Renata Scotto & José Carreras Sing Giuseppe Verdi

1. I Lombardi alla prima Crociata, opera Overture
Composed by Giuseppe Verdi
Conducted by Eve Queler

2. I Lombardi alla prima Crociata, opera Salve Maria
Composed by Giuseppe Verdi
with Renata Scotto
Conducted by Eve Queler

3. I Lombardi alla prima Crociata, opera O madre mia, che fa colei?
Composed by Giuseppe Verdi
with Jose Carreras , Yoshi Ito
Conducted by Eve Queler

4. I Lombardi alla prima Crociata, opera La mia letizia infondere
Composed by Giuseppe Verdi
with Jose Carreras , Yoshi Ito
Conducted by Eve Queler

5. I Lombardi alla prima Crociata, opera Oh! ma pensa...
Composed by Giuseppe Verdi
with Jose Carreras , Yoshi Ito
Conducted by Eve Queler

6. I Lombardi alla prima Crociata, opera Come poteva un angelo
Composed by Giuseppe Verdi
with Jose Carreras , Yoshi Ito
Conducted by Eve Queler

7. I Lombardi alla prima Crociata, opera Dove sola m'inoltro?
Composed by Giuseppe Verdi
with Jose Carreras , Renata Scotto
Conducted by Eve Queler

8. I Lombardi alla prima Crociata, opera Oh belle, a questa misera
Composed by Giuseppe Verdi
with Jose Carreras , Renata Scotto
Conducted by Eve Queler

9. I Lombardi alla prima Crociata, opera Al'armi!...Che ascolto!
Composed by Giuseppe Verdi
with Jose Carreras , Renata Scotto
Conducted by Eve Queler

10. I Lombardi alla prima Crociata, opera Qui posa il fianco
Composed by Giuseppe Verdi
with Jose Carreras , Paul Plishka , Renata Scotto
Conducted by Eve Queler

11. I Lombardi alla prima Crociata, opera Qual voluttà
Composed by Giuseppe Verdi
with Jose Carreras , Paul Plishka , Renata Scotto
Conducted by Eve Queler

12. Jérusalem, opera L'Émir auprès de lui m'appelle
Composed by Giuseppe Verdi
Performed by Turin RAI Orchestra with Jose Carreras
Conducted by Gianandrea Gavazzeni

13. Jérusalem, opera Je veux encore entendre
Composed by Giuseppe Verdi
Performed by Turin RAI Orchestra with Jose Carreras
Conducted by Gianandrea Gavazzeni

14. Jérusalem, opera Barons et Chevaliers devant vous je proteste
Composed by Giuseppe Verdi
Performed by Turin RAI Orchestra with Jose Carreras , Leonardo Monreale
Conducted by Gianandrea Gavazzeni

15. Jérusalem, opera O mes amis, mes frères d'armes
Composed by Giuseppe Verdi
Performed by Turin RAI Orchestra with Jose Carreras
Conducted by Gianandrea Gavazzeni

16. Jérusalem, opera Qu'on exécute la sentence!
Composed by Giuseppe Verdi
Performed by Turin RAI Orchestra with Jose Carreras , Vinicio Cocchieri , Leonardo Monreale
Conducted by Gianandrea Gavazzeni

17. Jérusalem, opera Que le bras séculier à le punir s'apprête
Composed by Giuseppe Verdi
Performed by Turin RAI Orchestra with Jose Carreras , Leonardo Monreale
Conducted by Gianandrea Gavazzeni

18. I Vespri siciliani, opera (Les vêpres siciliennes) Qual s'offre...Si, canterò
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Enrico Campi , Alfredo Giacomotti , Carlo Meliciani , Piero de Palma , Renata Scotto , Nella Verri
Conducted by Gianandrea Gavazzeni

19. I Vespri siciliani, opera (Les vêpres siciliennes) Coraggio, su, coraggio
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Piero de Palma , Renata Scotto , Nella Verri
Conducted by Gianandrea Gavazzeni

20. I Vespri siciliani, opera (Les vêpres siciliennes) Arrigo! ah, parli a un core
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Renata Scotto
Conducted by Gianandrea Gavazzeni

21. I Vespri siciliani, opera (Les vêpres siciliennes) Mercè, dilette amiche
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Renata Scotto
Conducted by Gianandrea Gavazzeni

22. Rigoletto, opera Della mia bella incognita borghese
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Julius Rudel

23. Rigoletto, opera Questa o quella
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Julius Rudel

24. Rigoletto, opera Partite?...Crudele!
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Julius Rudel

25. Rigoletto, opera Ella mi fu rapita!
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Julius Rudel

26. Rigoletto, opera Parmi veder le lagrime
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Julius Rudel

27. Rigoletto, opera Duca, duca! L'amante fu rapita a Rigoletto
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Julius Rudel

28. Rigoletto, opera Possente amor mi chiama
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Julius Rudel

29. Rigoletto, opera La donna è mobile
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Julius Rudel

30. La Traviata, opera Libiamo ne' lieti calici
Composed by Giuseppe Verdi
with Jose Carreras , Renata Scotto
Conducted by Nino Verchi

31. La Traviata, opera Oh, qual pallor!
Composed by Giuseppe Verdi
with Jose Carreras , Renata Scotto
Conducted by Nino Verchi

32. La Traviata, opera Un dì felice, eterea
Composed by Giuseppe Verdi
with Jose Carreras , Renata Scotto
Conducted by Nino Verchi

33. La Traviata, opera È strano!...Ah, fors'è lui
Composed by Giuseppe Verdi
with Renata Scotto
Conducted by Nino Verchi

34. La Traviata, opera Follie! Delirio vano è questo!...Sempre libera
Composed by Giuseppe Verdi
with Jose Carreras , Renata Scotto
Conducted by Nino Verchi

35. La Traviata, opera Lunge da lei...De'miei bollenti spirti
Composed by Giuseppe Verdi
with Jose Carreras
Conducted by Nino Verchi

36. La Traviata, opera Largo al quadrupede (Coro di Maschere)
Composed by Giuseppe Verdi
Conducted by Nino Verchi

37. La Traviata, opera Signora!...Che t'accadde?
Composed by Giuseppe Verdi
with Renata Scotto
Conducted by Nino Verchi

38. La Traviata, opera Parigi, o cara, noi lasceremo
Composed by Giuseppe Verdi
with Jose Carreras , Renata Scotto
Conducted by Nino Verchi

39. Un ballo in maschera, opera S'avanza il Conte
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Jose Carreras , Margherita Guglielmi
Conducted by Francesco Molinari-Pradelli

40. Un ballo in maschera, opera La revedrà nell'estasi
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Jose Carreras , Federico Davia , Giovanni Foiani , Margherita Guglielmi
Conducted by Francesco Molinari-Pradelli

41. Un ballo in maschera, opera Di' tu se fedele
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Jose Carreras , Federico Davia , Giovanni Foiani , Margherita Guglielmi
Conducted by Francesco Molinari-Pradelli

42. Un ballo in maschera, opera Forse la soglia attinse
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Jose Carreras
Conducted by Francesco Molinari-Pradelli

43. Un ballo in maschera, opera Ma se m'è forza perderti
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Jose Carreras
Conducted by Francesco Molinari-Pradelli

44. Un ballo in maschera, opera Ah! dessa è là
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra with Jose Carreras , Margherita Guglielmi
Conducted by Francesco Molinari-Pradelli

Renata Scotto & José Carreras Sing Giuseppe Verdi,Giuseppe Verdi,Eve Queler,Gianandrea Gavazzeni,Julius Rudel,Nino Verchi,Renata Scotto,Jose Carreras,Yoshi Ito,Paul Plishka,Leonardo Monreale,Vinicio Cocchieri,Enrico Campi,Alfredo Giacomotti,Carlo Meliciani,Piero de Palma,Nella Verri,Margherita Guglielmi,Giovanni Foiani,Gala,Classical,Classical Artists,Classical Vocals,Italian Romantic Opera,Opera

Average customer rating: Indespensible The best you can get. Great recording, but... Completely changed my opinion about opera Divine Corelli

Puccini: Turandot Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music 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 Nilsson, Birgit | Divas | Opera & Vocal | Styles | Music Scotto, Renata | Divas | Opera & Vocal | Styles | Music Similar Items: La Boheme Verdi - Aida / Caballé · Domingo · Cossotto · Ghiaurov · Cappuccilli · Roni · NPO · Muti Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan Verdi: Il Trovatore ASIN: B000002SE0 Release Date: 1990-10-25

Tracks:

1. Turandot: Act I: Popolo Di Pekino! (Liu)
2. Turandot: Act I: Padre! Mio Padre! (Liu, Timur)
3. Turandot: Act I: Perduta La Battaglia (Timur, Liu)
4. Turandot: Act I: Gira La Cote! Gira!
5. Turandot: Act I: Perche Tarda La Luna?
6. Turandot: Act I: La, Sui Monti Dell'Est
7. Turandot: Act I: O Giovinetto!
8. Turandot: Act I: Figlio, Che Fai? (Timur, Liu)
9. Turandot: Act I: Fermo! Che Fai? T'arresta!
10. Turandot: Act I: Silenzio, Ola!
11. Turandot: Act I: Guardolo, Pong! (Timur)
12. Turandot: Act I: Non Indugliare! (Timur)
13. Turandot: Act I: Signore, Ascolta! (Liu)
14. Turandot: Act I: Non Piangere Liu! (Liu-Timur)
15. Turandot: Act I: Ah! Per L'ultima Volta! (Timur, Liu)
16. Turandot: Act II, Scene1: Ola, Pang! Ola, Pong!
17. Turandot: Act II, Scene1: O Cina, O Cina
18. Turandot: Act II, Scene1: Ho Una Casa Nell'Honan
19. Turandot: Act II, Scene1: O Mondo, Pieno Di Pazzi Innamorati!
20. Turandot: Act II, Scene1: Addio, Amore!
21. Turandot: Act II, Scene1: Noi Si Sogna
22. Turandot: Act II, Scene2: Gravi, Enormi Ed Imponenti
23. Turandot: Act II, Scene2: Un Giuramento Atroce Mi Costringe
24. Turandot: Act II, Scene2: Diecimila Anni Al Nostro Imperatore!

Tracks:

1. Turandot: Act II, Scene2: In questa reggia (Turandot)
2. Turandot: Act II, Scene2: Straniero, ascolta! Nella cupa notte (Turandot)
3. Turandot: Act II, Scene2: Guizza al pari di fiamma (Turandot, Liu)
4. Turandot: Act II, Scene2: Gelo che ti da foco (Turandot)
5. Turandot: Act II, Scene2: Gloria, o vincitore!
6. Turandot: Act II, Scene2: Figlio del cielo! (Turandot)
7. Turandot: Act II, Scene2: Tre enigmi m'hai proposto!
8. Turandot: Act II, Scene2: Ai tuoi piedi ci prostriam
9. Turandot: Act III, Scene1: Cosomanda Turandot
10. Turandot: Act III, Scene1: Nessun dorma!
11. Turandot: Act III, Scene1: Tu che guardi le stelle
12. Turandot: Act III, Scene1: Principessa divina! (Turandot, Liu)
13. Turandot: Act III, Scene1: Quel nome! (Liu, Timur, Turandot)
14. Turandot: Act III, Scene1: L'amore? Tanto amore, segreto e inconfessato (Turandot, Liu)
15. Turandot: Act III, Scene1: Tu, che di gel sei cinta (Liu, Timur)
16. Turandot: Act III, Scene1: Liu bonta! (Timur)
17. Turandot: Act III, Scene1: Principessa di morte! (Turandot)
18. Turandot: Act III, Scene1: Che ai di me? (Turandot)
19. Turandot: Act III, Scene1: Del primo pianto (Turandot,)
20. Turandot: Act III, Scene1: La mia gloria l tuo amplesso! (Calaf, Turandot)
21. Turandot: Act III, Scene2: Diecimila anni al nostro Imperatore! (Turandot)

Customer Reviews:

Indespensible.......2007-07-14

I am a great admirer of "Turandot" and own many recordings of it. This, however, is the one I return to most. Corelli is breathtaking. Nilsson--is her divine self. Don't miss this one.

The best you can get........2007-03-24

It's hard to imagine a better Turandot recording than this. The principals are just great, of course; but as an added bonus, the entire recording is crystal-clear (you can hear EVERYTHING) and the fortissimo passages are unbelievably sonorous. PLUS, the drama moves at a good swift clip: never a dull moment here. This certainly must rate as one of the best recordings of ANYTHING, opera or no.

Great recording, but..........2006-09-21

To the reviewer who stated "Stunning high notes, great vocal acrobatics, and really, she is so much better than Joan Sutherland who turns Turandot into a phaser trill coloratura feat": WHAT?!? How can one say such a thing, unless one hasn't listened to the Sutherland recording of "Turandot"? Surely you listened to her "Lucia" or "Esclarmonde" instead. She had a completely different voice from that of Nilsson; of course, they gave different interpretations, sonically. However, Sutherland sang the role as written; she didn't interpolate high notes or trills! Listen again - she just sounds more fluid and warmer than Nilsson - that's it!

Completely changed my opinion about opera.......2005-12-16

I was never an opera fan, less an Italian opera fan, and even less a Puccini fan. This recording is astounding. Incredible cast and phenomenal playing. The music is lush, fascinating, and exciting.

My advice, if you're getting into opera--look seriously at older recordings. Fancy sound is swell, pretty perfect voices are wonderful, but hell-for-leather recordings like this (which I honestly haven't found in recent history--and believe me I've looked) are what will cinch it for you. I believe it's the change in culture we're hearing, and here let me chart that change for you: think Jackie Kennedy at the Paris Opera House. Now think of Paris Hilton. This is what has become of just our young sophisticated socialite culture. Across the board it's pretty much the same decline. Who genuinely believes in Puccini any more?

Divine Corelli.......2005-08-16

If one has to ask me to mention one of the greatest tenors ever, Franco Corelli would be on top of the list. And this should be one of the greatest ever recordings which were fortunately registered and passed down to us and with very good sound even. Calaf should be one of the greatest roles which Corelli sung on stage maybe only equalled by the role of Manrico in Il Trovatore, and this recording captures the animal-stamina well known from this fabulous singer. The cast who accompanies him is none the less. Renata Scotto is at her best as the slave-girl Liu' giving a very sensitive performance whilst Birgit Nilsson gives a heroic rendering in the role of the icy Princess Turnandot. Obviously one cannot not mention the great Puccini, for whom generations of opera lovers should be indebted for the ceative power and energy along with immortal melodies only he could give us - and definitely Turandot should be one of his colossal achievements which put great pressure on opera singers.

For me this recording is one of the most important historically - the cast is top noch and even the reading of Francesco Molinari-Pradelli is a one of the best I heard on record. EMI has managed to give us a good sound - well balanced and clear for this 1966 recording. Definitely with Corelli as Calaf divine as ever, it should be a must for all Opera lovers.

Average customer rating: The best opera album ever Beautiful Music, Nice price

Puccini: Great Opera Arias Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | 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: The Ultimate Puccini Collection The Most Famous Opera Arias The Most Famous Opera Duets Puccini Without Words Puccini: Arias ASIN: B00005YQLA Release Date: 2002-01-29

Tracks:

1. Gianni Schicchi: O mio babbino caro
2. Gianni Schicchi: Firenze e come un albero fiorito
3. La Rondine: Chi il bel sogno di Doretta
4. La Boheme: Si, mi chiamano Mimi
5. La Boheme: Quando m'en vo
6. Madama Butterfly: Un bel di vedremo
7. Madama Butterfly: The Flower Duet
8. Madama Butterfly: The Humming Chorus
9. Madama Butterfly: Tu? tu? Piccolo iddio
10. Tosca: Dammi i colori
11. Tosca: Vissi d'arte
12. Tosca: E lucevan le stelle
13. Turandot: Signore, ascolta!
14. Turandot: In questa reggia
15. Turandot: Nessun dorma
16. La Fanciulla Del West: Ch'ella mi creda libero e lontano
17. Suor Angelica: Senza mamma, o bimbo
18. Le Villi: Se come voi piccina io fossi
19. Manon Lescaut: In quelle trine morbide
20. Manon Lescaut: Sola, perduta, abbandonata

Customer Reviews:

The best opera album ever.......2007-01-26

I have listened this album almost every day for the past 4 years. For begginers and amateurs in this kind of music, the album rocks in every song with the exception of track 2 and 5.

Beautiful Music, Nice price.......2007-01-04

I purchased this CD for my daughter while searching specifically for arias. She was very pleased and I find myself enjoying it as well.
A wonderful collection for a terrific price, super fast shipping too- as always.

