roles on fire. In this recital, Caballe shows her knack and ability to make the earlier Verdi operas shine. She had a coloratura facility that was simply astounding for an instrument of her particular smoothness, beauty, and timbre, and I believe that her excerpt from Aroldo is a must hear. Her Donizetti is brilliant as well, a highlight being the Parisina and the Belisario excerpts. It makes us wish that there were a Belisario lying around somewhere with her singing. Her Rossini makes us hope for an Armida and a Tancredi. This recording finds her in superb voice, much more so than many of the recordings of her latter years that find her singing with a trademark Caballe bleat. For people who love bel canto and tasteful singing, I think this is a recital that anyone should own.

no news.......2006-02-21

If you have the earlier release of this set (1992 I think), there's really no need to replace it. This current (2004) release was supposedly remastered, but I can hear little if any difference. Amazon shows both versions, but I'd bet the earlier one may well be out of print. You get all the Caballe trademarks here: floated pianissimos, gorgeous mid-range singing - and the usual glottal stops. Even if you're not a big MC fan, the set is worth getting for all those arias you're not likely to hear elsewhere, or done as well.

Montserrat Caballe's Claim To Fame.......2005-11-09

Bel canto opera was soprano Montserrat Caballe's claim to fame. Blessed with both a huge and lyrically resplendent voice, she was a refreshing change from the purely dramatic style of singing provided by Maria Callas. Her pianissimi are still talked about even long after they disappeared, her coloratura is dynamic, her stamina and breath control impressive and her orutund, vigorous but beautiful tone made her particularly suited for the roles of queens or strong women- Donizetti's Lucrezia Borgia and Bellini's Norma especially. The other reviewer says she was perfect for the roles of mothers, queens and wives, and this is true because she was able to portray seemingly powerful women dying of love underneath. She would have made an exceptionally terrific Turandot but she never sang the role in her career.Her career in opera spanned the decades of the 60's, 70's and even part of the 80's. The arias from Parisina and Torquato Tasso are indeed outstanding. These operas are obscure bel canto operas by Donizetti, Rossini and even early Verdi operas. These operas will never be staged again and some of them enjoyed only mild success in their original stage premieres in the 19th century. This is the work of young and energetic composers who had not yet mastered character insight and thrilling dramatic elements. Mostly, it's beautiful singing, the actual definiton of the term bel canto. What we get in place of dramatic potency is ornate, lush singing. In the very least, these arias should be sung in recital. Caballe sang numerous bel canto pieces in recital, displaying her gift for this type of singing. She is the very embodiment of bel canto. Not even Joan Sutherland and Beverly Sills, considered her fellow peers in the same "back to bel canto" movement could essay the arias with such grace, elegance and majestic beauty. Sutherland sang with obvious gloss and no real dramatic power, Sills sang beautifully but focused on the significance of text as drama and therefore "spoke" some of her lines or cried or raged instead of singing. Callas was the same way only hers was a bigger voice. Caballe gave us simply beautiful singing. And we thank her for that.

Welcome to the Caballe school of singing!.......2004-12-18

This re-released recitals indisputably rank among Caballe's best recording material. Each "rarity" has something different to offer. In Rossini, Caballe mostly displays her coloratura ability which was not in the same league as Sills', Callas' or Sutherland's but had a magic of its own. One never expects such agilty from such a firm and full voice. The Tancredi scene is my favourite.

In Donizetti, Caballe truly reigns! If only she'd recorded these operas completely. I've always found her sound perfectly suited to roles of wifes, mothers and aristocratic ladies in general. The operas chosen here deal with marrital problems and Caballe is the definition of the Donizzeti roles she sings here! My favs are the Parisina and Torquato Tasso moments. Comparing her and the lighter sopranos who nowadays perform these operas makes one realise that high notes are not the issue here. The full, sumptuous sound of a Monsterrat is what these operas need!

Early Verdi has a lot in common with bel canto and Caballe is again sublime! The Un Giorno extract stands out. It's breathtakingly perfect! Caballe finds meaning in every phrase she sings. But all other tracks are unforgettable as well. Needless to say that the voice at this moment of her carreer was at its best!

These recitals will always have a special place in my opera collection and my heart!

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

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Beyond all description...
An Absolute Must-Have for Any Pavarotti Fan
Wonderful!!!!

