Grand Piano: The Grand Piano Era

On this CD:

1. Réminiscences de Don Juan (I & II), for piano (after Mozart: Don Giovanni), S. 418 (LW A80)
Composed by Franz Liszt
Performed by Ignaz Friedman

2. Nocturne for piano in D flat major, Op. 27/2, CT 155
Composed by Fryderyk Chopin
Performed by Josef Hofmann

3. Étincelles, for piano, Op 36/6 Mordceau Caracteristique
Composed by Moritz Moszkowski
Performed by Josef Hofmann

4. Un sospiro, for piano in D flat major (Grande études de concert No. 3), S. 144/3 (LW A118/3)
Composed by Franz Liszt
Performed by Frederic Lamond

5. Humoresques de concert (6), for piano, Op 14 No 3, Caprice
Composed by Ignace Jan Paderewski
Performed by Ignace Jan Paderewski

6. Arrangement for piano: Bach: "Chaconne, from Partita No2 for Solo Violin", from Bach-Busoni gesammelte Ausgabe, Vol.3
Composed by Ferruccio Busoni
Performed by Ferruccio Busoni

7. Forgotten Melodies (8) for piano, Op. 38 Danza Festiva
Composed by Nikolay Medtner
Performed by Nikolay Medtner

8. Viennese Waltz on Themes from Gärtner No 04
Composed by Ignaz Friedman
Performed by Igor Friedman

9. Toccata for piano in C major, Op. 7
Composed by Robert Schumann
Performed by Harold Bauer

10. Irish Dances (4) for piano (or orchestra), Op 89 Maguire's Kick
Composed by Charles Villiers Stanford
Performed by Percy Grainger

11. Scherzo for piano No. 3 in C sharp minor, Op. 39, CT 199
Composed by Fryderyk Chopin
Performed by Josef Hofmann

Tracks:

L'amour Est Un Oiseau Rebelle (Habanera)
Mon Coeur S'ouvre A Ta Voix
Eccomi Al Fine In Babilonia
Cruda Sorte!
Hence, Iris, Hence Away
Dove Sei, Amato Bene?
Che Disse! Che Ascoltai!
Addio, Addio O Miei Sospiri
O Pretres De Baal... O Toi, Qui M'abandonne
Elle Est La! Pres De Lui!
Mura Felici
Tanti Affetti

Tracks:

Superbo Di Me Stesso
Il Segreto Per Esser Felici - London Symphony Chorus
Mi Chiami, O Norma!
Deh! Con Te, Con Te Li Prendi
Mira, O Norma
Si, Fino All'ore Estreme
Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
Non Son Tuo Figlio? - Luciano Pavarotti
Mal Reggendo - Luciano Pavarotti
E Un Anatema! - Renata Tebaldi
Nacht Und Traume, D 827
Abendlied
Traume
Jesus De Nazareth
Shenandoah
I Bought Me A Cat
The Lord's Prayer
Somewhere
At The River (Lowry)
Jeannie With The Light Brown Hair

Customer Reviews:

Marilyn Horne scintillates.......2007-05-20

This 2-CD set includes 32 separate "cuts." Thus, it provides a perspective on the broad range of works that Marilyn Horne mastered. While some pockets of work may be given somewhat short shrift (e.g., Rossini), overall this shows off her skills nicely. Born in Bradford, Pennsylvania (one of the coldest places in the nation during winter), she made her operatic debut in 1954. In liner notes copyrighted in 2003, she notes that: "Can't believe it's time for a 70th birthday celebration. . . ." And neither can I, since I recall hearing her perform at the Met (via the old Texaco opera show), and it does not seem all that long ago!

Some cuts well depict her artistry across a range of genres and composers.

The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.

"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.

From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.

Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.

"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.

From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."

Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.

And so on.

Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.

One Of The Greatest Voices of All!.......2006-01-29

I am not the only one who regards Marilyn Horne's voice as exceptional. During the seventies and eighties she was regarded by The New York Times Music Critic as possessing the greatest voice of our time. One only has to sample this "golden" collection to prove how right he was. Her "mezzo" handles Handel and Rossini like no other. Brava all the way (To say nothing about Dalila's famous aria!) And I must even mention her "Jeannie With the Light Brown Hair". This is a two CD that is a MUST for those who appreciate the glories of the human voice (To say nothing about the warmth and spirit than accompany it.)

Not 100% satisfied with the selections, but what artistry!.......2004-11-03

Decca's release of this career-spanning Marilyn Horne recital contains many "golden" nuggets, but isn't the absolute best representation of her artistry, in my opinion.