Average customer rating: An Uneven Desdemona Brutal and Untamed Ah yes...the best The Best Otello on Disc Forget about this Otello

Verdi - Otello / Plácido Domingo, Scotto, Milnes, Levine Jean Kraft , Frank Little , Sherrill Milnes , Paul Plishka , Malcolm King , and Peter Crook Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Levine, James | ( L ) | Featured Performers, A-Z | Classical | Styles | Music 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 Scotto, Renata | Divas | Opera & Vocal | 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: Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan Donizetti - Lucia di Lammermoor / Sutherland · Pavarotti · Milnes · Ghiaurov · ROH Covent Garden · Bonynge Beethoven: Fidelio Verdi - Otello / Domingo, Fleming, Morris, Croft, Levine, Moshinsky, Metropolitan Opera ASIN: B000009NJ1 Release Date: 1998-07-28

Tracks:

1. Ottelo: Act 1 - Una vela!
2. Ottelo: Act 1 - Esultate!
3. Ottelo: Act 1 - Fuoco di gioia!
4. Ottelo: Act 1 - Roderigo, beviam!
5. Ottelo: Act 1 - Inaffia l'ugola!
6. Ottelo: Act 1 - Capitano, v'attende
7. Ottelo: Act 1 - Ol`! che avvien?
8. Ottelo: Act 1 - Gi` nella notte
9. Ottelo: Act 1 - Quando narravi
10. Ottelo: Act 1 - Venga la morte!
11. Ottelo: Act 2 - Non ti cruciar
12. Ottelo: Act 2 - Credo in un Dio crudel
13. Ottelo: Act 2 - Eccola
14. Ottelo: Act 2 - Cir m'accora
15. Ottelo: Act 2 - Dove guardi splendono
16. Ottelo: Act 2 - D'un uom che gerne
17. Ottelo: Desdemona rea!
18. Ottelo: Act 2 - Ora e per sempre addio
19. Ottelo: Act 2 - Era la notte
20. Ottelo: Act 2 - Sl, pel ciel!

Tracks:

1. Ottelo: Act 3 - Introduction
2. Ottelo: Act 3 - La vedetta del porto
3. Ottelo: Act 3 - Dio ti giocondi, o sposo
4. Ottelo: Act 3 - Dio! mi potevi scagliar
5. Ottelo: Act 3 - Vieni, l'aula eserta
6. Ottelo: Act 3 - Questa na ragna
7. Ottelo: Act 3 - Come la uccider
8. Ottelo: Act 3 - Viva il Leon di San Marco
9. Ottelo: Act 3 - A terra! ... s.. nel livido fango
10. Ottelo: Act 4 - Era pimo?
11. Ottelo: Act 4 - Mia madre aveva una povera ancella
12. Ottelo: Act 4 - Ave Maria
13. Ottelo: Act 4 - Chi
14. Ottelo: Act 4 - Calma come la tomba
15. Ottelo: Act 4 - Niun mi tema

Amazon.com

This is Plácido Domingo's first recording of his signature role, and what he can't do with sheer vocal force, he accomplishes somewhat less resourcefully with vocal color, of which he has plenty. The main draw, though, is Renata Scotto's dramatically acute Desdemona, recorded a tad late (1978) in her vocal life but better than not at all. The villainous Iago is the vocally gleaming but unsubtle Sherrill Milnes. James Levine's conducting is a bit green, a bit bombastic, and propulsive in a one-dimensional way, though one must remember he was working with the National Philharmonic, a pick-up orchestra rather than a seasoned opera ensemble. --David Patrick Stearns

Customer Reviews:

An Uneven Desdemona.......2007-02-11

Placido Domingo does a terrific job as Otello. His voice is luscious, he has no trouble with the high notes, and his acting is very dramatic. Any criticism of his performance here is unfounded. And Sherrill Milnes does a great job as the evil, sneering Iago. It's true that Renata Scotto is a little past her prime here, but it is not consistent. In the beginning of the recording her voice is beautiful, but too light, and has trouble being heard. In the middle of the recording her voice is rough, and she has trouble with the high notes. But in Act IV, she sings well; the Willow Song and Ave Maria are lovely.

Brutal and Untamed.......2006-05-12

Opinions hugely differ on this Otello set and I am on the admirers' side. To sum up, this is a brutal and untamed performance both vocally and orchestrally. Every scene is treated explicitly. Some might miss the psychological layers other versions offer but it's this recording's very lack of complexity that attracts me to its sheer power. Don't be fooled by the obscurity of National Philharmonic - they are absolutely brilliant in dramatic moments with penetrating brass and stone-grinding lower strings.
I also own another of Domingo's three Otellos (Maazel's - the movie soundtrack). There he is more subtle (or intelligent) but not as gripping as in this Levine set. To make the matter worse, Maazel and the La Scala force sound less than committed in many places though they show absolute brilliance at a few climaxes.
For sheer power and propulsive-ness I score Levine's version very highly.

Ah yes...the best.......2002-10-04

Otello is my favorite opera. My very first experience of opera was watching Zeferelli's movie version, and being thrilled. But even more thrilling was purchasing this recording to hear Otello in its full glory. Casting superb, even down to Roderigo who has this lovely nasal whiny quality that's just the perfect touch for that character. I thrill every time i hear the end of Act II Duet between Milnes and Domingo. This is wonderful. Thrilling, painful and beautiful. This is what opera can do.

The Best Otello on Disc.......2002-05-09

Otello is arguably the greatest of all operas, but its three lead roles are extremely difficult and the role of the conductor is not easy either. This makes Otello one of the toughest operas to pull off and all of the available recordings have their share of problems. This James Levine recording is the best available because it has the fewest problems.

Let's start with the lead role. Domingo is in wonderfully youthful voice (he was still under 40 when the recording was made). He produces a glowing heroic tone and none of the vocal challenges of the role are beyond him. Whereas other tenors, such as Vickers and McCracken, can't handle the high note in the Second Act recitative with Iago and make an ugly sound as a result, Domingo has no problem with it. His naturally dark voice was perfectly suited to the role and he is almost certainly the best Otello on record. There is nothing wrong with his characterization on this recording either. His dramatic points of emphasis strike the listener as wholly appropriate and he doesn't ham up the two big solos as many other singers do. Perhaps he does not sound as tormented as Vickers, but there is no question which of the two does the better singing.

Renata Scotto's performance as Desdemona is wonderful. It is vocally slightly flawed, but it is intensely characterful. There is probably no other soprano who has so effectively conveyed Desdemona's anguish and fear. She works very effectively with Domingo and their account of the First Act love duet is very beautiful.

Sherrill Milnes is outstanding as Iago. His powerful voice is very well suited to the role and he had a great talent for playing evil characters - Iago being the most evil of all. Many critcize him for not being characterful, but the recording proves otherwise. He is variously menacing and charming and his overall characterization sounds just right.

The minor roles are all reasonably well taken. Frank Little, Jean Kraft and Paul Plishka are all efficient as Cassio, Desdemona and Lodovico respectively. The character-tenor Paul Crook stands out in the tiny role of Roderigo, putting in a very credible performance as Iago's rather dim-witted foil.

Levine himself does a fine job. As so often in his Verdi recordings, he follows Toscanini's example and keeps the level of tension high, often producing some electrifying moments. His is a very direct, perhaps conventional, reading but it is good that he lacks the distracting eccentricities in this work that plague recordings by others, such as Karajan. The London pick-up orchestra, the National Philharmonic, don't sound great in a couple of episodes, but, for the most part, they follow Levine very well.

If you can buy just one recording of Otello, this is the one to get.

Forget about this Otello.......2002-01-10

As somebody noted this recording was made 2 years after Domingo's Scala-debut under Carlos Kleiber. Though Domingo's Otello is always interesting it is here hampered by the uninspired not to say sloppy conducting of James Levine. Has that conductor ever made a recording that showed that he is just remotely inspired by the work he is conducting? RCA should have gone for the genius of Carlos Kleiber instead, though he probably wasn't available.

Sherril Milnes seems quite uninterested in his part as well so the onus is all on the main protagonists. Renata Scotto's Desdemona is excellent, subtle, soft, inspired, emotionally accomplished. She is probably - along with Victoria de los Angeles - the best Desdemona on record.

If you only have one Otello though do not go for this one. Somebody mentioned the Toscanini-recording - also at mid-price - and despite the slightly dated sound I cannot imagine anybody would be disappointed with that one. If you want modern stereo sound I would recommend both Karajan-recordings, both with glorious orchestral playing (Verdi was indeed as good an orchestrator as Wagner - it just takes a Karajan to prove it), and both at mid-price. Karajan's second recording has the best Otello in Jon Vickers. You would have to go back to Martinelli to find an Otello of equal stature; a great and tormented Otello at the same time.

Vicker's performance is less accomplished on my favourite Otello-recording but he is in more youthful voice. On this his first recording - also on RCA - he is amply supported by the fine conducting of Tullio Serafin, and his Iago is of equal calibre, perhaps Tito Gobbi's finest performance on record. The recording is in fine spacious stereo - and at mid-price.

Average customer rating: Complete Solti/Bergonzi Ballo Released Another dazzled listener Sublime indeed The sublime vocal artist Blown away!

