Coloratura Arias

On this CD:

1. I Puritani, opera Act I~Son vergin vezzosa
Composed by Vincenzo Bellini
Performed by Estonia Opera Orchestra with Dilber

2. Rigoletto, opera Act I: Caro nome
Composed by Giuseppe Verdi
Performed by Estonia Opera Orchestra with Dilber

3. Dinorah (Le pardon de Ploërmel), comic opera in 3 acts Act 2~Ombre légère
Composed by Giacomo Meyerbeer
Performed by Estonia Opera Orchestra with Dilber

4. La Sonnambula, opera Act I~Care compagne - Come per me sereno
Composed by Vincenzo Bellini
Performed by Estonia Opera Orchestra with Dilber

5. Lakmé, opera Act 2~Bell Song
Composed by Leo Delibes
Performed by Estonia Opera Orchestra with Dilber

6. Lucia di Lammermoor, opera Act 3~il dolce suono - Ardon gl'incensi
Composed by Gaetano Donizetti
Performed by Estonia Opera Orchestra with Dilber

7. Ariadne auf Naxos, opera, Op. 60 Grossmächtige Prinzessin
Composed by Richard Strauss
Performed by Estonia Opera Orchestra with Dilber

8. Frühlingsstimmen (Voices of Spring), waltz for orchestra (with voice ad lib), Op. 410 (RV 410)
Composed by Johann II Strauss
Performed by Estonia Opera Orchestra with Dilber

Tracks:

Ecco: Respiro Appena. Io Son L'umile Ancella
Poveri Fiori
La Mamma Morta
Ebben? Ne Andro Lontana
L'altra Notte In Fondo Al Mare
Una Voce Poco Fa
Ombra Leggera
Dov'e L'Indiana Bruna?
Merce, Dilette Amiche
Dei Tuoi Figli La Madre
Tu Che Invoco Con Orrore
O Nume, Tutelar
Caro Oggetto

Customer Reviews:

Early Callas.......2007-05-12

This is a very fine representation of Maria Callas in her early prime. The voice is in great shape and this is a wonderful introduction to her artistry and range of styles, especially for interested parties who do not know her. This is a must to have in your vocal collection.

A litmus test for appreciating Callas.......2006-03-17

I can remember my shock at eightenn when I was on my own for the first time and could play any recordings I wanted without offending my non-musical family. I knew Maria Callas by reputation and bought one of her famous performances, Carmen, only to hear not a celestially beautiful voice but a hooded, murky one that wobbled in all registers and screeched in the upper ones. Everyone who first encounters her discovers that Callas was possessed of a mesmerizing artistry but nothing like a lovely voice. In fact, she disdained lovely singing. This is too well known to repeat again; everything about Callas has been over-described, analyzed, worshipped, condemned, apologized for, and obsessed over.

Her Carmen came late in her career, unlike this famous mono recording from 1954, but its close miking and hard sound (made better by remastering) reveal all too painfully the same flaws. It could serve as a litmus test for whether a listener will ever "get" the Callas phenomenon. Her artistry couldn't be more intense and searching than it is in the five verismo arias at the beginning--even non-opera lovers know her 'La Mamma Morta' from its heartbreaking use in the movie 'Philadelphia,' where the dying Tom Hanks acts out its meaning as he walks in a trance of ecstasy clutching his IV stand.

I have lain awake listening to those five arias every night for a month, and it says something for Callas's art that I can foresee listening to them again. Not now, perhaps, becasue even the best things wear out with repetiiton. I just thought it was good to pay tribute to them and the deep emotions they inspired. My incidental motive, since EMI has rehashed every Callas item to death, is to point out that this indeed is one of her greatest recordings, an essential not just for lovers of singing but for the history of opera itself.

Great recordings of the century A label this recording deserves.......2005-09-21

Recorded in September 1954 together with Puccini Arias. This recording shows the La Divina in the prime of her vocal abilities. This 1954 recording presents Callas with enormous range of musical styles in which the La Divina was entirely at home. This recording refects Callas ability not just to sing but to put drama in every aria. I am happy that finally EMI gave this recording the recognition in it deserves "Great Recordings of the Century". For those who do not want to purchase the Recitals 1954-1969 [BOX SET] or plans to buy the recital collection one buy one , I strongly suggest to purchase this edition, the cover has the original cover artwork of the original LP (very nostalgic).