There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.

In summary:

The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!

From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.

Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.

The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.

After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.

The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!

Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.

The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.

All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.

Vive Madame Horne !.......2004-01-09

Je suis soufflée, et tout bonnement reconnaissante à Decca pour avoir sorti cette compil qui rend si bien honneur à une des mes interprètes préférées. Voix de velours, aisance dans le grave et médium unique au Monde, Marilyn a été, dans toutes ses incarnations, un pur produit américain, certes, mais quel produit ! Bien évidemment son timbre si particulier, que d'aucuns ont défini androgyne, peut plaire ou non... Ce qui compte c'est l'apport émotionnel qu'elle donne à tout ce qu'elle chante, et sans que cela n'enlève rien à la pure beauté de sa voix à la technique sans faille. Merci Mme Horne, pour nous avoir livré une des plus mémorables leçons de chant de l'histoire, et joyeux 70ème anniversaire (car il n'est pas déplacé que de dire votre âge, étant donné la vitalité qui vous caractérise depuis toujours).

Average customer rating:

A masterpiece compilation of Bel Canto

The #1 Tenor Album

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

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The #1 Soprano Album
The #1 Opera Album
The #1 Choral Album
The Most Famous Opera Duets
The Most Famous Opera Arias

ASIN: B00005M0NB
Release Date: 2001-07-10

Tracks:

Rigoletto: La Donna E Mobile - Luciano Pavarotti
Manon Lescaut: Donna Non Vidi Mai - Jose Carreras
Carmen: Flower Song - Placido Domingo
L'Elisir D'Amore: Una Furtiva Lagrima - Roberto Alagna
La Boheme: Che Gelida Manina - Carlo Bergonzi
Aida: Celeste Aida - Jon Vickers
Martha: M'Appari - Luciano Pavarotti
La Gioconda: Cielo E Mar - Jussi Bjorling
I Pagliacci: Vesti La Giubba - Mario Del Monaco
The Magic Flute: Dies Bildnis Ist Bezaubernd Schon - Fritz Wunderlich
Tales Of Hoffmann: O Dieu! De Quelle Ivresse - Placido Domingo
Tosca: E Lucevan Le Stelle - Franco Corelli
Manon Lescaut: Tra Voi Belle, Brune E Bionde - Jose Carreras
Rigoletto: Questa O Quella - Luciano Pavarotti
Luisa Miller: Quando Le Sere Al Placido - Carlo Bergonzi
Werther: Pourquoi Me Reveiller - Giuseppe Di Stefano
Girl Of The Golden West: Ch'ella Mi Creda - Jussi Bjorling
Il Trovatore: Di Quella Pira - Luciano Pavarotti/London Opr Chor
Andrea Chenier: Un Di All'Azzurro Spazio - Mario Del Monaco
Turandot: Non Piangere Liu - Giuseppe Di Stefano
La Traviata: Lunge Da Lei - De' Miei Bollenti Spiriti - Giacomo Aragall
Fedora: Amor Ti Vieta - Jussi Bjorling
L'Africaine: Mi Batte Il Cor... O Paradiso - Placido Domingo
L'Arlesiana: Lamento Di Federico - Jose Carreras
Madame Butterfly: Addio, Fiorito - Luciano Pavarotti

Tracks:

La Traviata: Brindisi - Placido Domingo/Dame Joan Sutherland
Tosca: Recondita Armonia - Giuseppe Di Stefano
Il Trovatore: Ah Si Ben Mio - Mario Del Monaco
La Favorita: Spirto Gentil - Luciano Pavarotti
Faust: Salut! Demeure Chaste Et Pure - Franco Corelli
Die Walkure: Wintersturme Wichen Dem Wonnemond - Jon Vickers
Die Meistersinger Von Nurnberg: Morgenlich Leuchtend - Rene Kollo/Norman Bailey
Adriana Lecouvreur: La Docissima Effigie - Carlo Bergonzi
Turandot: Nessun Dorma! - Luciano Pavarotti/John Alldis Chor
'O Sole Mio - Luciano Pavarotti
La Mia Canzone Al Vento - Luciano Pavarotti
Take Me Back To Sorrento (Torna A Surriento) - Giuseppe Di Stefano
Parlami D'Amore, Mariu - Giuseppe Di Stefano
O Surdato 'Nnamurato - Giuseppe Di Stefano
Caro Mio Ben - Luciano Pavarotti
La Danza - Luciano Pavarotti
Chitarra Romana - Giuseppe Di Stefano
Era Di Maggio Matenatta - Giuseppe Di Stefano
Santa Lucia - Luciano Pavarotti/David Romano
Mattinata - Luciano Pavarotti
Funiculi-Funicula - Luciano Pavarotti
Granada - Jose Carreras
Core 'Ngrato - Jose Carreras
La Taberna Del Puerto - Zarzuela In 3 Acts: No Puede Ser - Placido Domingo
Das Land Des Lachelns: You Are My Heart's - Placido Domingo