The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)

Manufacturer: Decca
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The Very Best of Franco Corelli
Borat - Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Widescreen Edition)

ASIN: B00005O841
Release Date: 2001-11-13

Album Description

Disc 1: Donizetti Arias from L'elisir d'amore, Maria Stuarda, Lucia di Lammermoor, La Fille du Regiment, Linda di Chamounix, La Favorita, and Don Paquale

Disc 2: Bellini/Donizetti/Verdi Includes arias from I Capuleti e i Montecchi, Norma, La Sonnambula (1976 Duet Recording), I Beatrice di Tenda, I Puritani, Don Sebastien, Il Duca d'Alba, I Lombardi, I due Foscari, Ernani, and Attila

Disc 3: Verdi 1 Includes arias from Macbeth, Luisa Miller, Rigoletto, Il Trovatore, La Traviata, and Les Vepres Siciliennes

Disc 4: Verdi 2 Includes arias from Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello, and Requiem

Disc 5: Puccini Includes arias from La Boheme, Madama Butterfly, and Turandot

Disc 6: Puccini and Verismo Includes arias from Cavalleria Rusticana, Manon Lescaut, Pagliacci, Andrea Chenier, and Tosca

Disc 7: Arias 1 Includes arias from La Griselda, Atalanta, Orfeo ed Euridice, Don Giovanni, Cosi fan Tutte, Guillaume Tell, and more. Includes Unreleased Material.

Disc 8: Arias 2 Includes arias from Martha, Mefistofele, La Giocanda, Adriana Lecouvreur, Rosenkavalier, Fedora, Werther, Faust, Carmen, and more

Disc 9: Italian Songs Includes: In questa tomba oscura, Me voglio fa'na casa, Non t'amo piu, Pace non trovo, and more

Disc 10: Neapolitan and Italian Popular Songs Includes: O sloe mio, Torna a Surriento, Core 'ngrato, Funiculi Funicula, Non ti scordar di me, Mamma and more

Bonus CD: The 1964 EP (previously unreleased) "Che Gelida Manina," "E lucevan le stelle," "Questo o quella," "La Donna e mobile," and "Parmi veder" with Orchestra of the Royal Opera House, Covent Garden, Edward Downes conducting

Customer Reviews:

Beyond all description..........2006-09-19

As a boy, I heard so many hyperbolic references to the legendary Enrico Caruso that I chose to purchase a remastered copy of his "Greatest Hits" when I first began to acquire recordings as a young man. Soon after, I discovered Pavarotti and my life was changed by his music. Caruso ended up in the Goodwill Store. I am convinced that in 500 years, should the earth cool again and the Muslim hoards abate, the civilized world will still tell tales of the greatest tenor. I have often found myself grumpy when searching for recordings of Pavarotti because of the inconsistent fidelity of the recordings. That search for the definitive Pavarotti recordings, regarding both content and fidelity, has ended with the release of this extraordinary collection. Worth it's weight in gold, the Puccinni Volume (#5) alone is enough to send someone like me into hyperspace. I am astounded by the beauty and power of these performances. I will always remember the day, not long ago, when a NPR commentator glibly mentioned between the weather and the night's playlist the terrible words, "Luciano Pavarotti has announced that he is retiring from Opera." I felt as if something indescribably beautiful was fading from the world. Of course, beauty in all of its earthly forms is fleeting at best, but these discs contain a reflection of it that will surely bolster any soul.

An Absolute Must-Have for Any Pavarotti Fan.......2004-01-09

...and that certainly goes without saying. My one tiny little problem with it is that his recordings of "Santa Lucia" and "Caruso" are not on this incredible box-set. Even though I have those recordings on other CDs, I still think those are very important pieces to include on this set (assuming that this set of Pavi hits would be the only compilation that that any fan of this phenomenal tenor would have). He is probably my biggest idol, and he deserves to have been one of the biggest opera stars in history.

Wonderful!!!!.......2002-11-07

This Pavarotti set; The Pavarotti Edition; is a wonderful collection of Arias and songs that cover Luciano's great career. Pavarotti is THE Voice of the 20th Century and this set does him justice. It includes 10 CDs with over 750 minutes of music; Includes Music from All of His roles; has a beautiful 76 page full color booklet; Has a wonderful write up; and includes a bonus CD of Pavarotti's fist album, a 45, from 1964, which has never been released on CD before this set. Every Song is hear, This SET is a must have for every Pavarotti Fan.