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Carnaval

French Coloratura Arias

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer
Sumi Jo - Bel Canto / Arevalo · ECO · Carella
Sumi Jo - Les Bijoux / Carella
Sumi Jo sings Mozart
Sumi Jo - La Promessa / Vincenzo Scalera

ASIN: B00020QW9G
Release Date: 2004-09-14

Customer Reviews:

Carnaval.......2005-12-05

There is no track listing on Amazon for this album. It is a re-release of Sumi Jo's album "Carnaval" which had, for some insane reason, gone out of print (something to do with a merger).

As for the album itself, there is no way to accurately describe how impressive this singing is. Jo's coloratura may not be as fast as Emma Kirkby's or as accurate as Cecilia Bartoli's, but nobody can surpass her sense of fun or the ease with which she sustains her highest notes.

Two tracks in particular stand out: "Le jour sous le soleil beni" is a rather slow, beautiful aria (the only non-coloratura aria included on the disc) which is capped with what must be the longest sustained high D-flat in history--sung pianissimo. Montserrat Caballe, eat your heart out. The other is the Carnaval de Venise, made famous by Mado Robin. Although Jo does not hit Robin's B-flat above high C, her version is infinitely more impressive, particularly the last two minutes, which is simply a roller-coaster ride of coloratura with no rests, no rubato, and very few breaths. Everyone I've ever played this track for has been rendered speechless.

Although those two arias stand out, there are really no tracks on this album which are not impressive and/or beautful. The Sevillana captures her sense of fun, "Canari" and the "Couplets de Mysoli" emphasize her control of pianissimo high notes, and "Jours de mon enfance" and "Reves d'amour, reves de gloire" both end in perfect, sustained high E's. One of my favorite albums ever. I'm happy it has been re-released.

Edita Gruberova - Queen of Coloratura ~ Arias by Donizetti, Mozart, J. Strauß, Verdi

Average customer rating:

Good--but not great--coloratura
Pretty good
Here comes the Gruberova
A contrary view
When will I hear her challenged!!

Edita Gruberova - Queen of Coloratura ~ Arias by Donizetti, Mozart, J. Strauß, Verdi
Wolfgang Amadeus Mozart , Gaetano Donizetti , Giuseppe Verdi , Johann Strauss II , Nikolaus Harnoncourt , Richard Bonynge , Carlo Rizzi , Edita Gruberova , Neil Shicoff , Zurich Opera Orchestra , Concertgebouw Orchestra Amsterdam , Concentus musicus Wien , Europe Chamber Orchestra , Alexandru Agache , Ambrosian Singers , and Alastair Miles
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

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The Art of Coloratura
Edita Gruberova - Famous Opera Arias
Great Moments Of Edita
Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer
French Coloratura Arias

ASIN: B000000SMG
Release Date: 1994-07-05

Tracks:

Die Zauberflote: 'Der Holle Rache kocht in meinem Herzen'
Don Giovanni: 'Or sai chi l'onore'
Don Giovanni: 'Crudelle!-Ah no ... Non mi dir, bell'idol mio'
Lucio Silla: 'Dalla sponda tenebrosa'
Concert Arias: 'Vorrei spiegarvi, oh Dio!' K. 418
Concert Arias: 'Ah, se in ciel, benigne stelle' K. 538
Lucia di Lammermoor: 'Oh giusto cielo...Il dolce suono'
Lucia di Lammermoor: 'Ohime! sorge il tremendo fantasma'
Lucia di Lammermoor: 'S'avanza Enrico'
Lucia di Lammermoor: 'Spargi d'amore pianto'
La Traviata: 'E strano! e strano ... Ah, fors e' lui'
Die Fledermaus: 'Klange der Heimat'

Customer Reviews:

Good--but not great--coloratura.......2007-01-17

Edita Gruberova makes this a very nice album, easy to listen to. Some of the cuts are extremely well done, others are a bit bland. On the whole, though, a worthwhile item to purchase.

Mozart's "Die Holle Rache," from "Die Zauberflote," starts the album. One of the best examples of her skills on this CD. Her voice easily reaches the high notes (and there are a lot of them!); she nails the highest notes of all in a way that seems effortless. Overall, good technique. Another Mozart aria, "Or sai qui l'onore," from "Don Giovanni," is well and strongly sung; as well, one gets a sense of the character through Gruberova's singing.