Customer Reviews:

A masterpiece compilation of Bel Canto.......2003-11-27

The #1 Tenor album is basically, a compilation of the most popular opera arias. But it's a must buy for two simple reasons:
For anyone who enjoys listening to classical music (specifically opera), this albums contains probably, many of the greatest male voices in opera history (we miss Enrico Caruso), such as:
Mario Del Monaco
Giusseppe Di Stefano
Jon Vickers
Plácido Domingo
Jussi Björling
José Carreras and
Luciano Pavarotti
singing arias from Il Trovatore, Rigoletto, Pagliacci, Carmen, Die Walküre, Aida, among others, plus many traditional napolitean songs as O sole mio, Torna a Sorrento and Santa Lucia.

Highlights:
La donna é mobile/ Pavarotti
Le fleur que tu m'avais jetée/ Domingo
Recitar...Vesti la giuba/ Del Monaco
Winterstürme wichem dem Wonnemond/ Vickers
'O sole mio/ Pavarotti
Das Lands des Lächelns/ Domingo
Non piangere Liú/ Di Stefano
Coren'grato/ Carreras
plus many others.

Tracks:

Rigoletto: La donna e mobile
Manon Lescaut: Donna non vidi mai
Carmen: Flower Song: La fleur que tu m'avais jetee
L'Elisir d'Amore: Una furtiva lagrima
La Boheme: Che gelida manina
Aida: Celeste Aida
Martha: M'appari
La Gioconda: Cielo e mar
Pagliacci: Vesti la giubba
Die Zauberflote: Dies Bildnis ist bezaubernd schon
Les Contes d'Hoffmann: O Dieu! De quelle ivresse
TOSCA: E lucevan le stelle
Manon Lescaut: Tra voi, belle, brune e bionde
Rigoletto: Questa o quella
Luisa Miller: Quando le sere al placido
Werther: Pourquoi me reveiller
La Fanciulla del West: Ch'ella mi creda
Il Trovatore: Di quella pira
Andrea Chenier: Un dll'azzurro spazio
Turandot: Non piangere, Liu
La Traviata: De' miei bollenti spiriti
Fedora: Amor ti vieta
L'Africaine: O paradis
L'arlesiana: Il lamento di Federico
Madama Butterfly: Addio fiorito asil

Tracks:

La Traviata: Brindisi: Libiamo ne'lieti calici
Tosca: Recondita armonia
Il Trovatore: Ah, sben mio
La Favorita: Spirito gentil
Faust: Salut! Demeure chaste et pure
Die Walkure: Winterstichen dem Wonnemond
Die Meistersinger von Nurnberg: Prize Song: Morgenlich leuchtend im rosigen Schein
Adriana Lecouvreur: La dolcissima effigie
Turandot: Nessun dorma
'O sole mio
La mia canzone al vento
Torna a Surriento
Parlami d'amore Mariu
'O surdato 'nnammurato
Caro mio ben
La danza
Chitarra romana
Era di maggio matenata
Yes Giorgio: Santa Lucia
Mattinata
Funiculi, funicula
Granada
Core 'ngrato
No puede ser
Dein ist mein ganzes Herz

The Parlour Grand: Piano Favorites from a Bygone Era

Average customer rating:

The Parlour Grand: Piano Favorites from a Bygone Era

Manufacturer: Marquis Music
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

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Tracks:

Fur Elise
Spinning Song
Traumerei
Rustle Of Spring
Reverie
Si Oiseau J' 'Etais
Romance In E-Flat
Liebestraum
Salut D'Amour
Arabesque
Menuet A L'Antique
Melodie
To A Wild Rose
Romance Sans Paroles
Prelude
Humoresque
The Dying Poet
Le Secret

Tracks:

Serenade
Spring Song
Tango
Rosemary
Le Coucou
The Musical Snuffbox
Dance Of The Blessed Spirits
The March Of The Little Lead Soldiers
Au Matin
Scarf Dance
Invitation To The Dance
Alt-Wien
Simple Aveu
Country Gardens
The Prayer Granted
Narcissus
Le Papillon
Valse In C Sharp Minor

Album Description

This two-CD set, performed by renowned pianist Robert Silverman, includes all the great music from The Parlour Grand Volume 1 and The Parlour Grand Volume 2.