Rossini - Il barbiere di Siviglia / Hagegard · Larmore · Giménez · Corbelli · Ramey · Frittoli · Lausanne OC · López-Cobos

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Rossini would be laughing!
Try Another one
¡ WHAT A PERFORMANCE !
Best Digital version
marvelous

Rossini - Il barbiere di Siviglia / Hagegard · Larmore · Giménez · Corbelli · Ramey · Frittoli · Lausanne OC · López-Cobos
Gioachino Rossini , Jesus Lopez-Cobos , Jennifer Larmore , Hakan Hagegard , Orchestre de Chambre de Lausanne , Samuel Ramey , Raúl Giménez , Alessandro Corbelli , Barbara Frittoli , and Leonard Graus
Manufacturer: Elektra / Wea
ProductGroup: Music
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Carmen / Sinopoli; Larmore, Moser, Gheorghiu, Ramey

ASIN: B000000SGB
Release Date: 1993-09-07

Tracks:

Il Barbiere di Siviglia: Sinfonia
Il Barbiere di Siviglia: Atto Primo - No. 1 Introduzione
Il Barbiere di Siviglia: Atto Primo - Cavatina
Il Barbiere di Siviglia: Atto Primo - Ehi, Fiorello
Il Barbiere di Siviglia: Atto Primo - Recitativo
Il Barbiere di Siviglia: Atto Primo - No. 2 Cavatina
Il Barbiere di Siviglia: Atto Primo - Recitativo
Il Barbiere di Siviglia: Atto Primo - No. 3 Canzone
Il Barbiere di Siviglia: Atto Primo - Recitavo
Il Barbiere di Siviglia: Atto Primo - No. 4 Duetto
Il Barbiere di Siviglia: Atto Primo - No. 5 Cavatina
Il Barbiere di Siviglia: Atto Primo - Recitativo
Il Barbiere di Siviglia: Atto Primo - No. 6 Aria
Il Barbiere di Siviglia: Atto Primo - Recitativo
Il Barbiere di Siviglia: Atto Primo - No. 7 Duetto
Il Barbiere di Siviglia: Atto Primo - No. 8 Aria
Il Barbiere di Siviglia: Atto Primo - No. 8 Aria
Il Barbiere di Siviglia: Atto Primo Rectativo
Il Barbiere di Siviglia: Atto Primo - No. 9 Finale 1

Tracks:

Il Barbiere di Siviglia: Ecoo qua!... sempre un'istoria
Il Barbiere di Siviglia: Atto Secondo - Recitatio
Il Barbiere di Siviglia: Atto Secondo - No. 10 Duetto
Il Barbiere di Siviglia: Atto Secondo - Recitativo
Il Barbiere di Siviglia: Atto Secondo - No. 11 Aria
Il Barbiere di Siviglia: Atto Secondo - Recitativo
Il Barbiere di Siviglia: Atto Secondo - No. 12 Aretta
Il Barbiere di Siviglia: Atto Secondo - Recitativo
Il Barbiere di Siviglia: Atto Secondo - No. 13 Quintetto
Il Barbiere di Siviglia: Atto Secondo - Recitativo
Il Barbiere di Siviglia: Atto Secondo - No. 14 Aria
Il Barbiere di Siviglia: Atto Secondo - Recitativo
Il Barbiere di Siviglia: Atto Secondo - Temporate
Il Barbiere di Siviglia: Atto Secondo - Recitativo
Il Barbiere di Siviglia: Atto Secondo - No. 16 Terzetto
Il Barbiere di Siviglia: Atto Secondo - Zitti, zitti
Il Barbiere di Siviglia: Atto Secondo - Recitativo
Il Barbiere di Siviglia: Atto Secondo - No. 17 Recitativo strumentato
Il Barbiere di Siviglia: Atto Secondo - No. 18 Aria
Il Barbiere di Siviglia: Atto Secondo - Recitativo
Il Barbiere di Siviglia: Atto Secondo - No. 19 Finaletto II