Other items worth noting in some detail. Donizetti's "Lucia di Lammermoor," of course, presents sopranos with one of the premier coloratura roles. Here, there are four examples. Her voice is clearly heard in the ensemble piece (not all sopranos can say that, although her final high note was almost drowned out by the orchestra). "Il dolce suono" and "Ohime! sorge il tremendo fantasma" are okay, but seem a bit on the bland side. Needless to say, I was most interested in listening to the remarkable cabaletta of the "Mad Scene," "Spargi d'amaro pianto." And while the singing was sound, it did not excite. Her agile voice is right for this piece; she hit the high notes well. But her trills were only adequate--except for one wonderful trill off of a high note. To be considered a great coloratura, I have to confess, I want to hear great trills. Also, the ornamentation was a little tame.

The aria from "La Traviata" would have been much better if the associated florid piece, "Sempre libera," had been included. However, her singing seemed to catch the emotions of this aria nicely. The one item from "Die Fledermaus" was fun, spritely sung.

There are other components of this CD, too.

All in all, a good, but not great, coloratura album. Key difficulties: lack of a great trill and rather plain ornamentation in the Mad Scene. Key pluses: a wonderfully agile voice; clean high notes; an ability to connect to the character in her singing.

So, a CD worth purchasing. . . .

Pretty good.......2006-04-25

Right away, we get Queen of the Night, which is very good, overall very fine. However, Gruberova doesn't have the rich texture and the power like Lucia Popp. Nevertheless, how many voices sound even remotely like this!!!

Here comes the Gruberova.......2005-09-08

Is this the worst cover they could find, or was there anything else left in the file labeled "Revenge of the Eightes: The Bridal Years"?
Pay no mind: on this CD, Gruberova's easy high notes alone are worth suffering through the visual horror. She cuts to the chase and starts with Queen of the Night's Hoelle Rache, a very very good one. And the orchestra is very, very loud. This is Mozart with subtlety of a sledge hammer, but it works well with Gruberova's athletic style.
Donna Anna that follows is interesting- Or Sai Chi L'Onore is strong, but lyrical. Gruberova sang a mean Donna Anna live and this is strong evidence for how good she was it in that role. Non mir dir is overdone and swooned somewhat, but it still works.
Another Mozart aria that follows, Dalla sponda tenebrosa, is good too, if overswooned again, and Vorrei spiegarvi gives us more of Edita's trademark top notes and lyrical poise, and some high octane energy- this is a live recording and the ovation at the end is well earned.
What doesn't quite work is the rest of the album; Ah, se in ciel is flat in places, Lucia's scene is overdone and overcrooned in the worst way, Violetta's scene is cut in half and bland. The end piece, Klange der Heimat by Strauss is OK, just about that.
Gruberova was a veritable force on opera stages- still is, but this is a mish mash collection, exciting in places but uneven. Another CD she released, the "The Art of Coloratura" has more interesting choices, but the cover that is even worse. Take your pick.

A contrary view.......2003-09-14

I'm a great fan of coloratura singing and have samples of just about all the great coloratura sopranos (Sutherland, Sills, Pons, Grist, Dessay, et al) and I must admit that Gruberova is one of the best. However, I must say her voice leaves me somewhat cold - very little vibrato and lot of scooping makes about 50% of her notes something less than "spot on", which is distracting. In particular, her "Vorrei spiegarvi, o Dio!" is, in my mind, a tragedy. Her intonation is shaky throughout and the scooping and crooning is horrendous! If you want to hear a truly great rendition of this really challenging number, listen to Beverly Sills' studio recording (included on "The Singers: Beverly Sills"). Talk about amazing!

Don't mean to rain on anyone's parade (for Gruberova is a truly fine singer and many of the tracks on this album are worth hearing), but just felt compelled to point out another view on "Vorrei. . .", particularly.

When will I hear her challenged!!.......2003-06-02

All I can say is, I'm waiting for the day when I can hear Edita Gruberova challenged. Here, we have the most difficult repertoire of all time: advanced coloratura arias by Mozart, Strauss and Verdi that make Soprano's quiver, and Donizetti's most challenging creation of Lucia di Lammermoor -- and Gruberova sings it like ice cream! What I mean by that is that she has a ridiculously ease with it ALL. Everything I've ever heard is SOOO easy for this woman!

"Vorrei Spiegarvi, oh Dio!" is sung live and she just slays the audience. Pitch is absolutely perfect (she's showing off!) and tone is pure and beautiful. She even floats a rarely done high G in the middle just for the fun of it.