Tracks:

Clarinet Concerto No. 1 In F Minor, Op. 73: ist Movement: Allegro
Clarinet Concerto No. 1 In F Minor, Op. 73: Second Movement: Adagio ma non troppo
Clarinet Concerto No. 1 In F Minor, Op. 73: Third Movement; Rondo (Allegretto)
Calrinet Concerto No. 2 In E Flat, Op. 74: First Movement: Allegro
Calrinet Concerto No. 2 In E Flat, Op. 74: Second Movement: Andante con moto
Calrinet Concerto No. 2 In E Flat, Op. 74: Third Movement: Alla Polacca
Concertino For Clarinet And Strings, Op. 26: Adagio, ma non troppo - Tema con Variazioni, Andante - Allegro
Grand Duo Concertant, Op. 48: First Movement: Allegro con fuoco
Grand Duo Concertant, Op. 48: Second Movement: Andante con moto
Grand Duo Concertant, Op. 48: Third Movement: Rondo (Allegro)

Customer Reviews:

Joie de vive.......2005-11-16

Emma Johnson is well-known for her joyous readings of romantic era clarinet works and she fulfills that legend very well in this disk of Weber. She is not noted for extreme wonders of passagework and occasionally there is a smudge in her technique. These small moments do little to deter enjoyment of this issue.

I have heard these concertos performed by other clarinetists including Antony Pay, an Englishman that plays a period clarinet. Pay is a better technician than Johnson and performs everything very well. He does not match Johnson is her joyous approach to the music, however.

In particular the support for the two concertos (Clarinet Concerto No. 1 in F minor by English Chamber Orchestra conducted by Yan Pascal Tortelier and Clarinet Concerto No. 2 in E flat major conducted by Gerard Schwarz) is highly charged and romantic and suits Johnson's apporach perfectly.

The lesser items on this disk -- the Concertino for clarinet & orchestra in E flat major and the Grand duo concertante in B flat major for clarinet & piano accompanied by Gordon Back -- fill out a splendid disk of Weber clarinet music. I doubt you could find this much at this high quality in another collection.

Leontyne Price (The Prima Donna Collection)

Average customer rating:

A brilliant collection from a great soprano
If I could have only one collection......
Yes this is great!
The Grandest Collection of Leontyne Price Arias
The Greatest Soprano Ever Recorded

Leontyne Price (The Prima Donna Collection)

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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

Price, Leontyne | Divas | Opera & Vocal | Styles | Music

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ASIN: B000003FAF
Release Date: 1992-08-11

Tracks:

Dido and Aeneas: Act 3: Thy Hand, Belinda!
Dido and Aeneas: Act 3: When I Am Laid In Earth
Le nozze di Figaro: Act 3: E Susanna non vien!
Le nozze di Figaro: Act 3: Dove sono
La traviata: Act 3: Teneste la promessa
La traviata: Act 3: Addio del passato
L'africaine: Act 2: Sur mes genoux, fils du soleil
Manon: Act 2: Allons! il le faut!
Manon: Act 2: Adieu, notre petite table
Otello: Act 4: Era piu calma?
Otello: Act 4: Mia madre aveva una povera ancella (Willow Song)
Otello: Act 4: Ave Maria
Adriana Lecouvreur: Act 1: Ecco: respiro appena
Adriana Lecouvreur: Act 1: Io son l'umile ancella
Louise: Act 3: Depuis le jour
Turandot: Act 2: In questa reggia
Die tote Stadt: Act 1: Marietta's Lied
Vanessa: Act 1: He Has Come, He Has Come!
Vanessa: Act 1: Do Not Utter A Word

Tracks:

Atalanta: Act 1: Care Selve
Don Giovanni: Act 1: Don, Ottavio, son morta!
Don Giovanni: Act 1: Or sai chi l'onore
Der Freischuetz: Act 2: Wie nahte mir der Schlummer
Der Freischuetz: Act 2: Liese, leise
Tannhaeuser: Act 2: Dich, teure Halle
Macbeth: Act 2: La luce langue
Macbeth: Act 4: Vegliammo invan due notti (Sleepwalking Scene)
Macbeth: Act 4: Una macchia e qui tuttora
Mefistofele: Act 3: L'altra notte in fondo al mare
Rusalka: Act 1: Song To The Moon
L'Enfant Prodigue: Air de Lia: L'annee en vain
Andrea Chenier: Act 3: La mamma morta
Francesca da Ramini: Act 3: Paolo, datemi pace
Suor Angelica: Senza mammo, o bimbo, tu sei morto!
Amelia Goes To The Ball: While I Waste These Precious Hours