Amazon.com

This is one of the best recordings of Barber currently available and definitely the winning newer version, the result of fine singing and outstanding ensemble work by the delightful mezzo- soprano Jennifer Larmore as a youthful Rosina, tenor Raul Gimenez as an Almaviva who can even handle the Count's long, difficult (and usually cut) final aria, "Cessa di piu resistere," and Hakan Hagegard as a delightful Figaro in good voice. Bass Samuel Ramey sings Basilio's aria with droll wickedness, while Alessandro Corbelli's Dr. Bartolo is a comic delight. Jesus Lopez-Cobos conducts with style and élan. --Sarah Bryan Miller

Customer Reviews:

Rossini would be laughing!.......2003-05-27

A reviewer for American Record Guide said that this recording is unfunny (I believe "dreary" was the word he used). I haven't the slightest idea what he means. On the contrary, this performance of Rossini's comic masterpiece, IL BARBIERE DI SIVIGLIA, is delightful, simply because the singers are not TRYING to be funny. Instead, they and the orchestra under Lopez-Cobos carefully observe Rossini's dynamic and expression marks, and in doing so bring out the humor that Rossini wrote into the score. Consequently, this performance sounds the way that I believe Rossini himself, master of comic opera that he was, would have wanted it to sound. The singers are consistently outstanding. Haken Hagegard may not be an Italianate Figaro, but he is very likeable, displaying great personality in "Largo al factotum" and in the recitatives. Raul Gimenez, one of the finest Rossini tenors today, sings beautifully as Count Almaviva, exquisitely shading his voice in his two arias in the first scene and efortlessly handling "Cessa di piu resistere," his long aria at the end. Jennifer Larmore's Rosina is technically flawless, and she sings with a wonderfully light touch; her voice is always beautifully focused. Alessandro Corbelli isn't mentioned enough: he is simply one of the finest and subtlest "bassi-buffi" singing today. He really SINGS Bartolo (rather than "mugging"). And listen to his patter in "A un dottor della mia sorte"! Flawless! Expert Rossinian Samuel Ramey rounds out the cast as a superb Don Basilio, singing his aria, as the editorial reviewer pointed out, "with droll wickedness." To sum up, this is an outstanding modern recording of IL BARBIERE, with a cast and conductor who get the most out of this comic music. Rossini would be laughing!

Try Another one.......2001-02-04

I really didn't like this recording. I was expecting a great show, and it is not 10% of it. this recording has no attractives.

¡ WHAT A PERFORMANCE !.......2000-08-04

I recomend this recording to those who like hearing an exelent sound made by the singers and the orquestra, directed by the great Lopez-Cobos. I like very much Larmore's interpretation, she is one of the best bel canto mezzo sopranos, and her singing is better with Raul Gimenez by her side. Larmore's "una voce poco fa", it's outstanding. Enjoy this opera, interpretated by these fabulous artists.

Best Digital version.......1999-09-11

Outstanding set. Larmore never fails to amaze. Try "Una voce poco fa". True, she does show off a bit, but who cares? It is a stunning vocal display. Whenever I want to introduce someone to opera, I play this aria sung by Larmore because it is so amazing. Gimenez is one of the best Rossini tenors in the world today and he lives up to it on this record. Hagegard is also top notch. "Largo al factotum" jumps out of the speakers and he comes the closest to actually singing all the notes of anyone recently. The one caveat for this recording is the orchestra. I feel they don't support the cast strongly enough, or perhaps the sound engineers placed them too far back. Not enough orchestral bite. Otherwise outstanding.

marvelous.......1999-07-14

This recording was a revelation.The ensemble singing was superb and the conductor had some new readings of some of the best known music in the world.I found the most outstanding element of this recording to be the singing of Raul Gimenez.Especially in the last act.The difficult final section of the opera was delivered with sublime ease!Get this opera,and enjoy!

Average customer rating:

RCA MET 100 Singers, 100 Years

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FFT
Release Date: 1993-09-14

Tracks:

Ardon Gl'Incensi (Mad Scene) - Marcella Sembrich
Vissi D'arte - Emma Eames
Devant La Maison (Serenade) - Pol Plancon
Les Tringles Des Sistres (Gypsy Song) - Emma Calve
A Vos Jeux, Mes Amis (Mad Scene) - Nellie Melba
All'erta, Marinar: II Vento Cangia!; Adamastor, Re Dell'acque - Giuseppe Campanari
O Pretres De Baal (Prison Scene) - Ernestine Schumann-Heink
Come Paride Vezzoso - Antonio Scotti
Jo-Ho-Hoe!; Traft Ihr Das Schiff (Senta's Ballad) - Johanna Gadski
Vecchia Zimarra - Marcet Joumet
Voce Di Donna - Louise Homer
Rachel, Quand Du Seigneur - Enrico Caruso
Se In Voi Cotanto Forte Fosse L'amor' I1 Cor Nel Contento - Geraldine Farrar, Hermann Jadlowker
It Is Almost Midnight (Sung In German) - Emmy Destinn
Eri Tu - Pasquale Amato
Ed Io Non Ne Godevo; Sempre Cosi - Frances Alda
Mein Vater! (Amfortas' Prayer) - Clarence Whitehill

