Dice 2

Editorial Reviews
Album Description
The dice Project: a CD collection of contemporary women composers

the dice porject is a compact disc collection of contemporary women composers released on the Ishtar Records label and produced by MiShinnah Productions.

the first dice CD, curated by Elise Kermani, was released in the fall of 1993. It includes nine vocalists from Canada, Mexico and the United States. In October 1993, a CD release party was held at the Knitting Factory in New York City featuring performances by the participating artists. This compact disc received accolades from publication worldwide and can be heard on radio stations internationally.

dice 2 (she says), the second compact disc in the series is co-produced by Lynn Book and Elise Kermani. This project includes music from new participants as well as new collaborations from previous participants. As with dice, the release of dice2 was followed by a mini-tour in New York with performances and screenings at iEAR Studios, Thundergulch and The Kitchen in November, 1997.

dice is an important recording that showcases new music by innovative women composers from coast to coast. It lends a cacophony of voices to the diverse experiences of women and it should be heard, played "read" and talked about by anyone with an ear for the extraordinary.

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.

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
Similar Items:

Beethoven: Symphonies Nos. 1-9 (Fra)
Wagner: Der Ring des Nibelungen
Weber: Der Freischütz
Mozart Opera Glyndebourne Collection: Cosi fan Tutte, Don Giovanni, Le Nozze di Figaro, Die Entfuhhrung aus dem Serail, Idomeneo, Die Zauberflote (6 DVDs)
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.

The Man from U.N.C.L.E., Vol. 3
Average customer rating:
The Man from U.N.C.L.E., Vol. 3

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

All Works by Schifrin | Schifrin, Lalo | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
Movie Scores | Soundtracks | Styles | Music
Movie Soundtracks | Soundtracks | Styles | Music
General | Soundtracks | Styles | Music
Similar Items:

The Man From U.N.C.L.E., Vol. 2

The Man From U.N.C.L.E.

Man from U.N.C.L.E.

The Spy With My Face: The Man From U.N.C.L.E. Movies

The Man from U.N.C.L.E. Book: The Behind-the-Scenes Story of a Television Classic

ASIN: B0006SSQ8O
Release Date: 2005-01-11

Tracks:

First Season Main Title [Revised/Extended]
Jerry Goldsmith Medley: The Deadly Games Affair/The Vulcan ...
Quadripartite Affair
Double Affair, Suite No. 2
Belly Laughs
Finny Foot Affair
Fiddlesticks Affair, Suite No. 2
Yellow Scarf Affair
Meet Mr. Solo
Spy With My Face
Discotheque Affair, Suite No. 2
Nowhere Affair
U.N.C.L.E. A Go Go
Bat Cave Affair
One of Our Spies Is Missing
Monks of St. Thomas Affair, Suite No. 2
Spy in the Green Hat
Gerald Fried Medley: The Foreign Legion Affair/The Apple a Day Affair
Karate Killers
Richard Shores Medley: The Summit-Five Affair/The "J" for Judas Affair

Tracks:

Girl from U.N.C.L.E. Main Title
Dog-Gone Affair
Prisoner of Zalamar Affair
Mother Muffin Affair
Mata Hari Affair
Montori Device Affair
Horns-of-the-Dilemma Affair
Girl from U.N.C.L.E. (End Title)
Deadly Quest Affair: Teaser
Deadly Quest Affair: Act 1
Deadly Quest Affair: Act 2
Deadly Quest Affair: Act 3
Deadly Quest Affair: Act 4

Average customer rating:

Excellent introduction to Tebaldi's art
Wonderfull
Classic Renata

Classic Puccini Recordings
Puccini , and Tebaldi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Andrea Chenier
Giacomo Puccini: La Rondine
Verdi: La Forza del Destino
The Complete Recordings, 1902-1920 (Box Set)
Wagner: Der Ring des Nibelungen

ASIN: B00006IU8W
Release Date: 2003-03-11

Album Details

Italian Soprano Renata Tebaldi was One of the Most Important Post-war Sopranos to Tackle a Wide Range of Puccini Roles, and During the 1950s She Recorded Several Complete Opera Recordings. Some of the Operas were Recorded Twice — in Mono and Then in Stereo. Amongst Those which Tebaldi Committed to Disc in the Recording Studio on Two Occasions Must Be Included La Bohème and Madama Butterfly. It is the Earlier, Mono Recordings of These Two Operas which Are Included Here and They Reveal a Fresh-voiced Tebaldi in Recordings Which, Despite the Stereo Remakes, have Stood the Test of Time.

Customer Reviews:

Excellent introduction to Tebaldi's art.......2005-09-29

This set covers the entire productive years of Tebaldi's recording career. Turandot, Butterfly and Boheme are from her earlier career while Tosca is from her later career. Since this Tosca recording is now out of print and is somewhat hard to find, this recording itself almost worth the cost of the set. In Turandot, you will find Tebaldi at her fresher voice, lovely and melting. Eventhough I would still rate Callas' first recorded Tosca as my first choice, this Tosca comes very close. Enjoy.