Tracks:

Alceste: Act 1: Divinites du Styx
Don Giovanni: Act 2: Crudele? Ah, no, mio bene
Don Giovanni: Act 2: Non mi dir
I lombardi: Act 2: O madre, dal cielo
I lombardi: Act 2: Se vano e il pregare
Martha: Act 2: The Last Rose Of Summer
Simon Boccanegra: Act 1: Come in quest'ora bruna
La Perichole: Act 3: Tu n'es pas beau
Die Walkuere: Act 1: Du bist der Lenz
Die Fledermaus: Act 2: Czardas: Klange der Heimat
Carmen: Act 3: Ces des contrebandiers
Carmen: Act 3: Je dis que rien ne m'epouvante
Cavalleria Rusticana: Voi lo sapete
Thais: Act 2: Ah! je suis seule
Thais: Act 2: Dis-moi que je suis belle
Gianni Schicchi: O mio babbino caro
Les dialogues des Carmelites: Act 3: Mes filles, voila s'acheve

Tracks:

Semele: Act 2: Where 'er You Walk
Idomeneo: Act 3: O smania! O Furie!
Idomeneo: Act 3: D 'Oreste, d' Ajace!
La damnation de Faust: Part 4: D'amour l'ardente flamme
Oberon: Act 2: Ozean, du Ungeheuer!
Norma: Act 1: Sediziose voci, voci di guerra
Norma: Act 1: Casta diva
Norma: Act 1: Ah! bello a me ritorna
Rigoletto: Act 1: Gualtier Malde
Rigoletto: Act 1: Caro Nome
Tristan und Isolde: Act 3: Liebestod: Mild und leise
Pagliacci: Act 1: Ballatella: Qual fiamma avea nel guardo
Adriana Lecouvreur: Act 4: Poveri fiori
Gloriana: Act 1, Scene 2: Soliloquy & Prayer: On Rivalries 'tis Safe For Kings
Gloriana: Act 1, Scene 2: Soliloquy & Prayer: O God, My King, Sole Ruler Of The World

Customer Reviews:

A brilliant collection from a great soprano.......2007-04-30

Leontyne Price was much admired and this 4CD collection shows her outstanding vocal gifts to the best advantage. Numerous reviewers have commented on the wide-ranging styles present and I can agree wholeheartedly with them. You would be hard-pressed to find a greater compilation of Ms Price, showcasing her amazing gifts as a great singer!

If I could have only one collection.............2006-11-12

....it would be this. Such fine singing in so many periods, languages, and styles. She is truley a great artist and this set helps you see just HOW GREAT she is. I won't go thru all the tracks but will say Cara Selve drives me wild. "When I am Laid in Earth..." comes across very nicely. There are some rare exerpts too like Gloriana, Menotti's Amelia goes to the Ball. Overall most tracks are inspired. The musicianship is to the highest standards. I JUST lOVE IT!

Yes this is great!.......2006-10-14

But "When I am Laid in Earth" was written by PURCELL! Handel's "Care Selve", however, is also on this set, and it is GORGEOUS!!! I love just about everything on here. A few items from the fourth CD are a bit telling of her age (D'oreste d'ajace!")- but even they are fabulous. THe price of this set is unfortunate - however, it has dropped a little! :) I originally purchased it from BMG in 1994, for next-to-nothing, then "gave" it to my best friend! Two years ago, she lost hers to Hurricane Ivan, and paid a LOT for a new set!