Her Lucia arias are by far among the most amazing interpretations in history. Though no one can beat Beverly Sills are far as pyrotechnic coloratura extra ornamentation, her truthful acting and easy popping high notes are remarkable! All of the written high notes at the end of phrasing sounds right smack in the middle of her range! You almost assume the key has been lowered.
What I found incredibly disappointing and cheated with, is that on this CD is from La Traviata: 'E strano! e strano ... Ah, fors e' lui.' But no where to be found is the END of this set of arias: "Sempre libera." "Sempre libera" is the high excitement climax of this and it's not included! But all aside, these are sung with utter compassion and emotional committment. I now intend to purchase a full version of Gruberova's Traviata.

Also memorable is Strauss' Die Fledermaus: 'Klange der Heimat.' Again, technical mastery and very easy high note at the end.

Tracks:

Un mari a la porte: Valse tyrolienne
Don Cesar de Bazan: Sevilana
La Perle du Bresil: Couplets du Mysoli - Sumi Jo/William Bennett
L'Amant jaloux: Je romps la chaine qui m'engage
Le Puits d'amour: Reves d'amour, reves de gloire
Madame Chrysantheme: Le Jour sous le soleil beni
Le Songe d'une nuit d'ete: Malgre l'eclat qui m'environne
Les Pantins de Violette: La Chanson du canari
Le Pre aux clercs: Jours de mon enfance - Sumi Jo/Anthony Marwood
Le roi l'a dit: Portons toujours des robes sombres
Si j'etais roi: Grand air: De vos nobles aieux
Le Fete du village voisin: Bolero
La Reine Topaze: Carnaval de Venise

Amazon.com

Now that conductor Richard Bonynge doesn't have his now-retired wife Joan Sutherland to accompany him on his arcane journeys into forgotten French opera, he has hooked up with the spectacular coloratura Sumi Jo for a series of recordings exploring mid-19th-century operetta. This one is a nice aria compilation, especially welcome since you wouldn't want to hear the entire scores of these works by Adam, Grétry, Messager and Delibes. One hears influences by Rossini, flashes of Mozart, and lots of vocal fireworks-- especially the final selection, Carnaval de Venise by Massé. --David Patrick Stearns

Customer Reviews:

Wonderful!.......2001-07-15

This CD is a MUST GET! It's very relaxing - great to listen to when guests are over or you simply feel like being alone from the world. In this CD - you can see that she's matured more and is better then ever ... Those who like Sumi-Jo, grab it as soon as possible!

This album will knock your heart off!.......1999-11-20

Just an intriguing episode to add here. When this album was released, quite a few people thought that it is absolutely impossible for a human to sing like Jo did. They conjectured that there must be a sort of mechanical manipulations added. To prove that there was no mechanical aid to this recording, Sumi Jo sang the whole arias in "Carnaval" in front of millions of French TV viewers and audiences. And the result was: She was technically exactly the same as in the recording. Her live singing was even more touching and impressive! Her "Les Pantins de Violette: La Chanson du canari" was so beautiful that it caused tears from my eyes. And everyone in the audience gave her a long standing ovation!

!!!!!!!!!!!!!!!!!!!!.......1999-09-02

No words could describe the beauty of Jo's voice and her input of emotions in this album. Sentimental, nostalgic and GORGEOUS!!!!!!!!!!!!!!!!!!!!!!! Felt dizzy intoxicated by "Carnaval de Venise".

This recording will knock your socks off..........1999-08-26

Sumi Jo is more than just a soprano but a consummate artist, elegant to her fingertips. Her coloratura ranges from sweet and clear to absolutely thilling, as in the final Carnival de Venise. A few top notes sound thin (noticeable splicing has been used to conclude some of the arias with high notes), but those are little qualms considering her elegant, supple phrasing and perfect diction. In the internationalized climate of the modern opera world, it is reassuring that there are still performers who understand the sensitivity of the French style.

Sumi Jo at her Best!.......1999-08-03

This album is definitely one of the best coloratura recitals on records. Sumi Jo is simply enchanting. She has a voice of great beauty and perfect technique. Her command of trills, roulades and legato line is simply astonishing. Sumi Jo' performance on this recording (a collection of not very known arias from French opera comique) reminds me a lot of Amelita Galli-Curci in her combination of charm and vocal virtuosism. The recording is a delight from start to finish. Among the hightlights are Sevillanas, Charmant oiseaux ( the cadenzas with flute are amazing), the beautiful liricism and stunning high D flat of the aria from Madame Chrysantéme, and of course the Carnival of Venice, a true feast of vocal fireworks. This recording is a must for all the fans of great singing.