Wonderfull.......2005-08-19

Fantastic recordings at a very good price. Tebaldi and Del Monaco rule. You should definetely own this set.

Classic Renata.......2005-03-16

To say that these 12 disks contain some of the finest singing ever committed to disk is no exaggeration, but a simple statement of fact. Historical fact. In the 100 years (more or less) that Puccini operas have been around, only a few sopranos in each generation have been the equal of Renata Tebaldi. One cannot objectively say that anyone has surpassed her. Some opera lovers find her peerless in many of these performances. Personal tastes in singers vary, but no one ever sang these roles better. Few anywhere nearly so well. There is not a single note on any of these recordings that is not heartfelt to the core of her being. Like Maria Callas and Franco Corelli, she was luminous, gargantuan in her talent that personified an age. This is one of the great compilations.

Average customer rating:

A great Don (except for the sound)
IT'S A GREAT ONE!

Mozart: Don Giovanni

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Mozart: Le Nozze di Figaro
Mozart: Don Giovanni
Mozart: Symphonies Nos 29, 35 (Haffner), 38 (Prague), 39, 40, and 41 (Jupiter)
Mozart: Symphony #40/Piano Concerto #20/Serenades #10 'Gran Partita' & #13 'Eine Kleine Nachtmusik - Wilhelm Furtwangler, Berlin Philharmonic
Verdi: La Traviata (Complete opera); Maria Callas; Alfredo Kraus

ASIN: B000BNV8E8
Release Date: 2006-01-10

Tracks:

Sinfonia/Overture - Chor Der Wiener Staatsoper
Notte E Giorno Faticar - Otto Edelmann
Non Sperar, Se Non M'uccidi - Otto Edelmann
Lasciala, Indegno!...Leporello, Ove Sei? - Various Artists
Ma Qual Mai S'offre, Oh Dei - Anton Dermota
Fuggi, Crudele, Fuggi! - Anton Dermota
Orsu, Spicciati Presto - Otto Edelmann
Ah, Chi Mi Dice Mai - Otto Edelmann
Chi E La? - Otto Edelmann
Madaminia, Il Catalogo E Questo - Otto Edelmann
Giovinette, Che Fate All'amore - Walter Berry
Manco Male E Partita - Various Artists
Ho Capito, Signor, Si! - Walter Berry
Alfin Siam Liberati - Cesare Siepi
La Ci Darem la Mano - Cesare Siepi
Fermati, Scellerato!...Ah! Fuggi Il Traditor! - Elisabeth Schwarzkopf
Mi Par Ch'oggi Il Demonio Si Diverta...Non ti Fidar, O Misera...Povera Sventurata! - Various Artists
Don Ottavio, Son Morta! - Anton Dermota
Or Sai Chi L'onore - Elisabeth Grummer
Come Mai Creder Deggio...Dalla Sua Pace - Anton Dermota
Io Deggio Ad Ogni Patto - Otto Edelmann
Finch'han Dal Vino - Cesare Siepi

Tracks:

Massetto, Senti Un Po'! - Walter Berry
Batti, Batti, O Bell Masetto...Guarda Un Po' - Walter Berry
Presto, Presto, Pria Ch'ei Venga - Various Artists
Tra Quest'arbori Celata - Walter Berry
Bisogna Aver Coraggio - Various Artists
Protegga Il Giusto Cielo - Elisabeth Schwarzkopf
Riposate, Vezzose Raggzze - Various Artists
Venite Pur Avanti - Various Artists
Ecco Il Birbo Che T'ha Offesa! - Various Artists
Trema, Trema, O Scellerato! - Various Artists
Eh Via, Buffone, Non Mi Seccar...Leporello!...Signore? - Otto Edelmann
Ah Taci, Ingisusto Core! - Otto Edelmann
Amico, Che Ti Par? - Otto Edelmann
Deh, Vieni Alla Finestra...V'e Gente Alla Finestra - Walter Berry
Meta Di Voi Qua Vadano - Cesare Siepi
Zitto, Iascia Ch'io Senta! - Walter Berry
Verdrai, Carino, Se Sei Buonino - Erna Berger
Di Molte Faci Il Lume...Sola, Sola In Buio Loco - Various Artists
Mille torbidi Pensieri - Various Artists
Dunque Quello Sei Tu...Ah, Pieta, Signori Miei!...Ferma, Perfido, Ferma! - Various Artists
Il Mio Tesoro Intanto - Anton Dermota
In Quali Eccessi, O Numi - Elisabeth Schwarzkopf
Mi Tradi Quell'alama Ingrata - Elisabeth Schwarzkopf

Tracks:

Ah, Ah, Ah, Questa E Buona - Otto Edelmann
O Statua Gentilissima - Otto Edelmann
Calmatevi, Idol Mio! - Anton Dermota
Crudele? Ah No, Mio Bene! - Elisabeth Grummer
Non Mi Dir, Bell'idol Mio - Elisabeth Grummer
Gia La Mensa E Preparata - Otto Edelmann
L'ultima Prova Dell'amor Mio - Elisabeth Schwarzkopf
Che Grido E Questo Mai - Otto Edelmann
Don Giovanni A Cenar Teco - Otto Edelmann
Da Qual Tremore Insolito - Otto Edelmann
Ah, Dov'e Il Perfido? - Various Artists
Or Che tutti, O Mio Tesoro - Various Artists
Questo E Il Fin - Various Artists