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor Giuseppe Verdi , Giacomo Puccini , Ruggiero Leoncavallo , Pietro Mascagni , Amilcare Ponchielli , Tullio Serafin , Herbert von Karajan , Georg Solti , Rafael Kubelik , Nello Santi , Gianandrea Gavazzeni , Lamberto Gardelli , Sir John Pritchard , Carlo Bergonzi , Renata Tebaldi , Ettore Bastianini , Fiorenza Cossotto , Enzo Sordello , Dietrich Fischer-Dieskau , Tugomir Franc , Renata Scotto , Libero Arbace , Fernando Corena , Birgit Nilsson , Giulietta Simionato , Sylvia Stahlman , Joan Sutherland , Dora Carral , and Piero de Palma Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Bergonzi, Carlo | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music 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 General | Pop | Styles | Music General | R&B | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini The Very Best of Franco Corelli The Very Best of Beniamino Gigli The Very Best of Giuseppe di Stefano The Very Best of Nicolai Gedda ASIN: B00004C8TH Release Date: 2001-06-12

Tracks:

1. La Boheme: Che Gelida Manina - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
2. La Boheme: O Soave Fanciulla - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
3. La Boheme: Mimi E Tanto Malata - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
4. La Boheme: Dunque E Proprio Finita! - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
5. La Boheme: In Un Coupe?... O Mimi, Tu Piu Non Torni - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
6. Madama Butterfly: Dovunque Al Mondo - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
7. Madama Butterfly: Vogliatemi Bene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
8. Madama Butterfly: Io So Che Alle Sue Pene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
9. Madama Butterfly: Addio, Fiorito Asil - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
10. Cavalleria Rusticana: Ah! Io Vedi, Che Hai Tu Detto? - Carlo Bergonzi/Fiorenza Cossotto
11. Pagliacci: Recitar!... Vesti La Giubba - Carlo Bergonzi
12. Don Carlo: Dio, Che Nell'alma Infondere - Carlo Bergonzi/Dietrich Fischer-Dieskau/Tugomir Franc/Chor Of The ROHCG
13. Rigoletto: Questa O Quella - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
14. Rigoletto: Ella Mi Fu Rapita! - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
15. Rigoletto: Parmi Veder Le Lagrime - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
16. Rigoletto: Possente Amor Mi Chiama - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
17. Rigoletto: La Donna E Mobile - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
18. Rigoletto: Bella Figlia Dell'amore - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
19. Otello: Dio! Mi Potevi Scagliar - Carlo Bergonzi

Tracks:

1. Un Ballo In Maschera: La Rivedra Nell'estasi - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
2. Un Ballo In Maschera: Di' Tu Se Fedele - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
3. Un Ballo In Maschera: E' Scherzo Od E Follia - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
4. Un Ballo In Maschera: Teco Io Sto - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
5. Un Ballo In Maschera: Forse La Soglia Attinse - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
6. Un Ballo In Maschera: Ma Se M'e Forza Perderti - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
7. Tosca: E Lucevan Le Stelle - Carlo Bergonzi
8. Manon Lescaut: Donna Non Vidi Mai - Carlo Bergonzi
9. Aida: Se Quel Guerrier Io Fossie!... Celeste Aida - Carlo Bergonzi/Renata Tebaldi
10. Aida: Pur Ti Riveggo, Mia Dolce Aida - Carlo Bergonzi/Renata Tebaldi
11. La Gioconda: Cielo E Mar! - Carlo Bergonzi
12. La Traviata: Un Di Felice, Eterea - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
13. La Traviata: Lunge Da Lei - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
14. La Traviata: De' Miei Bollenti Spiriti - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
15. La Traviata: O Mio Rimorso! - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
16. La Traviata: Parigi, O Cara - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
17. Il Trovatore: Deserto Sulla Terra - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
18. Il Trovatore: Ah! Si, Ben Mio - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
19. Il Trovatore: Di Quella Pira - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
20. Adriana Lecouvreur: La Dolcissima Effigie - Carlo Bergonzi
21. Adriana Lecouvreur: L'anima Ho Stanca - Carlo Bergonzi

Customer Reviews:

Complete Solti/Bergonzi Ballo Released.......2007-04-24

No need to add to what the other reviewers say about this five-star collection. I am writing to alert readers that on April 10, 2007 Decca released the complete recording of Un Ballo in Maschera with Bergonzi, Nilsson, Stahlman, Simionato, and MacNeil, conducted by Solti. To read my detailed review of that release, bring the product up on Amazon.

Another dazzled listener.......2006-12-12

I had to write the same thing for the Sony Classical recording of a Bergonzi recital of Italian songs--this is simply one of the most passionate and intelligent singers I have ever heard, and he sounds as good or better now than when I first played one of his records 25 years ago. Anyone who has the slightest shred of interest in the operatic voice should own this collection from one of the truest and most passionate tenors in recorded history.

Sublime indeed.......2006-05-31

I first came to appreciate the artistry that is Carlo Bergonzi on his magnificnt recording of Butterly with Renata Scotto. Later I got the privelege of hearing him several times in person. He was among the most intelligent of tenors. He knew his voice well and how to use that voice to convey the drama and music in a wonderful combination.

If you appreciate Bergozni, this recording will remind you why. If you are not familiar with "The Tenor's Tenor", you will find out why he has that title. However, in addition to the magnificent Bergonzi, you also get wonderful performances from partners such as Tebaldi, Birgit Nilsson, Sutherland, Scotto, Fischer-Dieskau and Cossotto.

I can only find fault with a couple of the selections. First and foremost is that Bergonzi should never have even attempted the Dio Mi Potevi from Otello. That is the only performance that is in anyway subpar. It is unlike any other performance on this recording (or any other time I heard Bergonzi) -- forced. I would have far preferred a version of Una Furtiva Lagrima, which Bergonzi could sing the sock off of. Or given the presence of E Lucevan Stelle, couldn't they have included Recondita Armonia instead? The only other very minor complaint is the pairing with Nilsson . The duet is fine until the very end. On the final high C you can't even hear Bergonzi due to the sheer size of Nilsson's voice. The music and performance of both are wonderful, but a perfect Alfredo and perfect Brunnhilde do not necessarily mesh. But that is a minor quibble. Aside from a disappearing Carlo, it is quite a wonderful performance.

On the plus side a few things particularly stand out. To me, this is simply the best recording ever of Cielo e Mar. The sections with Tebaldi (Boheme and Butterfly and Aida in particuar) are fabulous. Other standouts include the quartet from Rigoletto with Scotto, Cossotto and Fischer-Dieskau and the Cavelleria duet with Cossotto.

All in all, this is, with a few minor exceptions, a magnificent collection of the best of Carlo Bergonzi.

The sublime vocal artist.......2003-08-15

I have seen most of the great tenors of the past 50 years at the Met: Corelli, Tucker, Vickers, Gedda, Pavarotti, Domingo, etc.. For me, Bergonzi over all, was the superior Italian Opera tenor. His legato, agility, breath control, tasteful musicianship, diction, was superior to most of the great tenors. He was outstanding as Nemorino and Rhadames; Edgardo and Alvaro etc.. This CD shows him at his very best, which is a joy to hear. This CD is a must vocal lesson for any aspiring young tenor, as Carlo Bergonzi is a master singer.

Blown away!.......2003-01-20

This album brings Carlo Bregonzi to life. This is a view from all angels. He commands such an array of singing styles.
No one brings the great composers to life the way Carlo Bergonzi does.

Buy this album!

Average customer rating: The Definitive Butterfly The definitive Butterfly THE Madama Butterfly

Madama Butterfly Giacomo Puccini , Sir John Barbirolli , Renata Scotto , and Carlo Bergonzi Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Classical | Styles | Music Similar Items: La Boheme Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan Puccini: Tosca Beethoven: Fidelio ASIN: B00006I0DJ Release Date: 2002-09-17

Tracks:

1. E Soffitto...E Pareti
2. Questa E La Cameriera
3. Che Guardi?...Se Non Giunge Ancor La Sposa
4. Dovunque Al Mondo
5. Quale Smania Vi Prender!
6. Ecco! Son Giunte Al Sommo Del Pendio
7. Gran Ventrua
8. L'Imperial Commissario
9. Vieni, Amor Mio!
10. Leri Son Salita Tutta Sola
11. Tutti Zitti!...E Concesso Al Nominato
12. Ed Eccoci In Farmiglia
13. Bimba, Bimba, Non Piangere
14. Viene Le Sera
15. Quest'Obi Pomposa
16. Bimba Dagli Occhi Pieni Di Malia
17. Vogliatemi Bene, Un Bene Piccolino
18. Vieni, Vieni...Via Dall'Anima In Pena
19. E Izaghi Ed Izanami
20. Suzuki...E Lungi La Miseria?
21. Un Bel Di Vedremo

Tracks:

1. C'e. Entrate
2. Ah Si, Gogo, Appena B.F. Pinkerton Fu In Mare
3. Si Sa Che Aprir La Porta
4. Ora A Noi
5. Qui Troncarla Conviene
6. E Questo? E Questo?
7. Che Tua Madre Dovra
8. Lo Scendo Al Piano
9. Vespa! Rospo Maledetto!
10. Una Nave De Guerra
11. Scuoti Quella Fronda Di Ciliegio
12. Or Vienmi Ad Adornar
13. Coro A Bocca Chiusa
14. Introduzione/Oh Eh! Oh Eh! Oh Eh!
15. Gia Il Sole
16. Chi Sia? Oh!...Zitta! Zitta!
17. Lo So Che Alle Sue Pene
18. Addio, Fiorito Asil
19. Glielo Dirai?
20. Tu, Suzuki, Che Sei Tanto Buona
21. Come Una Mosca Prigioniera
22. Con Onor Muore

Customer Reviews:

The Definitive Butterfly.......2006-05-31

There are a few recordings that I believe most opera lovers can agree on: the Beecham Boheme and the Callas Tosca stand at the top of the list. This Butterfly belongs in that group. There is not a weak link the entire recording. First and foremost, Butterly is a soprano's opera -- probably more so than any other opera. From her entrance until her death, Butterly is never offstage except for the brief period at the start of act III when sleeping. However, a beautiful voice is not enough. The ability to go from sounding like a 15 year old girl in act I to being almost weary in act III is not easily done. Renata Scotto has done it in this recording better than any one. Her's is the ultimate reading of the drama. She sounds much younger in Act I than in Acts II and III. For some, the highlight of the opera is Un Bel Di. However, for me, it comes a bit later is in the letter scene with Sharpless. In Che Tua Madre, Scotto will rip your heart out. At the end of the aria, on her first "morta" on the high A, it stabs you like the knofe that is soon coming. Sharp, pointed and wrenching -- maybe even the best single note in any recorded opera. It's that magnificent. I had the privilege of seeing Scotto do Butterfly later in her career (after some of the wear and tear had introduced some wobble in the upper register). Dramatically, they were among the most intense performances I have ever seen. Amazingly, on this recording, she conveys the same dramatic line as well as being at the prime of her vocal career.

This is the recording that introduced me to the glorious Carlo Bergonzi. His Pinkerton is simply unequaled. Although I am one of the biggest Domingo fans, Placido could never approach Berognzi's Pinkerton. Bergonzi's portrayal is not quite the cad most others project, but his emotional breakdown at the realization of what he has caused at the end of the opera almost makes you feel sorry for him. Being able to make Pinkerton sympathetic is a neat trick. It shows how great Bergonzi is as Pinkerton.

The third leg of the stars is Rolando Panerai as Sharpless. I don't know of anyone who does not believe this is the greatest Sharpless recorded. Warm and sympathetic when needed, reproaching but never condeming with Pinkerton in both Act I and III.

Lastly, Sir John Barbirolli leads the forces masterfully. Sir John only recorded two operas, but I'm glad this is one of them. The story is told in the liner notes of how the Rome Orchestra a few weeks before had played about as bad as possible on another recording and still get paid. Yet here, just a few weeks later, they play their hearts out for him. His pacing makes the drama and the dramatic portrayal by the rest of the cast even more intense. His reading is flawless.

There are not enough adjectives in the thesaurus to describe how magnificent this recording is. If you don't know Butterfly, this is the recording that will make you fall in love with the opera. If you love the opera, this recording will remind you why. This recording belongs in every opera lover's library.

The definitive Butterfly.......2004-11-05

Forget about Callas (Karajan), de los Angeles (Santini), Freni (Karajan) and Tebaldi (Serafin). This recording with Scotto, Bergonzi and Barbirolli is not to be believed! It is the definitive recording of Madama Butterfly.

THE Madama Butterfly.......2003-12-29

Scotto is the best Butterfly on record. She brings her incomparable artistry with her. You feel her as a human being with emotional depth (without overdoing things). Bergonzi proves himself the most stylish Italian tenor in the world. Barbirolli is a master at the score. Preferable to Karajan's Butterfly which is overrated.

Average customer rating: BREATHTAKING HIGBROW ROMANCE

Puccini: Madam Butterfly Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Dance & DJ | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Verdi: Rigoletto Traviata (RMST) [Hybrid SACD] Puccini: Madama Butterfly [Hybrid SACD] Wagner: Die Walküre Mozart: Le Nozze Di Figaro ASIN: B000G03Q46 Release Date: 2006-07-10

Tracks:

1. E Soffitto, E Pareti
2. Questa E La Comeriera
3. Dovunque Al Mondo
4. Quale Smania Vi Prende!
5. Quanto Cielo!... Ancora Un Passo Or Via
6. Gran Ventura
7. L'Imperial Commissario
8. Vieni, Amor Mio!
9. Leri Son Salita Tutta Sola
10. Ed Eccoci In Famiglia
11. Viene La Sea
12. Bimba Dagli Occhi Pieni Di Malia
13. Vogliatemi Bene, Un Bene Piccolino
14. E Izaghi Ed Izanami
15. Un Bel Di Vedremo
16. C'e. Entrate
17. Non Lo Sapete Insomma

Tracks:

1. A Voi Pero Giurerei Fede Costante
2. Ora A Noi
3. E Questo? E Questo?
4. Che Tua Madre Dovra
5. Lo Scendo Al Piano
6. Vaspa! Rospo Maledetto!
7. Una Nave Da Guerra
8. Scuoti Quella Fronda Di Ciliegio
9. Or Vienmi Ad Adornar
10. Humming Chorus
11. Oh Eh! Oh Eh! Oh Eh!
12. Gia Il Sole!
13. Povera Butterfly
14. Lo So Che Alle Sue Pene
15. Addio, Fiorito Asil
16. Glielo Dirai?
17. Che Vuol Da Me?
18. Come Una Mosca Prigioniera
19. Con Onor Muore

Customer Reviews:

BREATHTAKING HIGBROW ROMANCE.......2007-01-19

Are there enough words in the English language to illustrate the brilliance of Puccini's Madam Butterfly? Showcased for the first time in the late 1900 it is an opera filled with immeasurable passion that satisfies all your senses. This CD is sung in Italian as god intended by the Rome Opera. The quality is excellent. CD 1, track 5 "Quanto cielo" Act 1, had me tear filled, not from sadness ~ but from the unadulterated magnificence of the voices, the music and the chorus supporting the main soprano Renata Scotto. Act 11, tracks 14 "E Lzaghi ed izanami" & 15 "Un bel di vedremo" showcase the more recognisable tracks of Madam Butterfly, they are majestic and will ignite your senses once again. This CD gives you goose-bumps all over and you will see how Mr Puccini (composer) displays his pure genus in marrying diverse cultures with a storyline so simple and yet so rich and totally ageless. It captures the youth of love like nothing else can as Puccini creates love through song and music and it surges forth so powerfully and magically.. This one is a 5 star gem. If you are new to Opera, or if you have matured in your musical tastes make room for Madam Butterfly in your Music Library. It is simply a must have.

Average customer rating: Carreras and Scotto are a wonderful pair, but the recording is dodgy Can I give more than 5 stars, please????

Verdi: La Traviata Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music 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 Similar Items: Puccini: La Bohème ASIN: B000059LW3 Release Date: 2001-03-06

Tracks:

1. Prelude
2. Dell'invito Trascorsa E Gia L'ora?
3. Libiano Ne'lieti Calici
4. Che E Cio?
5. Oh, Qual Pallor!
6. Un Di, Felice, Eterea
7. Ebben? Che Diavol Fate?
8. Si Ridesta In Ciel L'aurora
9. E Strano!...Ah, Fors'e Lui
10. Follie! Follie!...Sempre Libera
11. Lunge Da Lei...De Miei Bollenti Spiriti
12. Annina, Donde Vieni?
13. Alfredo? Per Parigi Or Or Partiva
14. Madamigella Valery?
15. Pura Sincome Un Angelo
16. Ah, Dite All Giovine
17. Imponete...Morto! La Mia Memoria

Tracks:

1. Dammi Tu Forza, O Cielo!
2. Che Fai?...Amami, Alfredo
3. Ah, Vive Sol Quel Core
4. Di Provenza Il Mar, Il Suol
5. Ne Rispondi D'un Padre All'affetto?
6. Avrem Lieta Di Maschere La Notte
7. Di Madride No Siam Mattadori
8. Alfredo! Voi!
9. Invitato A Qui Seguirmi
10. Ogni Suo Aver Tal Femmina
11. Di Sprezzo Degno
12. Prelude
13. Annina?...Commandate?
14. 'Teneste La Promessa...' Addio Del Passato
15. Largo Al Quadrupede
16. Parigi, O Cara
17. Ah, No Piu!...Gran Dio! Morir Si Giovine
18. Ah Violetta!...Voi, Signor!
19. Prendi, Quest'e L'immagine

Customer Reviews:

Carreras and Scotto are a wonderful pair, but the recording is dodgy.......2006-11-02

Like the other reviewers here, I can't help but praise the sheer vocalism of the young Carreras and Scotto from 1973. Their interpretations are riveting, but oh--the sonics. The basic FM stereo sound is good, but there is harsh microphone shatter at times, and Scotto's high notes cause the worst distortion (Fors e lui is a prime casualty). In general her voice, always edgy, sounds shrill here except in the softest singing. Yet you are always aware of how original and dramatic her Violetta is. Carreras's gorgeous youthful tenor spreads too much as recorded here, but he causes less mic distortion, so you face a choice. Is this fervent performance, which thrilled the Tokyo audience, worth the aural irritation?

As to other important elements, Verchi's conducting is experienced but mostly workaday. His slack, dragging tempo mars Carreras's fine Un di felice, but in general the La Scala orchestra plays well and Verchi rarely strays. Bruscantini runs hot and cold--he can be quite lazy--but here he sounds good, keeping the Italianate bawling to a minimum. In fact, his Di Provenza is splendid. In the end, if you aren't fussy about sound, this is a genuinely superior performance, far more engrossing than many studio versions.

Note: Opera d"oro has raised their prices now that they include full librettos. This is the earlier, cheaper version without one, so if you need the words, go for the new reissue.

Can I give more than 5 stars, please????.......2005-08-12

This is a live recording from a performance in Tokyo on 18th September 1973. And boy, do I wish I could have been in the audience that evening. And then I would have wanted the evening to last forever.....Solely because of José Carreras's singing that night. His Alfredo is outstanding. I'm almost lost for words. Listen to this recording and you'll have no trouble understanding the reason for all the fuss about him in the -70s. Only 27 years at the time of this recording, he sings with so much passion and young energy it gives me goosebumps all over. It sounds as if the music and the words just emerge from his soul and that it could go on forever and ever. He's not straining his voice the least bit and every sound coming from his lips is pure gold. His voice is like velvet on your senses, honeyed and rich, but also very powerful and clear and it possesses so much sensual beauty that it's no wonder women want to throw themselves at him.

This opera contains quite a few wonderful arias for the tenor. Starting with the very famous "Libiamo" the list just goes on. Check out "un di felice", "Lunge da lei. I miei di bollenti spiriti" or "Parigi, o cara" and I can promise that you're left speechless. For me it only takes the three words "un di felice" and I'm in tears.

Renata Scotto is a wonderful Violetta. I have to admit that I didn't take an instant liking to her. The reason for that being that the sound on this live recording sometimes makes her voice sound squeaky. But having said that, I have to say that the sound on this live recording is not too bad and the Japanese audience are behaving beautifully. There's nothing of that loud coughing and sneezing we're so used to in many other live recordings. If you listen very carefully you can perhaps hear one or two coughs during the whole recording. Or perhaps I'm so lost in the music that I can't hear anything else.... The only thing that's somewhat disturbing is that at times it sounds like the singers are rearranging everything on the stage and you're also able to hear the rustling of the costumes as they move around on the stage. If nothing else, it adds to the feeling of really being in the opera house.

But back to Renata Scotto, she has grown on me and I like her more and more each time I listen to this opera. The rest of the cast is also very good except for a male singer with a severe speaking disorder.(Fortunately he has one of the minor roles in this opera.) Since this recording comes without a libretto I haven't been able to figure out who he is, but I do feel sorry for him. And speaking of the lack of libretto, that is the major problem with the recordings from D'oro. There's only a short synopsis of the story and if you're not familiar with the opera it's hard to really get into the opera and it could very easily end up sitting in the shelf for ages. But try to get beyond those problems and you can enjoy one of the most beautiful and romantic operas ever written.

There are a vast number of recordings of this opera, but if you're looking for one that features José Carreras this seems to be the only one available. So look no further. The perfect La Traviata is right under your nose.

Average customer rating: Full-bodied interpretation, but... The Ethics of Defeat a hidden treasure Cavelleria Rusticana: An Opera In Its Own Right As good as "Cav" gets

Mascagni: Cavalleria Rusticana Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Levine, James | ( L ) | Featured Performers, A-Z | Classical | Styles | Music 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 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: Leoncavallo: Pagliacci Mascagni: Cavalleria Rusticana / Herbert von Karajan Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Tosca / Nilsson, Corelli, Fischer-Dieskau, Maazel Leoncavallo: Pagliacci ASIN: B00000JPBN Release Date: 1999-08-10

Tracks:

1. Preludio - National Philharmonic Orchestra
2. O Lola Chai Di Latti La Cammisa
3. Gli Aranci Olezzano
4. Dite, Mamma Lucia
5. Il Cavallo Scalpita
6. Beato Voi, Compar Alfio
7. Regina Coeli, Laetare - Alleluja!
8. Voi Lo Sapete
9. Tu Qui, Santuzza?
10. Bada, Santuzza, Schiavo Non Sono
11. Fior Di Giaggiolo, Gli Angeli Belli Stanno
12. Ah, Lo Vedi, Che Hai Tu Detto?
13. Turiddu, Ascolta!
14. Oh, Il Signore Vi Manda, Compar Alfio
15. Il Ver
16. Intermezzo Sinfonico
17. A Casa, A Casa, Amici
18. Intanto, Amici, Qua, Beviamone Un Bicchiere
19. A Voi Tutti Salute!
20. Compar Turiddu
21. Mamma, Mamma... Quel Vino E Generoso

Customer Reviews:

Full-bodied interpretation, but..........2007-06-03

This is a generally strong all-around performance of a work many of us have heard too often sung less than ideally. It is an excellent introductory recording: although the booklet does not contain notes on the opera, the sound is clear and the music is performed with seasoned artists. James Levine, the National Philharmonic Orchestra, and the Ambrosian Opera Chorus are especially deserving of praise: Levine conducts with passion but also finesse, bringing out orchestral details and dramatic nuance. Having said that, there is something about this recording that has never captured my imagination, and I attribute this to a blandness coming from Domingo and Scotto. By now, it seems that Domingo has sung everything, and that speaks volumes for me about this artist. There is a generic quality to his musicality, something too reliable that comes across in this performance as reservation. Scotto, although having a much less comprehensive career than Domingo, suffers from the same problem, if for different reasons. Although her voice sounds young in this recording, she always had a lack of control in her upper register, and even here there are traces of the matronly sound that dogged her later years.

This generic feel is very subtle; both Domingo and Scotto are known for their acting abilities. However, they lack that rare ability (even if only in this performance) to vocally characterize; and frankly, in a recording, that accounts for much.

The Ethics of Defeat.......2006-09-25

Verismo opera appears to me to have derived its original impetus from the "adult", love-and-death atmosphere of Wagner's Tristan und Isolde as re-applied to poor people. Because of the low social rank of the characters, these works are not tragic but elegiac. Elegy is the "lost cause" or broken-spirited genre: the exploitation of disillusionment. Its appeal lies in its supposed grip on reality based on the reflection that poor folk outnumber the more fortunate. The characters may bring sorrow on themselves; but we are to understand that poverty has led to this state of affairs. The aesthetic element at work in the tradition is that a broken spirit can lead to poetic moments such as Massenet's "religious medition" in Thais from the same period. The connection between Verismo and the more exotic Thais is that the desert monks of Egypt were the aftermath of the Martyr Age, which is reflected in another way by the Roman Catholic grassroots tradition exhibited in Cavalleria Rusticana.

Mascagni's opera plays directly and potently on this brokenness. Consolation is the word. Throughout the opera the Church labors away in the background, supplying whatever consolation it can in the 19th century. As the recording booklet summarizes, "Turiddu was crushed by Lola's betrayal and consoled himself with Santuzza." The love triangle of Turiddu, Santuzza and Lola is totally unlike the ones that operate in French Baroque opera where high ranking characters destroy themselves through bold policies based on free will. Mascagni's characters are too "crushed" by experience to make clearcut decisions or pursue policies. We never know from one moment to the next how their misery is going to react. In the meanwhile they snatch at moments of beauty. Typically a chorus of women sings atmospherically, "Work in the fields is over: the serene Virgin Mary is comforted by the Savior." If she is in a state of glory, why does she need to be comforted? In Mascagni's world everybody needs to be comforted.

a hidden treasure.......2006-07-01

There may be many more famous versions of this opera, but THIS is the one to get. In through-composed operas such as this, where continuity and cohesiveness are especially vital to the dramatic flow, there is a touch some conductor's have which allows them to unify the music in a truly magical way. Levine has that touch, and the principals, domingo and scotto do also. Domingo gives a dramatically gripping performance which is better than his later one. Scotto has such a knack for dramatic nuance and subtlety that after listening to her santuzza probably a hundred times, i still find it interesting! Her wobble isn't really an issue, and she truly "lives" the role. She is a rare performer who's characterization realllly makes a difference. Also, the sound of this recording is remarkably "real" in terms of volume, echo, etc. I never really noticed these things until I listened to domingo's later recording which is recorded too close and has a disturbing digital glassiness. So basically, if you want a first, or second or third recording of CAV, get this!

Cavelleria Rusticana: An Opera In Its Own Right.......2005-11-25

Surprise Surprise! This RCA recording of Mascagni's Cavalleria does not come with Leoncavallo's Pagliacci. Traditionally, these two crowns of verisimo opera are on the same bill, but James Levine and the New Philharmonia provide us with an account of the work that is so operatically gratifying and dramatic that it stands alone as a great work in itself. Placido Domingo and Renata Scotto star as the tragic couple Turiddu and Santuzza, baritone Pablo Elvira as the wronged husband Alfio and Jeanne Kraft as the adulterous Lola. The emotional impact of the opera lies in the characterizations of Turiddu and Santuzza. Fortunately Domingo and Scotto sound great together and really live their roles. Domingo sounds dark and masculine, with a rich voice that essays all the lyrical portions with bravura. He is a man who has fallen out of love for his wife and fallen for the wife of another...to his demise. Scottos Santuzza is overtly dramatic and often she is screaming rather than singing but for this role it's perfectly ok. Her Santuzza is supremely dramatic, eventhough it lacks beauty of tone. Caballe has done fine Santuzzas and my favorite is Elena Obrazstsova's portrayal. Levine conducts the score with aplomb. The music is soaring with religious fervor in the Easter Parade Scene - "Ineggiamo il Signor e risolto" (Hail, the Lord ha Risen) and in the confontation scene with Turiddu, Santuzza and the slutty Lola is electrifying. The finale is unbeatable. A must have for fans of this opera as just one opera. Domingo is in great shape and his teamwork with Scotto is grandiose.

As good as "Cav" gets.......2004-09-25

Mascagni's one-act opera "Cavalleria Rusticana," derided by many after its premiere as being crude, low-class and unworthy of survival, has indeed survived changing operatic fashions to become one of the world's most popular operas. I find it to be an interesting work, not on the highest level of art but an interesting conflict between an unrepentant philanderer and the wronged husband who eventually brings him down.

Over the years there have been many recordings of this opera, from Callas-DiStefano to no less than 2 versions featuring Jussi Bjorling, 2 versions featuring Franco Corelli, plus versions with Del Monaco, Domingo, Pavarotti, etc etc etc. This mid-'70s entry didn't sound all that good when it was on vinyl, but now that it's been through the digital remastering phase it sounds pretty excellent.

Domingo sings in a fairly monotonous, snarly manner, but this suits Turiddu to a T; plus, he was in fabulous voice. Renata Scotto, who at this stage in her career was definitely on the downslide, does have some odd, unfocused and/or wobbly notes, but her interpretation is second only to the legendary Lina Bruna-Rasa on the old Gigli version, and here James Levine conducts much better tempi than Mascagni himself who s-l-o-w-e-d the opera down as he got older.

The real "find" and surprise in the set is Pablo Elvira, a fine baritone who only spent a couple of seasons at the Metropolitan Opera, as Alfio. He sings both dramatically and incisively; listen to his "Il cavallo scalpita," it is the briskest AND finest on records.

Overall this set is much better than the vastly overrated Milanov-Bjorling-Merrill recording on RCA, mostly because Milanov, though in excellent voice, simply sounds too heavy and matronly to be taken seriously as Santuzza. Scotto, for all her vocal problems, sounds terrific.

Average customer rating: Fine selection of arias from the verismo period Scotto: the greatest gift a thinking man's singer One Of The Truly Great Aria Recitals Singing as good as it gets

Renata Scotto - Italian Opera Arias Giacomo Puccini , Alfredo Catalani , Francesco Cilea , Pietro Mascagni , Ermanno Wolf-Ferrari , Lorin Maazel , Eve Queler , Gianandrea Gavazzeni , Sir John Pritchard , James Levine , Renata Scotto , Elena Obraztsova , and Renato Bruson Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolf-Ferrari | Wolf-Ferrari, Ermanno | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Scotto, Renata | Divas | Opera & Vocal | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | 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: The Very Best of Renata Scotto Mirella Freni-Renata Scotto: In Duet Very Best of Love Entranced: French Opera Arias Massenet: La Navarraise / Horne, Domingo, Milnes, Bacquier, Zaccaria, Davies, LSO, Lewis ASIN: B00000C28Q Release Date: 1998-09-22

Tracks:

1. Le Villi: Non ti scordar di me
2. Manon Lescaut: In quelle trine morbide
3. Manon Lescaut: Sola, perduta, abbandonata
4. La Boheme: Quando m'en vo' soletta
5. Suor Angelica: Senza mamma, o bimbo, tu sei morto
6. Gianni Schicchi: O mio babbino caro
7. La Wally: Ebben? Ne andro' lontana
8. Adriana Lecouvreur: lo son l'umile ancella del genio creator
9. Adriana Lecouvreur: Poveri fiori
10. La rondine: Ch'il bel sogno di Doretta
11. Lodoletta: Flammen perdonami
12. Iris: Un di (ero piccina) al tempio
13. EDGAR: Addio, addio, mio dolce amor!
14. Madama Butterfly: Un bel di, vedremo
15. Madama Butterfly: Tu, tu, piccolo iddio!
16. Il Segreta di Susanni: Respiro, e andanto...O gioia la nube leggera
17. Il Segreta di Susanna: Ti colgo questa volta! (Duet)
18. Adriana Lecouvreur: E sia! Non risponde (Duet)

Amazon.com

The bulk of this wonderful CD was recorded in l974, before the top of Scotto's voice--always a bit acidic--had turned positively treacherous. Selections from six Puccini operas, Catalani's La Wally, and Mascagni's Lodoletta and Iris find her not only in good voice, but with her usual searing insights. Never one to shirk an emotion, Scotto makes us feel for Suor Angelica and Wally in a very special way, and the other characterizations are hardly less interesting. Arias and duets from later takes--one from Carnegie Hall in '77 and others from commercial recordings up to l978--still offer good vocalism and fascinating viewpoints--Scotto's high notes may occasionally make us cringe, but she's never uninvolved or uninvolving. This is a fine intro to this complicated soprano and a must for her fans. --Robert Levine.

Customer Reviews:

Fine selection of arias from the verismo period.......2007-05-03

If you like music from the "verismo" period you will not be disappointed.

Perfect for much of this genre, Scotto is able to communicate emotion, strength, and vulnerability with great vocal control. "Flammen perdonami" from Lodoletta by Mascagni is a fine example.

Sometimes their is some ugliness in her voice, though, and this lets Scotto down, for example, in the showpiece from La Rondine.

Also the final duet from Adriana Lecouvrer ends album rather weakly.

The artists should be commended for including so many verismo rarities and overall this is a pretty fine achievement

Scotto: the greatest gift .......2006-09-30

Since the first time I heard Scotto, I found on her the warmth, devotion and passioned interpretation of all the roles she performed. By much, this is one of my most beloved records, since Scotto demonstrates that, beyond the technique, an opera singer must act. The voice reflects in every note, in every phrase, all the emotions contained.

Absolutelly splendid!

a thinking man's singer.......2005-08-15

The older I get the more I appreciate Scotto the singer. Her musicianship was always apparent, always admired. Yet she may have been underestimated as a singer. Her embodiment of the intense inner life of the characters she portrayed is rightfully legendary, but I've come to believe a great part of that perfect passion is the singing, as much as her gifts as an actor and interpreter. The voice itself is rarely perfect, but still beautiful; especially in the first half of her career, the top of her voice fashioned a world of its own, and left nothing wanting. So many fine singers today make a kind of perfect product, yet often fall short of leaving an enduring art of earthly grief and passion. They fly high but often forsake the humanist aesthetic central to operatic art. Scotto plumbs that passion in so much of her singing, and wonderful example of that is found than in these arias. She lets her instrument and her musicianship create the intimate space between singing and acting, never imposing an arbitrary idea around either. Her 'Sola, perduta, Abbandonata' is one of the best versions I've heard. She gifts 'Mio babbino caro' with unhurried beauty. She's a great verismo singer, as was Ileana Cotrubas, though few enough mention either artist nowadays. This disc is a perfect introduction to the art of Renata Scotto.

One Of The Truly Great Aria Recitals.......2003-09-14

This is one of the truly great aria recitals, ever, and perhaps the greatest aria recital from the Italian repertory since Maria Callas in her 1954 EMI Puccini disc under Serafin.

Not all of the disc is at the same level. The arias from "Le Villi", "Manon Lescaut", "Suor Angelica", "La Wally", "Lodoletta", "Iris" and "Adriana Lecouvreur" should enjoy legendary status. They are exhibitions in how to present arias from the post-Verdi period. I have never heard them done as well as here.

The other items are excellent, but not quite in such a magical league. I believe it must be noted that Scotto's voice was not sufficiently opulent to do full justice to all of these arias. Occasionally more radiance is needed, especially in the "La Rondine", "La Boheme", "Gianni Schicchi" and "Madama Butterfly" selections.

This is nevertheless an essential disc for its demonstration of great artistry from a singer whose voice, in its later years, was not always up to the artistic requirements Scotto demanded of herself. Scotto has no equal among today's generation of bland vocalists.

Singing as good as it gets.......2001-04-02

Record companies have always been run by not-too-clever people. I can't believe they banned Renata Scotto from the mid 1960's till this recital was made in 1974. In this recital the unforgettable diva gives masterclasses in the art of singing. If you want pretty sounds look for Caballe, but if you want to feel Suor Angelica's pain or Manon Lescaut's despair this is for you.

Average customer rating: Theatrical Verdi, ravishing Cherubini I'm satisfied. All-out operatic, no holds barred

Verdi: Requiem Mass; Cherubini: Requiem in C minor Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Cherubini, Luigi | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Mascagni - Cavalleria rusticana / de Los Angeles · Corelli · Santini ~ Leoncavallo - Pagliacci / Corelli · Gobbi · Amara · von Matacic Schubert: Symphonies (Complete) [Box Set] Cherubini: Requiem & Marche funèbre Dvorák: The Masterworks [Box Set] Missa Solemnis in D major, op.123 ASIN: B0002Z83M0 Release Date: 2005-02-15

Tracks:

1. Requiem Aeternam
2. Kyrie Eleison
3. Dies Irae
4. Tuba Mirum
5. Mors Stupebit
6. Liber Scriptus
7. Quid Sum Miser
8. Rex Tremendae Majestatis
9. Recordare
10. Ingemisco
11. Confutatis Maledictis
12. Lacrymosa Dies Illa
13. Domine Jesu Christie
14. No.4 - Sanctus
15. No.5 - Agnus Dei

Tracks:

1. No.6 - Lux Aeterna
2. No.7 - Libera Me
3. Introitus Et Kyrie - Ambrosian Chorus
4. Graduale - Ambrosian Chorus
5. Dies Irae - Ambrosian Chorus
6. Offertorium - Ambrosian Chorus
7. Sanctus - Ambrosian Chorus
8. Pie Jesu - Ambrosian Chorus
9. Agnus Dei - Ambrosian Chorus

Customer Reviews:

Theatrical Verdi, ravishing Cherubini.......2007-04-21

Listeners may be familiar with Riccardo Muti's 1987 La Scala recording of the Verdi Requiem featuring Studer, Zajic, Pavarotti, and Ramey (a wonderful album but a bit pricey). This earlier recording (June 1979) with the British is, fortunately or unfortunately, quite a different rendition.

Muti's 1987 recording featured brilliant but well-disciplined singing. In this 1979 album, however, the discipline seems to have been left outside the recording studio.

Words are grossly mispronounced, soloists are often a bit flat, and some of the vocalizing is uncomfortably forced. There is also a lot of use of ritards that sometimes sound overdone.

But what made up for these drawbacks - and why I really LOVE this CD! - was the no-holds-barred theatricality. If you want a performance that is every bit as operatic as Verdi never wanted it to be, if you want every human emotion front and center, if you want a reading that couldn't care less about all those vocal niceties that music teachers charge so much to teach - well, here it is!

The CD fools you at first. The opening Requiem chorus is barely audible, as is often the case. But suddenly you get punched in the face with the angriest, most violent "Te decet" basses you've ever heard. Forget the usual hymn-like treatment this passage normally gets. These hymnists are carrying sledgehammers.

When the four soloists enter for the Kyrie, they leave no doubt that this really is going to be Verdi's "greatest opera." I have never, ever heard the Kyrie opening with such prima donna bombast.

Veriano Luchetti had recorded the Verdi Requiem just two years earlier with Georg Solti and Leontyne Price. He was theatrical then, and still is. It's a real pleasure to hear him go full voice in places like Quid sum miser and Hostias.

Agnes Baltsa would later record a marvelous Verdi Requiem with Herbert von Karajan (1984). Her big, powerful voice still rings with Muti.

Evgeny Nesterenko is a star of the Russian opera world. In 1979, he was no doubt the Jerome Hines of the USSR. Of all the Verdi Requiem basses I've heard, Nesterenko is one of my favorites. His pronunciation will make purists cringe, though, and half the time he sounds like he's singing through his nose. But his monumentally deep bass sound and swooping vocal theatrics are so much fun to listen to!

While all of the soloists did their part to maximize the drama, I think Renato Scotto gets first prize. Her Recordare is the weepiest I've ever heard, with lots of pop-music style inhaling to add to the emotion. In the Lacrymosa, you can almost see the tears coming down; you'd think you were watching the final scene of Madama Butterfly. In the Libera Me, she sounds frightfully angry, like she's ready to punch God in the face. Scotto has a huge voice with a bit of a wobble; she is recorded extremely well here.

The Ambrosian Chorus, like the La Scala Opera Chorus several years later, had their hands full with Muti's lightning-fast tempos. Practically all the choral highlights (Dies Irae, Sanctus, Libera Me fugue) are done at frightening speeds which this chorus handles with great control. The sopranos are strangely over-miked at times: during the Libera Me fugue, their long sustained notes were distractingly loud and detracted from the main melody line.

The Philharmonia Orchestra does well, but even they can only do so much. Muti conducts the Dies Irae so quickly, that the strings literally have to slow down ever so slightly so they can negotiate the virtuosic runs. The brass sound great throughout, but sometimes they are over-miked to the point where they drown out the chorus.

Luigi Cherubini (1760 - 1842) wrote two requiems. The first, the Requiem in C Minor, was written in 1816 in France. If you've never heard a requiem that has no soloists, I strongly recommend this performance by Muti, the Ambrosian Chorus and the Philharmonia Orchestra (recorded July 1980, London).

Cherubini was a contemporary of Mozart's, so comparisons are inevitable. Mozart never came close to finishing his requiem; Cherubini's score is complete from cover to cover. Personally, I was totally enchanted with this setting and am at a loss as to its infrequent recordings and performances.

The Cherubini Requiem lasts 48 minutes. The opening Introitus and Kyrie were subdued and very moving, quite unlike Verdi's version. The Dies Irae was a powerful statement, proving that a good chorus and orchestra are all you need to depict Judgment Day.

The Offertorium, at 16'33", was the longest movement. It features a heavenly setting of the phrase "sed signifer sanctus Michael" and a rousing setting of "Quam olim Abrahae" that must surely have lifted the audiences off their chairs.

The Sanctus is short (only 1'20") but is overwhelming in its majestic sweep. The requiem finishes with a dramatic setting of the Agnus Dei that might surprise some modern ears.

The Ambrosian Chorus makes the most of this exhilirating score; they are a joy to listen to. Muti and the Philharmonia seem to have put the Verdi behind them, and have formed a satisfying partnership that makes this precious music shine.

No texts or translations. This 2004 album was released earlier in 1996.

Highly recommended.

I'm satisfied........2007-01-23

Thank you all very much for posting to me this CD. Everything went well, and got my CD in my hand in no time. I will purchase from here in the future.

All-out operatic, no holds barred.......2006-09-27

On its first CD release The Gramophone's reviewer ranked Muti's first Verdi Requiem from the early 80's as among the top ten ever recorded. Put another way, there are nine better, but in the LP era some critics found this performance so compelling that it was ranked No. 1 on many lists. Where did this exaggerated praise come from?

First, the professional Philharmonia chorus sounds superb, singing with wonderful unity and musicality (though not with Verdian fervor). All of the soloists are exemplary except for the aging Scotto--she was the greatest artist among them but not the spinto-dramatic soprano required here, or the alternative lyric soprano one sometimes hears (e.g., Schwarzkopf).

More generlaly, this was a hot shot's Requiem, eschewing spirituality for raw power and impact. Muti's Dies Irae and Sanctus were exhiliratingly fast. Memories of the fiery Toscanini were recalled. Now the Dies Irae seems like a pardoy as it races past. To tell the truth, the one thing that riveted my attention, despsite the wobble in her voice, was Scotto's tragic, almost wild solo singing. Muti's second try in the Nineties delivered a tamer reading, but this one can stand as a tribute to his early promise as Toscanini's all-too-brief successor.

Music Review:

1. Respighi: Belfagor
2. Schubert: Death and the Maiden; Mahler: Symphony No. 5
3. Schumann: Fantasien, Opp. 17, 12, 111
4. Silent Night: Collection of Xmas Pieces
5. Sonata for 2 Pianos & Percussion
6. Tchaikovsky: The Nutcracker Ballet Suite
7. The 14 Greatest Tenors
8. The Unknown Masterpiece - Premieres from the 2003-2004 Season
9. Turandot
10. Wilhelm Friedmann Bach: Instrumental Music

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