Tracks:

Qual Fiamma Avea Nel Guardo!; Stridono Iassu (Ballatella) - Alma Gluck
Lunge Da Lei; Dei Miei Bollenti Spiriti - John McCormack
Caro Nome - Luisa Tetrazzini
Tutto Tace (Cherry Duet) - Miguel Fleta, Lucrezia Bori
Lontano Eco Della Mia Giovinezza (Lenski's Air) - Giovanni Martinelli
E Il Di Che Zar Saro (Garden Scene) - Paul Althouse, Margarete Ober
Di Provenza Il Mar - Giuseppe De Luca
Pace, Pace, Mio Dio! - Rosa Ponselle
Mi Batte Il Cor; O Paradiso - Beniamino Gigli
Bellah! Capretta Adorata; Si Carino (Slumber Song) - Amelita Galli-Curci
Gluck, Da Mir Verblieb (Marietta's Lied) - Maria Jeritza
Largo Al Factoum - Titta Ruffo
Una Parola Sola; Or Son Sei Mesi - Edward Johnson
Sieh' Evchen! Dacht' Ich Doch - Friedrich Schorr, Elisabeth Rethberg

Tracks:

Meco All'altar - Giacomo Lauri-Volpi
Nay, Marcus, Lay Him Down - Lawrence Tibbett
Regnava Nel Silenzio - Toti Dal Monte
Dir Tone Lob - Lauritz Melchior
Deh, Vieni Alla Finestra - Ezio Pinza
Depuis Le Jour - Grace Moore
Depuis Heir Je Cherche; Que Fais-Tu? - Gladys Swarthout
Salut A Toi (Hymnn To The Sun) - Lily Pons
Adina Quest'oggi; Adina Credimi - Tito Schipa
Ah, Malgre Moi - Rose Bampton
Je Suis Seul!; Ah! Fuyez, Douce Image - Richard Crooks
I Know You Better; This Very Vivid Morn - Helen Jepson
Mild Und Leise (Liebestod) - Kirsten Flagstad
Pres Des Remparts De Seville (Seguidilla) - Bruna Castagna
So Its Es Denn Aus Mit Den Ewigen Gottern - Kerstin Thorborg
Giunse Alfin Il Momento; Deh Vieni, Non Tardar - Bidu Sayao
Einsam In Truben Tagen (Elsa's Dream) - Helen Traubel

Tracks:

La Mamma Morta - Zinka Milanov
Ah, Guai A Chi La Tocca!; Guardate, Pazzo Son - Jussi Njoerling, Enrico Campi
Ist Ein Traum - Rise Stevens, Erna Berger
O Saint Medaille; Avante De Quitter Ces Lieux - Leonard Warren
Clock Scene (Sung In Russian) - Alexander Kipnis
Elle A Fui, La Tourterelle! (Antonia's Romance) - Jarmila Novotna
Con Onore Muore (Death Of A Butterfly) - Licia Albanese
To Leave, To Break (Quintet) - Eleanor Steber, Rosalind Elias, Regina Resnik, Nicolai Gedda, Giorgio Tozzi, George Cehanovsky
Tombe Degli Avi Miei; Fra Poco A Me Ricovero - Jan Peerce
Oui, Pour Ce Soir; Je Suis Titania (Polonaise) - Patrice Munsel
Se Quel Guerrier; Celeste Aida - Richard Tucker
L'ho Abbandonato Senza Un Saluto; In Quelle Trine Morbide - Dorothy Kirsten
Felice Ancor; Per Me Giunto - Robert Merrill
Si, Pel Ciel - Ramon Vinay, Giuseppe Valdengo

Tracks:

Morgenlich Leuchtend Im Rosgen Schein (Prize Song) - Set Svanholm
Studia Il Passo; Come Ddal Ciel Precipita - Jerome Hines
Che Gelida Manina - Giuseppe Di Stefano
Ah, Non Giunge - Roberta Peters
Ecco Ridente - Cesare Valletti
Re Dell'abisso - Marian Anderson
Credo In Un Dio Crudel (Iago's Creed) - Tito Gobbi
O Figli, O Figli Miei! Ah, La Paterna Mano - Carlo Bergonzi
Una Macchia E Qui Tuttora (Sleepwalking Scene) - Leonie Rysanek, Gerhard Pechner, Carlotta Ordassy
Addio Del Passato - Anna Moffo
In Questa Reggia - Birgit Nilisson, Jussi Bjoerling
Recitar!; Vesti La Giubba - Jon Vickers
Give Me My Robe - Leontyne Price

Tracks:

La Fleur Que Tu M'avais Jetee (Flower Song) - Franco Corelli
In Fernem Land - Sandor Konya
Ah! Tu Dei Vivere! Aida A Me Togliesti - Grace Brumbry, Placido Domingo
Je Dis Que Rien Ne M'epouvante - Mirella Freni
Mia Madre Aveva Una Povera Ancella (Willow Song) - Renata Scotto
Too Weak To Kill - Sherrill Milnes
Mi Chiamano Mimi - Montserrat Caballe
La Donna E Mobile - Alfredo Kraus
Stride La Vampa - Fiorenza Cossotto
Fia Dunque Vero; O Mio Fernando - Shirley Verrett
L'anima Ho Stanca - Placido Domingo
O Isis Und Osiris - Martti Talvela
Cruda Sorte, Amor Tiranno - Marilyn Horne
Come Scoglio Immoto Resta - Kiri Te Kanawa
Ave Maria - Katia Ricciarelli

The Gold Collection: 40 Classic Performances

Average customer rating:

The Gold Collection: 40 Classic Performances

Manufacturer: Retro Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000005RHV
Release Date: 1997-12-08

Tracks:

Nessun Dorma! (Vincero)
Donna E Mobile
Questa O Quella
Ella Mi Fu Rapita
Che Gelida Manina
O Soave Fanciulla
Tombe Degli Avi Miei
Verranno A Te Sull'aure
Tu Che A Dio Spiegasti L'
Oh! Fede Negar Potessi
Quando Le Sere Al Placid
Te O Cara
Non Ho Colpa
Il Padre Adorato
Eccomi A Voi
Libiam'libiam
Un Di Felice Eterea
Lunge Da Lei
Quanto E Bella Quanto E C
Una Furtiva Lagrima
Mia Letizia Infondere
Agli Armi
In Cielo Benedetto
E Serbata A Questo Acciar
Chi Sei She Ardisci
Ella E Morta
Dalla Sua Pace
Io Son Sol Dispar Vis
Ah Des Grieux
Cujus Animam Gementem
Requiem Aeternam
Kyrie Eleison
Dies Irae
Quid Sum Miser
Rex Tremendae
Ingemisco
Lacrymosa
Domine Jesu
Hostias
Aeterna

Average customer rating:

Mozart Heaven: Rare Jewels Of Song
Another excellent set from Philips
For the completist only

Mozart: Arias, Vocal Ensembles, Canons

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Mozart - La finta semplice / Hendricks, Blochwitz, Lorenz, D. Johnson, Lind, Schreier

ASIN: B000004114
Release Date: 1991-08-09

Tracks:

Arias: Va, dal furor portata, KV 21/19c
Arias: Conservati fedele, KV 23
Arias: Or che il dover m'astringe - Tali e conanti sono, KV
Arias: A Berenice e Vologeso sposi - Sol mascente in questo g
Arias: Cara, se le mie pene, KV deest
Arias: Per pietbell'idol mio, KV 78/73b
Arias: Fra cento affanni e cento, KV 88/73c
Arias: O temerario Arbace! - Per quel paterno amplesso, KV
Arias: Misero me! - Misero pargoletto, KV 77/73e

Tracks:

Se ardire e speranza, KV 82/73o
Se tutti i mali miei, KV 83/73p
Non curo l'affetto, KV 74b
Si mostra la sorte, KV 209
Con ossequio, con rispetto, KV 210
Voi avete un cor fedele, KV 217
Ombra felice! - Io ti lascio, e questo addio, KV 255
Clarice cara mia sposa dev'essere, KV 256
Ah, lo previdi! - Ah, t'invola agl'occhi miei - Deh, non varcar, KV 272
Alcandro, lo confesso - Non so d'onde viene, KV 294
Se al labbro mio non credi, KV 295

Tracks:

Basta, vincesti; eccoti il foglio - Ah, non lasciarmi, no, KV 486a/295a
Popoli di Tessaglia - Io non chiedo, eterni Dei, KV 316/300b
Ma che vi fece, o stelle - Sperai vicino il lido, KV 368
Misera! dove son? L'aure del Tebro - Ah! non son io che parlo, KV 369
A questo seno deh vieni - Or che il cielo a me ti rende, KV 374
Nehmt meinen Dank, ihr holden gr, KV 383
Mia speranza adorata! - Ah non sai qual pena sia, KV 416
Vorrei spiegarvi, oh Dio, KV 418
No, che non sei capace, KV 419
Per pietnon ricercate, KV 420
Cosi dunque tradisci - Aspri rimorsi atroci, KV 432/421a

Tracks:

Misero! O sogno, o son desto? - Aura, che intorno spiri, KV 431/425b
Ch'io mi scordi di te? - Non temer, amato bene, KV 505
Alcandro, lo confesso - Non so d'onde viene, KV 512
Mentre ti lascio, o figlia, KV 513
Bella mia fiamma, addio - Resta, oh cara, KV 528
Ah se in ciel, benigne stelle, KV 538
Ich me wohl der Kaiser sein, KV 539
Un bacio di mano, KV 541
Alma grande e nobil core, KV 578
Chi sa, chi sa qual sia, KV 582
Vado, ma dove? oh Dei!, KV 583
Per questa bella mano, KV 612
Io ti lascio, oh cara, addio, KV Anh. 245/621a

Tracks:

Se tutti i mali miei, KV 83/73p
Cara la dolce fiamma, KV 293e
Alcandro, lo confesso - Non so d'onde viene, KV 294
Se al labbro mio non credi, KV 295
Der Liebe himmlisches Gefuhl, KV 119/382h
In te spero, o sposo amato, KV 440/383h
Mubt ich auch durch tausend Drachen, KV 435/416b*
Manner suchen stets zu naschen, KV 433/416c*
Ah! spiegarti, oh Dio, vorrei, KV 178/417e
Schon lacht der holde Fruhling, KV 580*

Tracks:

Guarda la donna in viso (No. 5)
Sono in amore, voglio marito (No. 23)
Al destin che la minaccia (No. 1)
In faccia all'oggetto (No. 9)
Lungi da te, mio bene (No. 13)
Se viver non degg'io (No. 18)
Vado incontro al fato (No. 20)
Ah, se a morir mi chiama (No. 14 from Lucio Silla KV 135)
Venga la morte - Non temer, amato bene, KV 490
Principessa, a tuoi sguardi - Spiegarti non poss'io, KV 489*
Welch angstliches Beben, KV 389/384A*

Tracks:

Ehi, Sor paggio - Non pirai (No. 9)
Giunse alfin il momento - Al desio di chi t'adora, KV 577
Un moto di gioia mi sento, KV 579
Por queste tue manine, KV 540b
Rivolgete a lui lo sguardo KV 584
Sined's (Denis') Bardengesang auf Gibraltar: O Calpe! Dir donnert's am Fusse, KV Anh. 25/386d
Del gran regno delle amazzoni, KV 434/480b
Das Bandel: Liebes Mandel, wo is's Bandel?, KV 441
Dite almeno in che mancai, KV 479
Mandina amabile, questo danaro, KV 480
La libert Nice: Grazie agl'inganni tuoi, KV 532
Beim Auszug in das Feld: Dem hohen Kaiser-Worte treu, KV 552
Caro mio Druck und Schluck, KV Anh. 5/571a
Nun liebes Weibchen, ziehst mit mir, KV 625/592a

Tracks:

V'amo di core teneramente,KV 348(382g) - Canon a 12 for mixed voices
Lieber Freistadtler,lieber Gaulimauli,KV 232[509a] - Canon a 4 for male voices
Gehn wir im Prater,KV 558 - Canon a 4 for male voices
Difficile lectu mihi mars,KV 559-Canon a 3 fo