Customer Reviews:

A great Don (except for the sound).......2007-06-27

I have to agree with the previous reviewer that as an operatic production, this recording is superb. The only downside is the sound quality, which probably could not be helped; one must simply take it on faith that EMI did their best to re-master the original tapes (though I feel that they may have overdone the bass parts in some places). The singers are superb, and you can hear the stage effects, which gives the recording a charming immediacy. Anyone who has only heard only modern recordings of the opera, which emphasize "period" instruments and tempos, should be warned that Furtwängler did not feel obliged to stick to any one particular set of tempi - he varies the speed quite a bit, even within particular numbers, but this reflects an overall aesthetic conception of the opera which he formed over many years (this recording was made in 1954, the year of his death) and which fits together perfectly in its own way.
Moreover, like the previous reviewer, I am glad that EMI is releasing this set for a reasonable price, and it is a good companion to the classic Giulini set (although I would recommend other versions of the opera as well - even some of the "period" interpretations).

IT'S A GREAT ONE!.......2006-01-29

"Don Giovanni" is a very great, but difficult opera. It requires a charasmatic bass-baritone (or bass) for the title role, another equally great bass-baritone with a comic flair (for Leporello), two great leading sopranos for two very difficult roles (Donnas Anna and Elvira), a flawless lyric tenor (Don Octavio), and a pair of appealing younger singers for Zerlina and Massetto. It also doesn't hurt to have a sonorous Commandatore (a real bass)who can terrify Don Giovanni and take him to down at the end of the opera. This is an opera better left alone than presented even decently. The 1950's was a great time for Mozart singers, and many of them are right here on this live recording from Vienna in 1954. Cesere Siepi made the role of Don Giovanni his own and performed it many times (as well as on a commercial London recording which still is available). Elisabeth Schwarzkopf owned the role of Donna Elvira, and, in fact, can be heard on the EMI commercial recording made five years after this performance took place. Elisabeth Grummer was primarily a singer of the lighter Wagnerian roles, but her Donna Anna has power and passion. All of the other artists - Otto Edelmann, Erna Berger, Anton Dermota, Walter Berry, etc, were well known for their Mozart performances all through the decade. They mesh beautifully together in this performance, all under the exciting leadership of the legendary Wilhelm Furtwangler, who really finds the dramatic elements in this piece --- at the price of perhaps less emphasis on the lighter moments. Still, this is a towering performance, in excellent monophonic sound (yes, there are some stage noises, but no distortion or peaking). EMI has made it available at an incredibly low and wonderful price, and I can't see how anyone who loves Mozart would want to be without it under any circumstances. This is a great companion to the EMI Giulini set, and quite probably the superior of all the others.
It's a winner!

Mozart - Don Giovanni / Raimondi, Te Kanawa, Berganza, Moser, van Dam, Opera de Paris, Maazel (1979 film)

Average customer rating:

Excellent
The Best Don Giovanni On Record
If only.....
Like Amadeus, Terrific! A Must have!
Not the best by a long shot

Mozart - Don Giovanni / Raimondi, Te Kanawa, Berganza, Moser, van Dam, Opera de Paris, Maazel (1979 film)
Wolfgang Amadeus Mozart , Lorin Maazel , Ruggero Raimondi , Kiri Te Kanawa , Chorus & Orchestra of the Paris Opera , Edda Moser , José van Dam , Teresa Berganza , John Macurdy , Kenneth Riegel , and Malcolm King
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan
OPERA 101: A COMPLETE GUIDE TO LEARNING AND LOVING OPERA
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

ASIN: B0000025CF
Release Date: 1990-10-25

Tracks:

Don Giovanni: Ouverture
Don Giovanni: Act I - Scene I -Introduzione: (Leporello) (Donna Anna) (Don Giovanni) (Commendatore)
Don Giovanni: Act I - Scene 2 - Recitaivo: Leporelli, ove sei? (Don Giovanni) (Leporelli)
Don Giovanni: Act I - Scene 3 - Recitativo: Ah! del padre in periglio (Donna Anna) (Don Ottavio)
Don Giovanni: Act I - Scene 3 - Duetto: Fuggi, crudele, fuggi! (Donna Anna) ((Don Ottavio)
Don Giovanni: Act I - Scene 4 - Recitativo: Orsu, spiccati presto (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Terzetto: Ah! chi mi dice mai (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Recitativo: Chi e la? (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Aria: Madamina, il catalogo e questo (Leporello)
Don Giovanni: Act I - Scene 7 - Duetto & Coro: Gioveinette, che fate all'amore (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 8 - Recitativo: Maco male, e partita (Don Giovanni) (Leporelli) (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 8 - Aria: Ho capito, signor si! (Masetto)
Don Giovanni: Act I - Scene 9 - Recitativo: Alfin siam liberati (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 9 - Duettino: La ci darem la mano (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 10 - Recitativo: Fermati, scellerato! (Donna Elvira) (Zerlina) (Don Giovanni)
Don Giovanni: Act I - Scene 10 - Aria: Ah! fuggi il traditor (Donna Elvira)
Don Giovanni: Act I - Scene 11 - Recitativo: Mi par ch'oggi il demonio (Don Giovanni) (Don Ottavio) (Donna Anna)
Don Giovanni: Act I - Scene 12 - Recitativo: Ah, ti ritrovo ancor (Donna Elvira) Quartetto: Non ti fidar, o misera (Donna Elvira) (Donna Anna) (Don Ottavio) (Don Giovanni)
Don Giovanni: Act I - Scene 12 Recitativo: Povera sventurata! (Don Giovanni)
Don Giovanni: Act I - Scene 13 - Recitativo: Don Ottavio... son morta! (Donna Anna) (Don Ottavio)
Don Giovanni: Act I - Scene 13 - Aria: Or sai chi l'onore (Donna Anna)
Don Giovanni: Act I - Scene 14 - Recitativo: Come mai creder deggio (Don Ottavio)
Don Giovanni: Act I - Scene 14 - Aria: Dalla sua pace (Don Ottavio)

Tracks:

Don Giovanni: Act I - Scene 15 - Recitativo: Io deggio, ad ogni patto (Leporello) (Don Giovanni)
Don Giovanni: Act I - Scene 15 -Aria: Finch;han dal vino (Don Giovanni)
Don Giovanni: Act I - Scene 16 - Recitativo: Masetto...senti un po (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 16 - Aria: Batti, batti, o bel Masetto (Zerlina)
Don Giovanni: Act I - Scene 16 - Recitativo: Guarda un po' come seppe (Masetto) (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 16 - Finale: Presto, presto, pira che venga (Masetto) (Zerlina)
Don Giovanni: Act I - Scene 17: Su svegliatevi, da bravi! (Don Giovanni)
Don Giovanni: Act I - Scene 18 - Tra quest'arbori celata (Zerlina) (Don Giovanni) (Masetto)
Don Giovanni: Act I - Scene 19 - Bisogna aver coraggio (Donna Elvira) (Don Ottavio) (Donna Anna) (Leporello)
Don Giovanni: Act I - Scene 19 - Protegga il giusto cielo (Donna Anna) (Don Ottavio) (Donna Elvira)
Don Giovanni: Act I - Scene 20 - Riposate, vezzose ragazze (Don Giovanni) (Leporello) (Masetto) (Zerlina)
Don Giovanni: Act I - Scene 20 - Venite pur avanti (Leporello) (Don Giovanni) (Donna Anna) (Donna Elvira)
Don Giovanni: Act I - Scene 20 - Ecco il birbo che t'ha offesa (Don Giovanni) (Leporello) (Don Ottavio) (Donna Anna) (Donna Elvira) (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 20 - Trema, trema scellerato (Tutti)
Don Giovanni: Act 2 - Scene 1 - Duetto: Eh via, buffone, non mi seccar! (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 1 - Recitativo: Leporello...Signore (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 2 -Terzetto: Ah! taci, ingiusto core (Donna Elvira) (Leporello) (Don Giovanni)
Don Giovanni: Act 2 - Scene 2 -Recitativo: Amico, che tim par? (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 3 - Recitativo: Eccomi a voi (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 3 - Aria: Deh! vieni alla finestra (Don Giovanni)
Don Giovanni: Act 2 - Scene 4 - Recitativo: V'e gente alla finestra (Don Giovanni) (Masetto)
Don Giovanni: Act 2 - Scene 4 - Aria: Meta di voi qua vadano (Don Giovanni)
Don Giovanni: Act 2 - Scene 5 - Recitativo: Zitto...lascia ch'io senta (Don Giovanni) (Masetto)
Don Giovanni: Act 2 - Scene 6 - Recitativo: Ahi! ahi! la testa mia! (Masetto) (Zerlina)
Don Giovanni: Act 2 - Scene 6 - Aria: Vedrai, carino (Zerlina)
Don Giovanni: Act 2 - Scene 7 - Recitativo: Di molte faci il lume (Leporello) (Donna Elvira)
Don Giovanni: Act 2 - Scene 7 - Sestetto: Sola, sola in buio loco (Donna Elvira) (Leporello) (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Scene 8 - Sestetto: Ferma, briccone! Dove ten vai? (Zerlina) (Masetto) (Donna Anna) (Don Ottavio) (Donna Elvira) (Leporello)
Don Giovanni: Act 2 - Scene 8 - Sestetto: Mille torbidi pensieri (Leporello) (Zerlina) (Donna Anna) (Don Ottavio) (Donna Elvira)
Don Giovanni: Act 2 - Scene 9 - Recitativo: Dunque quello sei tu (Zerlina) (Donna Elvira) (Don Ottavio) (Masetto)
Don Giovanni: Act 2 - Scene 9 - Aria: Ah! pieta, signori miei! (Leporello)
Don Giovanni: Act 2 - Scene 9 - Recitativo: Ferma, perfido; ferma (Donna Elvira) (Masetto) (Zerlina) (Don Ottavio)
Don Giovanni: Act 2 - Scene 9 - Aria: Il mio tesoro (Don Ottavio)