The Grandest Collection of Leontyne Price Arias.......2005-08-08

If you're a fan of Leontyne Price, this should be at the top of your list of her recording albums. I don't know when this was issued, but it's from the RCA Label which was her best promotional record company. It's a box set featuring dozens of arias from magnificent grand operas (some of which Leontyne Price never sang on stage in full and instead sang some bits in concert). Leontyne Price sings in fresh, beautiful and strong voice in dramatic and versatile roles, mastering each music from each composer. She masters such strikingly different masters's works as Samuel Barber (Vannessa) Webber (Der Freischutz) Wagner (Tristan and Isolde, Tannhauser) Falla (Atalanta) Mozart (Le Nozze Di Figaro). She sings the title roles of Massenet's Manon, Bizet's Carmen, Bellini's Norma, Verdi's Lady Macbeth, Amelia in Un Ballo Di Maschera, Nedda in I Pagliacci, Turandot and Suor Angelica, Flotow's Martha, and even oratorio such as Handel's Semele and Benjamin Britten's Gloriana. This is a vast repertoire, far grander in variety than I have ever known any one soprano sang. While critics will indeed compare Leontyne Price to Maria Callas (as another review critic brought up) these two sopranos could not have been any more different. It's not even a matter of their different racial backgrounds- Callas was born in Greece and became an American citizen then gave it up for French citizenship..and Price was born in Mississippi and was African-American) it's a matter of how different their approach at opera was and their vocal category. Callas was a dramatic soprano sforzando (literally "forced dramatic soprano")who would prefer to produce a choking, ugly, harsh sound merely for the dramatic effect and the integrity of the text in her lines. Leontyne Price was the definition of a soprano lyrico-spinto ("pushed" lyric-dramatic singing)which meant above all, to sound beautiful and to fill up those dramatic lines with as much vocal and tonal beauty as possible. Price had a more thrilling mezzo di voce and high soaring top register and a cleaner, smoother sound than the wobbly Callas, no offense to Callas fanatics of which there are many. It is true that Price did lose her touch in a sense in her older years (the 1970's and 80's) when her voice lacked the vibrant lyricism and attention to diction. Her 1970's Toscas and Aidas are therefore a sloppier than her 1950's and 60's Toscas and the same went for her Leonoras in both Trovatore and Forza Del Destino. Nevertheless, Price is an ageless singer. Her voice, dark, messy or bright and smooth, is still what was said of her in her debut at the Met as Leonora in Trovatore - a "bright, unfurling banner". She was goddess of the opera and paved the way for the new generation of black sopranos of today.

This collection does not showcase the more famous roles that were in fact her signature ones - Leonora from Trovatore and Forza, Aida is'nt even in here and that one even she considered her greatest role, we don't find her Madame Butterfly here. Instead we find rare pieces that she sings beautifully and dramatically, making us wish she had sung the entire operas in full on stage. She never sang a full-length Norma and that's a pity- even Grace Bumbry and Shirley Verrett did in their careers. Price seemed to enjoy singing Samuel Barber's vocal works - she opened the 1965-1966 Met season with Barber's Antony and Cleopatra (a bad production by the way but not through any fault of Miss Price but the overblown spectacle of the design of the opera itself) and here she sings his Vanessa. Benjamin Britten's Gloriana sounds lovely in her hands. Her Norma and Dona Anna in Mozart are dramatic and fiery, her Lady Macbeth darkly mysterious, her Suor Angelica peaceful with powerful inner fire and her Dialogue Des Carmelites are also sensational. Yes, many of these arias are beautiful to hear, and thank God she doesn't have any of the flaws critics keep hearing in her later recordings. Without a doubt, this is her finest album. I think you should listen via audio samples here the following to make you get this recording: the Countess aria from Nozze Di Figaro, her Manon (Adieu Petit Table) La Mamma Morta, her version of Sediziose Voce/Casta Diva from Norma, the excerpt from Carmen, "Don Ottavio son Morta...Or Sai Chi L'Onore" from Don Giovanni, Care Salve, the Dido and Aeneas excerpts, the La Traviata excerpts (Addio Del Passato) and the beautifull, mystic, haunting and well-executed Liebestod from Tristan and Isolde, which I even feel surpasses Birgit Nilsson's version. Just listen to how heart-felt that Liebestod is! I have not heard the likes of it anywhere else.