Elizabeth Vidal ~ The Art of the Coloratura (French Opera Arias)

Average customer rating:

Wow...High note heaven!

Elizabeth Vidal ~ The Art of the Coloratura (French Opera Arias)
Elizabeth Vidal , Georges Bizet , Felicien David , Charles Gounod , Jules Massenet , Camille Saint-Saens , Ambroise Thomas , Hans Rotman (Conductor) , Orchestra of the Meiningen Opera , and André Cognet
Manufacturer: Classic Talent
ProductGroup: Music
Binding: Audio CD

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HOMAGE: The Age of the Diva
Airs Et Duos D'Amour De L'Opera Francais
Puccini Arias
Forbidden Love
Mercadante: Il Giuramento

ASIN: B000FIGGX2
Release Date: 2006-05-30

Customer Reviews:

Wow...High note heaven!.......2006-10-24

Elizabeth Vidal is a terrific coloratura. She sings many Es, F#s, and at least one G! She is no Sutherland or Gruberova, but her technique is amazing...so effortless! My only quibble is her voice, at least in the middle, is a tad on the wobbly side - not all the time though. Overall, a spectacular voice and recital!!!

Average customer rating:

Boundless Callas
The Ultimate Callas Recital
Gorgeous coloratura
An essential coloratura recital
Poor recital by inept, overrated soprano

Lyric and Coloratura Arias

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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Callas, Maria | Divas | Opera & Vocal | Styles | Music
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Maria Callas: Live In Concert

ASIN: B000002S9X
Release Date: 1998-01-20

Tracks:

Ecco: 'Respiro Appena. Io Son L'Umile Ancella'
'Poveri Fiori'
'La Mamma Morta;
'Ebben? Ne Andrntana'
'L'Altra Notte In Fondo Al Mare'
'Una Voce Poco Fa'
'Ombra Leggiera' (Shadow Song)
'Dov'E L'Indiana Bruna?' (Bell Song)
'MercDilette Amiche'

Customer Reviews:

Boundless Callas.......2007-02-10

This recital of Maria Callas displays a phenomonal talent. Her ability to adopt a different voice for every role that she sings is staggering. Dark, light, medium, soft or strong, the pallette of colors in her vocal apparatus were at her disposal . She recorded these aria's the same week as her Puccini recital. Amazing how the same artist can sing 'In Questa Reggia' from Turandot and 'The Bell Song' from Lakme. It is an incredible feat, but also very risky. Callas being Callas was a risk taker. In September 1954 when she recorded both the Puccini and Lyric-Coloratura Aria's she had shed nearly all of her excess weight. The dispute continues today as to whether or not the weight loss affected her voice. Judging by her vocal condition in this recital the voice is responsive to its demands and knows no bounds. When Callas reduced her weight she did not take any time off from her career, therefore the muscles that are necessary to support the voice were in constant use. This is my observation. In those days she also vocalized regularly. Her vocal decline in my opinion stemmed from alternating heavy dramatic soprano roles with coloratura roles. A voice can only do this for so long. When the elasticity of the vocal chords are stretched, the voice loses control and the quality is compromised. Callas by nature was a dramatic soprano and sounded comfortable singing such roles as La Gioconda, Lady Macbeth, Aida and Turandot. When she sang the coloratura roles she lightened and whitened her voice, thus robbing it of its natural rich and full texture. The stratospheric notes were not entirely comfortable for her. As early as 1952 in her last Mexico City season, she had problems with the high e-flats in Lucia and I Puritani. The e-flat in the cabaletta of 'Vien Diletto' from Puritani was hardly sustained and quickly released. The same applied to the e-flat that concludes the first cadenza of the Mad Scene in Lucia, her first performance. These could have been the tell tale signs of future vocal problems. A singer must have a comfort zone and stay in their fach to sustain a long career. Callas was the reincarnate of the 19th century soprano's who sang everything, ie: Giuditta Pasta and Pauline Viardot. Depite the fact that Callas took risks, we are left with her recorded legacy of a repertoire ranging from Bellini to Wagner, affording us to revel in her amazing gifts as an artist.

The Ultimate Callas Recital.......2005-02-08

Whomever doubted Callas' abilities can now be silenced with the brilliance of her voice in this great great recording from her "big voice" era. Her seamless, and beautiful coloratura, paired with some of the greatest arias of opera along with the masterful insight injected into conducting by Maestro Tullio Serafin. From the tragic La Mamma Morta to the soulful Ebben ne Andro Lontana to her Una Voce Poco Fa to her great I Vespri Siciliani arias, every single one of these treasures must be sampled and indulged by any lover of opera. She has always had an inherent ability to color the phrases of each aria she sings so well that you cannot pass out on this voix du secle. Listen to her Bell Song. It may not be in the original French language in which it was written, but oh what an amazing spectacle of singing it was! It sounded as if Lakme were retelling the story of the Bell Legend of India! Of course, her coloratura may not impress you like Joan Sutherland's amazing Lakme could, but the sheer drama of her voice is enough to make this recording a necessity. Listen to her Una Voce Poco Fa. What a great voice it was that could easily ascend and descend the scales as if she were an elevator! This was the beginning of Callas' illustrious career! At this point of her career, she could still play with her voice however way she wanted to. Don't hesitate to buy this. You won't be disappointed.

Gorgeous coloratura.......2004-10-28

The word "Coloratura" is an Italianised version of the word "Kolorieren" (To colour). It doesn't really have much to do with lalala and fioritura only. And Callas was a master of colouring and florid singing from 1949-1959. There are two recordings of her doing the Bell-song, one live (With DAZZLING topnotes) and one in the studio as presented here. Both shine in their own special light. I hear no problem whatsoever with the trills and runs, no, as she did as Armida she tackles the coloratura with verve, fire and brilliance. But the lyric selection... It was THIS "La mamma morta" that was picked to be used in "Philadelphia", the grand movie with Tom Hanks. This "La Mamma Morta" which even led the charts in the USA and Europe thanks to the movie! Would an "inept" Soprano evoke such a reaction? My friend HATES opera, yet I saw her in TEARS as she listened to this "La Mamma morta"! The phrase "Porto SVENTURA....." makes me cry each time I hear it. Several great critics call it young Callas' greatest recital. I quite agree. My favourite coloratura-recital forever.

An essential coloratura recital.......2004-10-04

Some things are mysterious and others are fact. And it's a fact that this is one of the greatest Solo-Recitals ever recorded. How odd that I am very much astonished by the ease of Callas' fioritura in Lakme's Bell-Song since a really nasty reviewer pointed out how "inept" her singing is. Really, he DOES know better than the pros like Serafin and Giulini. And how about the verismo? Callas' singing "....il mio bimbo hanno gitatto!" has more conviction and ART than some complete recordings!!! This is a brilliant recital and should be made available by Amazon ASAP!

Poor recital by inept, overrated soprano.......2004-05-19

Callas is awful on this CD. She cannot sing Lakmé's difficult florid music without embarrassing herself. As for the verismo arias, she really doesn't have the right voice for them. She really is bad here. (...)

Average customer rating:

Great recital with some reservations
A surprisingly good recital!

Coloratura Arias

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00000DNMW
Release Date: 1990-09-12

Customer Reviews:

Great recital with some reservations.......2003-04-03

Cheryl Studer is fantastic on this recital disc. She really has an amazing coloratura technique. You don't get Sutherland or Sills' total control of the dynamics of coloratura singing, but you do get above average coloratura singing. Ms. Studer has a nice, large voice. It is a bit androgynous and not as attractive as Caballé's or Sutherland's, but at least it is warm and vibrant. Some people say she has a hollow tone to her voice. I don't hear it. Some people just hate her. She is a great artist. She probably provokes Callas fans because of her Callas-like versatility in singing different roles and Sutherland fans because of her dramatic coloratura voice and above-average coloratura technique.

On this recital, she does some arias well and others competently. She has a real trill, but it is not uniformly good throughout the disc. I was really convinced by her rendition of the "Sonnambula" aria. Amina is really not for her voice, but here, she sings one of her arias really well. She ends it with a full-throated high note. If only all her ending high notes on this disc were full-throated. Her Violetta is too forceful. "Sempre libera" sounds mad rather than happy and flighty. "Casta diva" could be a bit more ethereal. Also, it was unnecessary for the producers to cut the cabaletta. The aria from "Il Trovatore" really suits her. Leonora is a role that she probably would have sung well. She has the trills that Verdi requests. Too bad she has stopped singing due to vocal decline. Lucia is not a role that suits her. Her voice is too robust and forceful for portraying the mentally unstable heroine. Her rendition of the Prologue from "Lucrezia Borgia" is nice, but Caballé is really the model for how "Tranquillo ei posa . . . Com'è bello!" should be sung. Her Rosina is quite successful. However, the last high note is very squeaky. "Bel raggio lusinghier" is really not up to par with Sutherland's version on "The Art of the Prima Donna". The final high note is squeaky and the runs are quite careful.

This recital is great, but do not expect perfect vocalism. It is a touching reminder of the former great artist that Ms. Studer was.

A surprisingly good recital!.......2003-03-08

Cheryl Studer has been much maligned in recent years. Her repertoire was too large, too varied, and too unequal to be any good for her vocal health. She was just like Callas in that respect. She sang Wagner's heavy roles and then switched to coloratura ones. This could not have been very good for her voice. It is too bad that she left bad recordings of "Lucia di Lammermoor" and "Rigoletto".

In this recital, she tackles some difficult coloratura arias. The results are adequate. Her voice is warmer than Deutekom's and she does the runs properly, no glottal gurgling here. Her trill is very nice. Sometimes, one wishes it to be better, as her trill is not uniformly good throughout the disc. Her runs are well done, but some sound quite careful. High notes are attacked with precision and are well pitched. However, some of them are quite squeaky. Characterization is given a good attempt, but it is not always convincing. Her Violetta is disappointing dramatically. Her diction is fantastic. Any comparisons with past sopranos who also recorded the same arias will inevitably find Studer lacking. Some people may not like her open-throated attack on some notes. When she does this, her voice sounds quite raw.

Tracks:

I Puritani: Son Vergin Vezzosa (Elvira's Polacca Aria From Act I)
Rogoletto: Caro Nome (Gilda's Aria From Act I)
Dinorah: Ombre Legere (Dinorah's 'Shadow Song' From Act II)
La Sonnambula: Care Compagne - Come Per Me Sereno (Amina's Recitative And Aria From Act I)
Lakme: (Lakme's 'Bell Song' From Act II)
Lucia Di Lammermoor: Il Dolce Suono - Ardon Gl'incensi (Lucia's Mad Scene From Act III)
Ariadne Auf Naxos: Grossmachtige Prinzessin (Zerbinetta's Monologue)
Fruhlingsstimmen: (Voices Of Spring)

Coloratura Soprano Arias - Glinka Rimsky-Korsakov - Victoria Lukianets (HM)

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Coloratura Soprano Arias - Glinka Rimsky-Korsakov - Victoria Lukianets (HM)

Manufacturer: Le Chant du Monde / Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music
ASIN: B000TVHK2G

Product Description

A life for the tsar = La vie pour le tsar (10:12) ; Russlan and Ludmilla (13:37) / Mikhail Glinka -- Snegurochka (15:20) ; The golden cockerel = Le coq d'or (5:20) ; Sadko (3:24) ; The tale of Tsar Saltan = Le conte du Tsar Saltan (3:45) ; The tsar's bride = La fiancee du tsar (11:09) / Rimsky-Korsakov, Nikolay.

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CALLAS: Lyric and Coloratura Arias

Manufacturer: Regis Records
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music
ASIN: B000GBERKW
Release Date: 2006-06-14

Tracks:

lo son l'umile ancella
Poveri fiori
Ebben? Ne andro lontano
La mamma morta
L'altra notte in fondo al mare
Una voce poco fa
Ombre legere
Bell Song: Ou va la jeune Indoue
Merce, dilette amiche
Non si da folia maggiore
Martern aller Arten
Depuis le jour
D'amore al dolce impero

Product Description

lo son l'umile ancella: Poveri fiori - Adriana Lecouvrer
Ebben? Ne andro lontano - La Wally
La mamma morta - Andrea Chenier
L'altra notte in fondo al mare - Mefistofele
Una voce poco fa - Il Barbiere di Siviglia
Ombre legere - Dinorah
Bell Song: Ou va la jeune Indoue - Lakme
Merce, dilette amiche - I Vespri Siciliani, Verdi
Non si da folia maggiore - Il turco in Italia
Martern aller Arten (in Italian) - Die Entfuhrung aus dem Serail
Depuis le jour - Louise
D'amore al dolce impero - Armida

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