Tracks:

Don Giovanni: Act 2 - Scene 10 - Recitativo: In quali eccessi (Donna Elvira)
Don Giovanni: Act 2 - Scene 10 - Aria: Mi tradi quell'alma ingrata (Donna Elvira)
Don Giovanni: Act 2 - Scene 11 - Recitativo: Ah! ah! ah! questa e buona! (Don Giovanni) (Leporello) (Commendatore)
Don Giovanni: Act 2 - Scene 11 - O statua gentilissima (Leporello) (Don Giovanni)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Calmatevi, idol mio (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Crudele? Ah no! mio ben! (Donna Anna) Aria: Non mi dir (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Aria: Forse un giorno (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Ah, si segua il suo passo (Don Ottavio)
Don Giovanni: Act 2 - Scene 13 - Finale: Gia la mensa e preparata (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 14 - Finale: L'ultima prova (Donna Elvira) (Don Giovanni) (Leporello) Che grido e questo mai? (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 15 - Finale: Don Giovanni, a cenar teco (Commendatore) (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 15 - Finale: Da qual tremore insolito (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Final Scene - Ah! dov'e il perfido? (Tutti)
Don Giovanni: Act 2 - Final Scene - Or che tutti, o mio tesoro (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Final Scene - Questo e il fin (Tutti)

Customer Reviews:

Excellent.......2005-05-08

I just bought this set and I am very impressed. To start off I am a very big fan of the soprano and baritone voice. In addition to this I am of the belief that Kiri Te Kanawa and Ruggiero Raimondi can do no wrong when it comes to singing, so naturally it was not very hard for me to decide which Don Giovanni to add to my collection.

This set does not dissapoint. Both the Don and Elvira are in exceptional voice. In addition to this rest of the cast is terrific. Donna Anna, sung by Edda Moser, is truly remarkable especially in her first aria. I have read other reviews about her singing of this role and it seems that the reviewers are split in half. One half seems to think her Wagnerian sounding voice is far too heavy and aggressive for this role while the other half seems to find her perfect. Although, I must admit there are others that I have listened to and enjoyed just as much as Moser, it is nice to be able to hear "Or sai che l'onore" sung as though the soprano has just deiscoverd some horrifying fact and is ready to take action against it rather than faint. True, singing anything softer than forte is an alien concept to this woman, I feel that most people will be duly impressed.

Besides, if you do not enjoy Edda Moser's voice then any buyer can be certain to have loads of fun with Teresa Berganza, who sings the role of Zerlina. To put it plainly Berganza's singing and interpretation of this role may exceed even that of Bartoli's, who is yet another singer I firmly believe does no wrong when it comes to music.

The rest of the cast is also excellent. Don Ottavio, Leporello, and Masetto are all sung and portrayed as well as any. Overall this is a fine set and is well worth the purchase

The Best Don Giovanni On Record.......2004-09-15

Everyone has their pick of their favorite Don Giovanni, and recordings which they consider to be the ultimate. For me, this 1979 studio recording, which was also the soundtrack for the Joseph Losey film, is the greatest on record. It has the right voices for the dark and witty drama that is Don Giovanni, the right orchestration and there is a certain magic to the whole thing that is going to leave you an opera fan for life. Ruggero Raimond sings the role of the Don. He is convincing both as a singer and an actor, bringing life to the dark, predatory, perverted, scheming character. Don Giovanni is a wolf disguised as a gentleman. He is charming, elegant but beneath his mantle of aristocratic nobility, he is the Devil incarnate. His music, mostly through recitatives (he gets only a toast aria "Finc al vino" and a Serenade "Vieni A La Finestra"of elegance) is full of wit, sophisticated humor and bawdy ribald perversion. He is a man whore, who delights in making love to all women of any age, shape or size (but never twice). He is anti-marriage even anti-romantic love. He was married briefly to Dona Elvira who is still demanding her rights as a wife and follows him everywhere, obscessed with him, attempting to regain his love, warning other women of his deception and betrayal. The role of Dona Elvira is sung by Kiri Te Kenawa who is in excellent late 70's voice, her dramatic inflections are perfect for the role. Actually, she makes a convincing and less cartoonish Elvira. Dona Elvira is usually played quite histerically and even comically but Kiri Te Kenawa plays her with a dignity of her own. If she is dramatic it is because she is madly in love with Don Giovanni and conflicted. She has a love/hate relationship with him.