The Greatest Soprano Ever Recorded.......2005-03-20

O.K. So that is only my opinion. But Leontyne Price was one of the most dedicated singers of the 20th century. Her vast repertoire is showcased in this extensive collection of arias. While to many Maria Callas will forever be the ultimate and the greatest of them all, Leontyne Price had the same poswerful, high dramatic voice, in addition a more generous chest register and a regial presence. Moreover, she overcame so much to get to the top. In her day, African-American women in opera was new. Marian Anderson was the first to get into the mainstream opera world, with much difficulty and intervention, such as Eleanor Roosevelt's support. After Marian Anderson finally landed her first role at the Met in the 50's, a new generation of black women in opera began. The 60's and 70's would see the rise of mezzo sopranos later turned to dramatic sopranos such as Grace Bumbry, Shirley Verrett and it would follow into the 80's with Jessie Norman and Kathleen Battle. Today, black women have made opera one of their highest achievements. Leontyne Price began singing in the 50's. A televised production of Tosca was not shown in some Southern states that were racistad opposed the idea of seeing a black woman in a "white" role. Leontyne Price would master the role of Tosca as successfully as Maria Callas. I think that while she is at her best in the Puccini and Verdi operas she recorded and performed (not showcased here)- Trovatore, Aida, Forza Del Destino, Madame Butterfly, Tosca, Suor Angelica. However, there is so much that she is absolutely remarkable in. I love her as Violetta in Traviata (few black women sing the traditionally white role of Violetta), Massenet's Manon, Verdi's Lady Macbeth (which was another of Shirley Verrett's great roles)Dido from Dido and Aneas, Dona Ana and Elvira in Don Giovanni, The Countess in Figaro, Bellini's Norma (she is outstanding in that powerful druid diva role). I think if we narrow it down to a few roles that she really made her own it would be 1: Aida....2:Tosca...3Dona Ana/Dona Elvira 4 Desdemona from Otello and 5..Leonoras from Trovatore and Forza.

This collection is pretty impressive. I didn't know a soprano could be that versatile. Leontyne Price is remarkable. Her rich, lyric voice, capable of plaintive and melancholy lines as well as powerful high C's and dramatic whoops, was always clean, smooth and intense. Of course, like most sopranos, she had her bad days. Her later Toscas (in the mid or late 70's) became too melodramatic and sloppy, when she used to be more mannered and poised with the role, her Cleopatra in Samuel Barber's opera was a fiaco because the production was too bizarre and messy, etc. But for the most part, mostly in Verdi, Puccini, Mozart and as Norma, she was radiant, glorious and perfect. Her background in Church music made her incredibly suited to singing Requiems, such as Verdi's Requiem. There will never be another Leontyne Price. She was a one woman Golden Age of Opera, and sang with the best of the best- Bjussi Bjorling, Giuseppe Di Stefano, Franco Corelli, Placido Domingo.

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Music of the Federal Era

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Nostalgia | Miscellaneous | Styles | Music

General | Oldies | Pop | Styles | Music

Classical | Indie Music | Stores | Music
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Music from Mid-19th Century America
John Bray: The Indian Princess; Raynor Taylor: The Ethiop
Music of the American Revolution: The Birth of Liberty
The World Turned Upside Down
Colonial America

ASIN: B0000030FY
Release Date: 1994-11-22

Tracks:

Movement I
Movement II
Movement III
The Silver Rain (Anonymous British)
Alknomook, Or The Death Song Of The Cherokee Indians
Six Imitations
The Cypress Wreath (Sir Walter Scott)
Movement I
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When Brazen Trumpets From Afar (Col. Simond's March)
Turkish Quickstep (From The Battle Of Prague)
Kennebec March
March And Chorus 'She Is Condemned' (From The Voice Of Nature)(William Dunlap)
Gov. Arnold's March
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First Grand March
First Grand Minuet
Jolley's March
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A Clarinet Collection

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B0000030S4
Release Date: 1993-12-16

Tracks:

Grand Duo Con, Op.48: I. Allegro Con Fuoco
Grand Duo Con, Op.48: II. Andante Con Moto
Grand Duo Con, Op.48: III. Rondo (Allegro)
Duo: 1. Allegro/2. Larghetto/3. Allegro
Il Carnevale Di Venezia: 1. Sostenuto-Andante Calmo/2. Tema (Moderato)/3. Vars/4.Sostenuto...
Fantasiestucke, Op.73: I. Zart Und Mit Ausdruck
Fantasiestucke, Op.73: II. Lebhaft, Leicht
Fantasiestucke, Op.73: III. Rasch Und Mit Feuer
Vars Concs, Op.33: 1. Andante Con Moto/2. Var 1/3. Var 2 (Con Grazia)...
Fant Da Con, Su Motivi De 'La Traviata' Di G. Verdi: 1. Andante/2. Andante/3. Allegro Assai...

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Lotte Lehmann in her Prime

Mattia Battistini: Il re dei baritoni

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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ASIN: B0000023QE
Release Date: 1997-03-18

Tracks:

I Puritani: Ah! Per Sempre Io Ti Perdei
I Puritani: Bel Sogno Beato
Maria Di Rohan: Bella E Di Sol Vestita
Tannhauser: Allor Che Tu Coll'estro
Tannhauser: Nel Rimirar Quest'adunanza Eletta
Tannhauser: Forier Di Morte...O Tu Bell'astro
La Traviata: Di Provenza Il Mar
Faust: O Santa Medaglia...Dio Possente
Amleto: O Vin Discaccia La Tristezza
Amleto: Come Il Romito Fior
Werther: Ma Come Dopo Il Nembo
Werther: Ah! Non Mi Ridestar
Thais: D'acqua Aspergimi - Mattia Battistini/Attilia Janni
I Pagliacci: Si Puo?
Tosca: Tre Sbirri, Una Carrozza
Le Soir

Tracks:

Guglielmo Tell: Resta Immobile
Linda Di Chamounix: Ambo Nati In Questa Valle
Linda Di Chamounix: Un Buon Servo Del Visconte - Mattia Battistini/Maria Moscisca
Lucia Di Lammormoor: Cruda Funesta Smania
Rigoletto: O Mia Gilda - Mattia Battistini/Maria Moscisca
La Traviata: Madamigella Valery? - Mattia Battistini/Maria Moscisca
L'Africana: Figlia Di Regi...Quando Amor M'accende
L'Africana: Averla Tanto Amata
Otello: Era La Notte
I Pagliacci: Decidi Il Mio Destin...E Allor Perche? - Mattia Battistini/Maria Moscisca
Quo Vadis?: Errar Sull'ampio Mar
Quo Vadis?: O Febea Pur Essa
Quo Vadis?: Amici, L'ora Attesa E Questa
Macbeth: Pieta, Rispetto, Amore
Nero: Imen! Imen!
Erodiade: Vision Fuggativa
Trauerwalzer No.2, D 365: Delizia

Tracks:

Don Giovanni: Deh! Vieni Alla Finestra
La Favorita: Vien, Leonora...Dei Nemici Tuoi
Ernani: Vedi Come Il Buon Vegliardo - Mattia Battistini/Elvira Barbieri/Giuseppe Tommasini/Vincenzo Bettoni
Il Trovatore: Mira D'acerbe Lagrime - Mattia Battistini/Elvira Barbieri
Un Ballo In Maschera: Ve', Se Di Notte Qui Colla Sposa - Mattia Battistini/Elvira Barbieri/Vincenzo Bettoni
Don Carlo: Per Me Giunto E Il Di Supremo
Faust: Per Di Qua...Stammi Ad Udir, Margherita - Mattia Battistini/Elvira Barbieri
Malia
Amour, Amour!
Culto
Ideale
O Ma Charmante
Mia Sposa Sara La Mia Bandiera
La Serenata
La Gondola Nera
Non M'ama Piu
Occhi Di Fata

Customer Reviews:

Lotte Lehmann in her Prime.......2006-07-08

Lotte Lehmann is one of the great German sopranos of the Twentieth Century. For many years, from her creation of the role of the Composer in the revised version of Richard Strauss's "Ariadne auf Naxos" in 1916 up to her departure in 1937 prior to the Nazi occupation of Austria, she was a star at the Vienna State Opera and a darling of the Viennese audience. She was also enthusiatically received at the Royal Opera House Covent Garden, as well as the Metropolitan Opera in New York.

During the years of her prime Lehmann created a couple of Strauss's operatic heroines, including the Dyer's Wife in "Die Frau Ohne Schatten" and Christine in "Intermezzo." She also sang a great variety of roles ranging from Wagner's romantic heroines to the Italian verisimo parts by Giordano and Puccini. Puccini was said to have been one of her bigget admirers, especially for her renditions of Mimi in La boheme and Suor Angelica. However, her most famous roles were the Marshallin in Strauss's "Der Rosenkavalier" and Sieglinde in Wagner's "Die Walkure." This Preiser issue documents accoustic recordings of nearly all her more renowned roles, made between 1914 and 1925.

Although Lehmann later made more amenable electrical recordings of many of the arias here, as well as excerpts from "Der Rosenkavalier" and Acts One and Two of "Die Walkure," these accoustic recordings more often than not show her in fresher voice with a joyous freedom on top. Her hallmarks as a singing-actress, such as her always vivid enunciation of the text and her great variety of tonal colors and moods, are also evident even in the earliest of these recordings.

This set is one of the gems in Preiser's famous historic singers series and anyone interested in operatic singing should consider investing in this set. The CD transfer unavoidably contains some surface noise but the vibrancy and color of Lehmann's voice are faithfully recaptured.