Donna Ana is performed by Edda Moser. A German soprano of lyric dramatic coloratura, she has the perfect category of voice for Dona Ana the way she ought to be sung. Nowadays it's popular for a light lyric soprano to sing the role, as Renee Fleming has done. But I am pretty sure Mozart intended for her to be a dramatic soprano with a heavier voice that is nevertheless lyric, beautiful, full of pianissimo and high top register. There is one coloratura aria "A Forse Un Giorno Il Cielo" and dramatic lines in her recitatives. Right from the start, she is screaming in horror as she discovers her father has been killed by Don Giovanni. There are also moments in which the dramatic music compliment the dramatic outbursts such as the moment when she recognizes Don Giovanni as the man who tried to rape her. "O Dei ! O Gods!" she cries. There is an intense quality to the aria "Or Sai Che L'Onore" in which she is resolved that Don Ottavio take revenge against the Don. Edda Moser has a Wagnerian voice that is quite good for Dona Ana, especially because in this "version" she has some feelings of temptation for the Don which she is vigorously fighting to kill.

Lorin Maazel is a good conductor, even if he makes an excess of strings and conducts some moments such as the Act I finale at a faster pace. Jose Van Dam is a perfect support for Raimondi as Leporello, the faithful, clever and comic servant. His basso buffo voice is perfect for the role. Zerlina is sung by the adorable Teresa Berganza who has a sweet, lyric voice and who plays the almost seduced peasant girl with great conviction. In the end, she loves Masetto and will not betray him. Malcom King's Masetto is quite good, adorably jealous. Jon Macurdy has a terrifying voice as the Commandatore. This is the perfect Don Giovanni. What are you waiting for ? See the movie and get this soundtrack.

If only............2004-05-07

This recording is exciting no doubt but it has a serious flaw- the sound. All of Mozart's orchestral brillance reduced to mush with the exaggerrated acoustics. An engineering disaster not helped by Maazels excessive use of string. Having said that wow- the singing catches fire. This version is comes close to comparing with the legendary Guilini recording with Schwartkoft and Sutherland. Kiri te Kanawa is phenomenal!!!. Very rarely does she sound so convincing dramatically but she is heavenly in this recording. Ah che di mai, Inquali eccesi, Masker's trio, Ah Fuggi.. are all sung excellently with a full throated creamy tone as golden as the morning sun and as smooth as silk. Not a note out of place or scooped. Schwartkopf occassional shows her troubles with Mozart- esp in Inquali eccesi but otherwise she is commanding. Her's is the more compelling potrait but te Kanawa outshines her in all other aspects of the role- youthful brilliance coupled with a voice that is truly unforgettable.

In the 1970's te Kanawa as a lyric soprano had no equal esp in Mozart. Freni, Riciarelli, Tomowa Sintow, Cotrubas, Popp comes nowhere near and four of her Mozart recordings then deserves to be ranked as some of the most sensational recordings ever committed to disc ( along with her Grammy award Four Lasts Songs ). Of her many Mozartian potraits; Fiordiligi and Pamina with Lombard and her Figaro with Boehm, this Elvira has to be the most breathtaking and quintessential of all. Her incredible voice, the manner of her delivery and the warmth of her superlative singing is magical.

Edda Moser is a wondefully dramatic Anna, not always focused and she sounds positively insecure in her entrance. Sutherland is incomparable. I find her 'Or sai' tellingly dramatic. Berganza is lovely and she manages the high tessitura well.

The men lack something of the spark in comparison. Van Dam is a most aristocratic Leporello. Terfel is more believable. Raimondi is commanding- his is the most sexually appealling of all recordings. Maazel has wonderful moments but tends to rush much of Mozart's orchestral colour.

Like Amadeus, Terrific! A Must have!.......2001-08-03

If you have seen the 1984 Milos Forman Best Picture Amadeus, you would have seen the Commandatore Scene from Don Giovanni. This soundtrack is to the 1979 film version of the opera, with the great conductor Lorin Maazel at the baton, Kiri Te Kenawa, Edda Moser, Berganza and Van Dam putting in their talents. This is a great performance, and if you loved the film, this is a must have. Dark, comic, it is Mozart's finest Italian opera. Popular for its beautiful melodies, such as "La Ci Darem La Mano" "Viva La Libertad " the Don's lusty champagne aria "Finch hal Del Vino" and of course the climatic encounter with the Commandatore, Don Giovanni remains one of the world's greatest operas. Before you listen to all the other recordings, try this one out. I think you will be pleasantly surprised. Of course, Maazel fans might appreciate it better, as well as fans of Te Kenawa and Moser.

Not the best by a long shot.......2001-05-09

Frankly, this is very overated recording, as is the so-called legendary Gulini. Best in my view are a) Josef Krips (Decca) and Mitropoulos (Sony Classics). The latter is live, which this opera can take and in fact it adds to the frisson and excitement particularly in the final act. And the singers. Nobody has yet bettered Grummer, or Della Casa as Donna Anna or Donna Elivira. Hear them and you won't be able to listen to others doing this opera. The sound for a 1956 recording is excellent as is the Krips one which was recorded around 1959. In both recordings Siepi is the Don and his voice is a marvellous mixture of suave, erotic and downright sinister. In short he encompases the whole role. Do yourself a favour and get BOTH these recordings.

Puccini: Tosca / Freni, Pavarotti, Milnes, Rescigno, National Philharmonic

Average customer rating:

Puccini sung by Frenin Milnes and Pavarotti? What could be better?
Too Lyric For A True Dramatic Tosca
Not too shabby...
Awesome
Awesome

Puccini: Tosca / Freni, Pavarotti, Milnes, Rescigno, National Philharmonic
Giacomo Puccini , Mirella Freni , Luciano Pavarotti , Nicola Rescigno , National Philharmonic , Sherrill Milnes , Richard van Allan , and Wandsworth School Boys' Choir
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
Britten - Death in Venice / Peter Pears · John Shirley-Quirk · James Bowman · Kenneth Bowen · Stuart Bedford
Cosi fan tutte (Opera Journeys Mini Guide Series)
Tosca/the Opera Journeys Mini Guide Series
Mozart's Letters, Mozart's Life

ASIN: B0000041PR
Release Date: 1990-10-25

Tracks:

TOSCA: Act One: Ah! Finalmente!
TOSCA: Act One: E sempre lava! (Cavaradossi)
TOSCA: Act One: Dammi i colori...Recondita armonia (Cavaradossi)
TOSCA: Act One: Voi! Cavaradossi (Cavaradossi, Tosca)
TOSCA: Act One: Mario! Mario! Mario! (Cavaradossi, Tosca)
TOSCA: Act One: E buona la mia Tosca (Cavaradossi)
TOSCA: Act One: Sommo giubilo, Eccellenza!
TOSCA: Act One: Un tal baccano in chiesa! (Scarpia)
TOSCA: Act One: Or tutto e chiaro (Scarpia, Tosca)
TOSCA: Act One: Tre sbirri, una carrozza (Scarpia)

Tracks:

TOSCA: Act Two: Tosca e un buon falco! (Scarpia)
TOSCA: Act Two: Ha piu forte sapore (Scarpia)
TOSCA: Act Two: O galantuomo, come ando la caccia? (Scarpia, Cavaradossi, Tosca)
TOSCA: Act Two: Ov'e Angelotti? (Scarpia, Cavaradossi, Tosca)
TOSCA: Act Two: Sciarrone, che dice il Cavalier? (Scarpia, Cavaradossi, Tosca)
TOSCA: Act Two: Orsu, Tosca, parlate (Scarpia, Cavaradossi, Tosca)
TOSCA: Act Two: Floria ... Amore ... (Scarpia, Cavaradossi, Tosca)
TOSCA: Act Two: Act Two: Vittoria! Vittoria! (Scarpia, Cavaradossi, Tosca)
TOSCA: Act Two: Quanto? (Scarpia, Tosca)
TOSCA: Act Two: Vissi d'arte (Scarpia, Tosca)
TOSCA: Act Two: Chi e la? (Scarpia, Tosca)
TOSCA: Act Two: Io tenni la promessa (Scarpia, Tosca)
TOSCA: Act Three: Io de' sospiri
TOSCA: Act Three: Mario Cavaradossi? (Cavaradossi)
TOSCA: Act Three: E lucevan le stelle (Cavaradossi)
TOSCA: Act Three: Ah! Franchigia a Floria Tosca (Cavaradossi, Tosca)
TOSCA: Act Three: O dolci mani (Cavaradossi, Tosca)
TOSCA: Act Three: Come e lunga l'attesa (Tosca)
TOSCA: Act Three: Presto, su! Mario! Mario! (Tosca)

Customer Reviews:

Puccini sung by Frenin Milnes and Pavarotti? What could be better?.......2007-05-12

I own several recordings of Tosca, but this is still the reigning favorite, featuring a stellar cast at the height of their collective powers. Don't let the 1978 recording date deter you - the sound quality is excellent, and the performance sumptuous from beginning to end.

Too Lyric For A True Dramatic Tosca.......2006-02-10

If you're looking for a Tosca the way it should be performed and how it should really sound(fiery, passionate, dramatic) don't look to this recording. This should not be anyone's first Tosca recording or sampler!! I'm by no means a learned music or opera scholar but I am a critic and have listened and watched Tosca long enough to know that this particular recording was at the time purely experimental for Luciano Pavarotti and Mirella Freni. Yes, these two sing wonderfully together as well as individually. They are too many an unbeatable tenor/soprano pair, as their recordings of La Boheme, Manon Lescaut, Madame Butterfly and even L'Amico Fritz attest. While in these operas the music allows them to sing with full lyricism and beauty, the plot for Tosca is too dramatic, intense and forward-moving as an opera and the musical score itself reads this way. There are only a few moments of beautiful melodies: Cavaradossi's first aria "Ricondita Armonia" in which he rhapsodizes about his source of inspiration as an artist, his lover Tosca, the Love Duet between himself and Tosca that follows shortly after and Tosca's own heart-breaking aria "Vissi D'Arte", her prayer to God asking why he has abandoned her in her most needy hour when Scarpia has her in his trap and Cavaradossi is about to be executed. Puccini never fails to deliver some moments of beauty but for the most part, Tosca is an opera that depends on , raw human emotion and even violence, with just a touch of sexual undercurrent. For Sherill Milnes, the role of Scarpia was one that came easy to him. He had sung Scarpia splendidly on record earlier in 1973 for RCA with Leontyne Price and Placido Domingo. He starred as Scarpia in an Italian film with Placido Domingo and soprano Raina Kabaivanska shot on location in Rome in 1975. His baritonal technique is not only handsomely sung, but with the right amount of theatricality as a villainous character.

Freni and Pavarotti had the same wet nurse in Italy and grew up together. Their long careers were remarkable. Both sang through the late 60's, the 70's, 80's and part of the 90's. In the Madame Butterfly recording under Karajan, their voices soar with beauty and emotion in the Love Duet and we get the same, if not more passion, in the Love Duet between Tosca and Mario in Act 1. Beautiful voices, yes. Dramatic enough ? Hardly. Mirella Freni is singing a role that is frankly too hard for her. There is more than one moment in which the role's vocal demands are too much for her to handle. Her Tosca is nonetheless very feminine, sensual and there are a few flashes of fire, but she portrays Tosca as if she were a quiet killer. Too much nobility, too much grace and Tosca is meant to be pushed to the brink of despair as she is completely threatened by Scarpia and even to act by her baser instincts. In this respect, in sheer beauty of tone, she is like Leontyne Price in the 1962 studio recording under Karajan. She makes a beautiful, ravishing Tosca, so if you like this approach, then you will enjoy Mirella Freni as Tosca. And word to the wise, this is her first Tosca recording and is far better than her later 1991 recording with Placido Domingo and
Samuel Ramey. In that recording, she is past her prime and shouting instead of singing. It's the worst Tosca I've ever heard. As for Pavarotti in this recording, he is totally wrong for the part of Cavaradossi. Pavarotti is a voice made for Donizetti, Bellini and some Verdi. It's a voice that cannot step up to the challenge of the demands of the role of Cavaradossi, which calls for a darker more dramatic voice. When you hear the Cavaradossis of Mario Del Monaco, Giuseppe Di Stefano, Franco Corelli and Placido Domingo you are getting the real thing. But Pavarotti is just Pavarotti- a big, blazing, bright voice without any real intelligence or dramatic commitment. He fails miserably here, no matter what any Pavarotti fan might tell you. This is not a role for him. Even Calaf in Puccini's Turandot is a role suited for him, and Pinkerton in Butterfly, but not Mario Cavaradossi. Rescigno and the National Philharmonic are nothing to be excited about as far as musicality. Please, check out these recordings of Tosca for better quality in performance:

Maria Callas, Giuseppe Di Stefano, Tito Gobbi/Serafin

Renata Tebaldi, Mario Del Monaco, George London/Molinari-Pradelli

Leontyne Price, Giuseppe Di Stefano, Giuseppe Taddei/Karajan

Birgit Nilsson, Franco Corelli, Dietrich Fischer-Dieskau/Maazel

Montserrat Caballe, Jose Carreras, Ingvar Wixell/Sir Colin Davis

Leontyne Price, Placido Domingo, Sherill Milnes/Mehta

Galina Vishnevskaya, Franco Bonisolli, Matteo Manuguerra/Mtripovich

Katia Ricciarelli, Jose Carreras, Ruggero Raimondi/Karajan

Carol Vaness, Giuseppe Giancomini, Giorgio Zancanaro/Muti

Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi/Pappano

Not too shabby..........2004-06-24

Though this recording occasionally sides with sterility, enough passion is present from Freni alone to keep it exciting. In my opinion, Freni is spinto enough to handle the role of Tosca here despite not being a dramatic soprano, and her chest voice and highest notes are more than fulfilling. I imagine a Tosca having as fresh a voice as Price in her prime, and Freni has just that. Pavarotti is not my favorite, but he is tolerable here. The other singers are more than sufficiently idiomatic in their roles.

Awesome.......2004-01-22

Well...I would have to say that this is good because...EVERY recording that has Freni and Pavarotti on it is good (best soprano and tenor ever), and Sherrill Milnes is incredible as well. Freni, Pavarotti, and Milnes-powerhouse, awesome, better than everyone else! yea!

Awesome.......2004-01-22

I can't even say....wowo! How does Mirella Freni get that good...and Pavarotti...and Milnes....oh man!

Average customer rating:

Marilyn Horne Rossini Recital

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

General | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000E6N6
Release Date: 1992-02-11

Arias - Haydn, Mozart, Beethoven, Schubert

Average customer rating:

Thomas Hampson
Arias by the Masters sung by a Master
A Grand and Humorous Outing with Thomas Hampson

Arias - Haydn, Mozart, Beethoven, Schubert

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music
Similar Items:

The Very Best of Thomas Hampson
No Tenors Allowed: Famous Duets for Baritone and Bass
Song of America
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Samuel Ramey: Ev'ry Time We Say Goodbye: Songs of Barber,

ASIN: B0009F44NA
Release Date: 2005-07-12

Tracks: