Fille of Regiment

Track Listings
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See all 25 tracks on this disc
Disc: 2

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See all 27 tracks on this disc

Tracks:

La donna obile
Una furtiva lagrima
"Libiamo ne'lieti calici (Brindisi)
Donna non vidi mai
Che gelida manina
O soave fanciulla
Mi batte il cor...O Paradiso!
M'appari
Quando le sere al placido chiaror d'un ciel stellato
Se quel guerrier io fossi!..Celeste Aida
Forse la soglia attinse
Recitar! - "Vesti la giubba"
Come un bel di maggio
Ah mes amis - Pour mon
Di quella pira
Nessun dorma!

Tracks:

Torna a Surriento
Santa Lucia luntana
La Danza
L'ultima canzone
Non t'amo pi
Mattinata
'O sole mio
'A vucchella
Core 'ngrato
Nel blu, dipinto di blu
Vivere
Il Canto
Caruso
Buongiorno a te
Ti adoro
E lucevan le stelle
Questa o quella (Ballata)
Parmi veder le lagrime

Customer Reviews:

Luciano Pavrotti: The Best (Farewell Tour).......2007-06-27

Wonderful Pavarotti sings the best of the best. His voice never ceases to amaze me. Listening pleasure at it's finest.

Luciano Pavorotti.......2007-02-17

All the songs are wonderful, can never become tired of listening to his songs. Excellent.

Luciano is the best!.......2007-01-20

I can't speak more highly of this collection of Pavrotti's songs. I keep this two CD pack in my car so I can enjoy it on my way to and from work. Even after I have arrived, I find myself sitting in my car waiting for a song to end. Walking out on a song seems sacriligious. While I grew up listening to Caruso and Lanza, there is no question that Pavrotti is the Master! Although, I do have to admit Pavrotti has the greater advantage of modern recording technology to better present his talent than Caruso and Lanza had. However, Lanza definitely didn't have the power that Pavrotti has. With Caruso, we will never know... I highly recommend this collection of Pavrotti's, if you are a Pavrotti fan. If you aren't, buy it anyway and become one:)

Average customer rating:

Andrea Bocelli - Sogno
Not bad!
pleasure to lilsten
Bocelli - Aria
Why...?

Andrea Bocelli - The Opera Album ~ Aria

Manufacturer: Philips
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Binding: Audio CD

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Romanza
Andrea Bocelli - Sacred Arias / Myung-Whun Chung
Cieli di Toscana
Andrea Bocelli: Verdi
Andrea Bocelli - Amore

ASIN: B0000069CO
Release Date: 1998-04-07

Tracks:

Rigoletto: Questa o quella
La Boheme: Che gelida manina
TOSCA: Recondita armonia
TOSCA: E lucevan le stelle
Madama Butterfly: Addio, fiorito asil
Andrea Chenier: Come un bel di di maggio
I Puritani: A te, o cara
Der Rosenkavalier: Di rigori armato il seno
Fedora: Amor ti vieta
La Fanciulla del West: Ch'ella mi creda
La Gioconda: Cielo e mar!
Adriana Lecouvreur: La dolcissima effigie
La Boheme: Musetta! - Testa adorata
Lucia di Lammermoor: Tombe degli avi miei - Fra poco a me ricovero
Werther: Pourquoi me reveiller
Carmen: La fleur que tu m'avais jetee
La Fille Du Regiment: Pour mon ame

Amazon.com

Andre Bocelli is no opera singer, but he shows far more potential in this album than does another pop-vocalist tenor-wannabe, Michael Bolton. For one thing, he can shake off the crooner mannerisms and really sing when performing music that calls for it. At his best, he has a rich, dark timbre and an easy, unforced top. At other times, however, the tone turns dry and thin and the high notes are constricted, the inconsistency suggesting a lack of technique. Never does one get the impression that he could be heard over a medium-sized orchestra without amplification. This isn't bad singing per se, but there is much better out there, readily available on disc. --Sarah Bryan Miller

Album Description

Exclusive Australian Gold pressing released to coincide with his first public appearance in Australia. He'll be performing at the opening ceremonies and then onto to tour the land down under. His back catalogue will be released & re-packaged in slipcases with his signature on them as well as all of them pressed on gold plated CD's. This pressing includes 17 tracks, all sung in his native Italian Tongue. 1998 release. Standard jewel case.

Customer Reviews:

Andrea Bocelli - Sogno.......2007-06-27

I am 45 years old. The reason why this is something I am mentioning, is to let all of you reading my review know what age group I am in. It might be important to the age you are in knowing what I have to say. I have four Andrea Bocelli CD's and they are all wonderful. I love each of them. My mom turned me on to him, and, since I love Josh Groban, I decided to listen to Andrea Bocelli and see what all her fuss over him was about. I'm glad I did. I am half Italian and half Spanish. I don't know either language, but when I listen to both Andrea and Josh, I don't have to. They make the music tell a story, and instantly, you understand something about the words from just the sound of their voices. If you love Josh Groban, then Andrea Bocelli is someone you should give a listen to. His voice is soothing, powerful, and romantic. I am looking forward to getting more of his CD's. Great Stuff!!!

Not bad!.......2007-04-09

What I have heard about Andrea Bocelli is bimodal--some think that he is not up to the operatic repertoire and is way overrated; others see him as a fine singer, from a nontraditional background and career path. What I hear on this CD is fine singing, with some limitations. He was once a law school student; he played in piano bars. He took lessons from the great Franco Corelli. Some examples of his work illustrate his skills:

"Questa O quella" is a nice romp. His smooth voice moves through this aria nicely. His voice is not a big one. On the other hand, his musicianship seems fine (thank goodness none of the sobbing and catches that some tenors adopt).

In Puccini's "Che gelida manina" (from "La Boheme"), he again sings smoothly. He has a nice sound to his voice. The high note is a bit thin, but certainly not as bad as some critics would have it. A serviceable version, in short.

Then, the twin arias from "Tosca"--"Recondita armonia" and "E lucevan le stelle." Both are well sung. His version of "Recondita armonia" compares well with other versions. He certainly has no reason to hang his head. When he amps up the volume, his voice is not quite as rich as many other tenors, bit it is still fine. Top notes, as observed before, are a bit thin, but--again--hardly reason for lamentation. This is nicely sung. My notes for "E lucevan le stelle" simply say "Ibid." That is, one could write a very similar set of comments.

The last piece is from a different tradition--a selection from Donizetti's "Lucia di Lammermoor," "Tome degli avi miei." Smoothly sung. A bit thin on higher notes. Overall, though, a nice job.

As I listen to his work, I think that Bocelli does a good job in the standard tenor repertoire. Is he a great tenor? No. Is he a good tenor? Yes.

pleasure to lilsten.......2007-01-19

This album is a pleasure. The selections are spirited and well executed. I was very satisfied with this purchse and would recommend it to any one who enjoys opera.

Bocelli - Aria.......2006-11-05

Introduced me to arias that were not known to me, and I find to be
quite beautiful. As usual, Bocelli does not fail.

Why...?.......2006-03-13

Why is there all this continuing controversy after so many years about whether or not Andrea Bocelli is - or is not - Operatically sound? All I know (and that's not saying much for me in this genre), is that after having listened to Amazon.com's sampling of the music on this Audio CD a few moments ago, I wept. Andrea Bocelli always makes me weep - because of his profound spiritual depth. And I don't care what anyone thinks on that issue. All I do know is this. The man sings from his soul...and nothing could surpass that - ever.

Average customer rating:

Bravo! Mo' Mo' Mo'
This is a must have for any music lover!
wonderful collection of music
awesome music selection
They Left Out The Best Song

Three Mo' Tenors
Thomas Young , Roderick Dixon , and Victor Trent Cook
Manufacturer: RCA Victor
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Binding: Audio CD

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Cook, Dixon, & Young: Volume 1
Three Mo Tenors
Cook, Dixon & Young: In Concert Vol. 1
The Three Tenors Christmas
The Best of the Three Tenors

ASIN: B00005LVVC
Release Date: 2001-07-24

Tracks:

La Donna e Mobile
Let the Good Times Roll
Make Them Hear You
Ah! Mes Amis.
Ellington Medley
The Jazz Cat & Minnie the Moocher
Twisted
Nessun Dorma
Today I Sing the Blues
Soul Medley
Have You Heard / Glory
Were You There
America The Beautiful
Gospel Medley

Amazon.com

Inspired by the astoundingly popular The Three Tenors series, Broadway director Marion J. Caffey conceived and directed Three Mo' Tenors, bringing greater visibility to the classically trained African American voice. Starring seasoned tenors Roderick Dixon, Thomas Young, and Victor Trent Cook, Three Mo' Tenors is a theatrically staged concert set taped for public television's Great Performances. A companion to the taped show, the disc features just over an hour of live music from it. The phenomenal showmanship of Dixon, Young, and Trent Cook takes shape in the styles of opera, Broadway, blues, jazz, soul, spirituals, and gospel. The three virtuosos hit high C's with clarity and brilliance; scat with grace and grit; belt, bend and hold a note to beat the band. They move the audience to a state of near-ecstasy performing the traditional "Were You There (When They Crucified My Lord)" and Puccini's glorious "Nessum Dorma." Other standouts include the jazz classic "Twisted," a rollicking version of "Today I Sing the Blues," and the salty "Minnie the Moocher." Boisterous, bold, and bountiful, Three Mo' Tenors is a modern classic. --Paige LaGrone

Customer Reviews:

Bravo! Mo' Mo' Mo'.......2006-05-13

The word "Mo'" in the title got my attention. I bought the CD to compare it to the already popular "Three Tenors" (Placido Domingo, Luciano Pavarotti and Jose Carreras). Wow! Was I surprised. I had expected an all opera, classical and possibly spiritual repetoire. But, the music varies from "Nessun Dorma" to "Love Train" was truly, truly delightful. I enjoyed the wonderful voices of Thomas Young, Roderick Dixon, and Victor Trent Cook and the variety of musical selections so much that I purchased several other copies for my family and friends. Then, several months later, I saw their performance on PBS. I immediately ordered the VHS offered by the TV station, paying way, way over the retail price. But, I had to have it. It was, and is, the most exciting musical performance that I have seen. Later, when I put the tape into the player at my son's house, my 5-year-old granddaughter Ciara stood next to the sofa to watch. I expected her to move away soon, but, she stood there, during the entire playback of the performance, and I do mean from beginning to end. I left the tape there so that son could see it later. The following day, and for most days during the next several weeks, Ciara asked to have the tape played, until she later was taught to handle it herself. The family has since replaced my VHS with the DVD so that now, when Ciara visits me, we can watch the show again (and again). "Three Mo' Tenors" was so surprisingly wonderful- with great voices, charismatic personalities, terrific orchestral arrangements, lively and precisely choreographed routines, and just an overall feeling of mutual admiration and respect among the three gentlemen. The beautiful cinematics, with frequently interspersed shots of the enthusiatic audience, contributes to the feeling that I am actually there at the concert. Every time I watch it, I see and hear something new. When I first heard the CD, I was not fascinated by the countertenor voice. After seeing Victor Trent Cook's heartwarming performance on the DVD, and hearing his comment about his mother's definition of a countertenor, I have been granted a new appreciation for his voice. Here it is, years later, and I'm still enamored, remembering Roderick Dixon's "Make Them Hear You" elicits tears, Thomas Young's "Twisted" makes me laugh, and the duet with Victor and Thomas (see, I'm now on first-name basis with them) is so beautiful. I could to on and on. In fact, it's time for another listen.

This is a must have for any music lover!.......2006-01-07

I would rate this CD more than five stars if I could! I picked up this CD not knowing anything about these guys, but, knowing that I liked some of the songs contained on it. I was absolutely blown away by this collection! These guys have it all. Voices, talent, showmanship, style, technique, etc. Everytime I listen to it, I feel like I'm sitting right there in the theatre. I am a huge fan of opera, jazz and gospel. This CD covers it all! Although my favorite tracks are La Donna e Mobile, Make Them Hear You, and Nessun Dorma, they are all so good! I wouldn't hesitate to buy this again. You have to hear them to believe them!

wonderful collection of music.......2005-08-23

A good album is one that can't be categorized neatly. Three Mo' Tenors tackles classic opera, Broadway tunes and other genres with ease. They have beautiful voices, and the music they choose to interpret is so universal that even my toddler girl loves listening to it! Their technical expertise combined with their stage presence and charisma makes for an enjoyable cd. Highly recommended - especially if you are looking to introduce yourself or your children to different musical genres.

awesome music selection.......2005-08-02

These are amazing musical selections and amazing vocalists; a must-have for any well-rounded music collection. This trio can really sing!

They Left Out The Best Song.......2004-11-11

One of my most favorite performance DVD's, but how, or why, on earth did they leave off the most stiring single number on the CD - "A Song For You," by Rodrick Dixon?

Put it in, and it's a "five."

Donizetti - La Fille du Régiment / Sutherland, Pavarotti, Malas, Sinclair, ROH Covent Garden, Bonynge

Average customer rating:

The Diamond Setup in a slightly less shiny tone.
A Great Recording of an Opera That Should Be Performed More Often
Morbleu! Corbleu!
Two Stars in Their Prime
A Grand Fille Du Regiment Recording And A Must For Sutherland/Pavarotti Fans

Donizetti - La Fille du Régiment / Sutherland, Pavarotti, Malas, Sinclair, ROH Covent Garden, Bonynge
Gaetano Donizetti , Richard Bonynge , Joan Sutherland , Luciano Pavarotti , Orchestra and Chorus of The Royal Opera House Covent Garden , Monica Sinclair , Spiro Malas , Eric Garrett , and Edith Coates
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Donizetti - Lucia di Lammermoor / Sutherland · Pavarotti · Milnes · Ghiaurov · ROH Covent Garden · Bonynge
Bellini - La Sonnambula / Sutherland · Pavarotti · Ghiaurov · NPO · Bonynge

ASIN: B0000041QJ
Release Date: 1990-10-25

Tracks:

La Fille Du Regiment: Ouverture
La Fille Du Regiment: Act 1: L'ennemi s'avance
La Fille Du Regiment: Act One: Pour une femme de mon nom
La Fille Du Regiment: Act One: Sacre nom d'une pipe!
La Fille Du Regiment: Act One: Au bruit de la guerre
La Fille Du Regiment: Act One: llons, allons, march', march'
La Fille Du Regiment: Act One: la la... Chacun le sait, chacun le dit
La Fille Du Regiment: Act One: Des que l'appel sonne
La Fille Du Regiment: Act One: Ils l'ont emmene brutalement
La Fille Du Regiment: Quoi! vous m'aimez?
La Fille Du Regiment: Act One: Rataplan, rataplan, rataplan
La Fille Du Regiment: Act One: Ah! mes amis, quel jour de fete!
La Fille Du Regiment: Act One: Le camarade est amoureux!
La Fille Du Regiment: Act One: Je suis soldat

Tracks:

La Fille Du Regiment: Entr'acte
La Fille Du Regiment: Act 2: La romance perdue, on l'a retrouvee
La Fille Du Regiment: Act 2: Le jour naissait dans le bocage
La Fille Du Regiment: Act 2: n est donc fait
La Fille Du Regiment: Act 2: Tous les trois reunis
La Fille Du Regiment: Act 2: Ecoutez - moi, de grace!
La Fille Du Regiment: Act 2: Ah! c'est elle!
La Fille Du Regiment: Act 2: Oui! Quand le destin, au milieu de la guerre

Amazon.com essential recording

This opera, about an orphan girl who is adopted by a whole regiment of Napoleon's army (meaning that anyone who wants to marry her must get the regiment's consent) combines sparkling comedy with spectacular vocal writing--not only for the soprano but for the tenor who, in one legendary passage, must produce nine high Cs in quick succession. Pavarotti's performance in this production, fairly early in his career, ranks with his Nemorino in L'Elisir d'amore, among the best of his recording career. Sutherland finds the role of Marie congenial, in terms of characterization as well as vocally, and the conducting is generally acceptable if not spectacularly good. --Joe McLellan

Customer Reviews:

The Diamond Setup in a slightly less shiny tone........2007-03-01

In one recent review here by 'Kid' - 'Joan Sutherland sings the role with more beauty of tone in abundance, but to the death of any real dramatic commitment.'
This is a complete version of La Fille du Regiment. Arias of the same opera performed on other occasions by Sutherland and Pavarotti are available in other CDs - in recital albums.
In an even earlier recording (by London also), Pavarotti turned up a even more spectacular 'Ah Mes', and in her own box set, 'The Art of Joan Sutherland', Sutherland did a even better Marie, though in only one aria.
I share Kid's view that the drama here is less vividly captured than in, say, the DVD version of Ciofi and Florez (2005).
Somehow, Sutherland, and also Te Kanawa and Mattila, and more recently Netrebko, are those 'clear' voices that tend rather easily to lapse into uncommitted performances(I think I will be hacked by their respective fans for this comment, but it is my gut feeling nonetheless).
Strangely so, since all of them (or nearly all) are considered to be capable of producing great dramatic effects by their voices (sometimes they are termed 'big-voiced'). I think it is firstly a matter of emotional commitment, and secondly the ability to shade one's voice to bring out different moods in a single song or aria. Sutherland, in her early career, possessed one of the most envied soprano voices. It was so beautiful that listening to it per se will make you want to cry. It was girlish, it was silvery, it was nimble, it was expressive...Not so after she had her nasal operation. Thereafter, her singing was largely redeemed by her outstanding technique, but that great voice was simply no longer there.
Marie calls for a more girlish voice. The Sutherland here sings in full glory, but without that vital girlishness. Tonio here sounds some what less 'energetic' in this 1968 Kingway Hall recording than the earlier one made in 1967. Had Pavarotti been singing this Tonio too much during the 12 months previous to this recording?
The set contains a couple of valuable historic photos of Pav without a beard. Quite a handsome figure, by all standards!

A Great Recording of an Opera That Should Be Performed More Often.......2006-11-19

With the lighthearted music of Donizetti's LA FILLE DU REGIMENT, you'd hardly know that it takes place in the midst of a war and tells the story of a young woman abandoned at birth and left to the benevolence of an army regiment, all the while being in close proximity to the mother who abandoned her. This opera if anything should be a tragedy, or at least a drama. Instead we have one of opera's happiest endings and an operas that is just plain magical to hear. It certainly contains some of Donizetti's best music, or at least some of his most enjoyable melodies.

Chances are LA FILLE DU REGIMENT would be performed on stage if there were casts capable of the arduous score. This set has what many consider the finest cast assembled for the opera. The lead tenor and soprano roles certainly require agile voices able to reach some high notes. The tenor aria Tonio's "Ah Mes Amis, Quel Jor de Fete" has to be one of operas most taxing works and very few perform the work as written. The soprano role of Marie is just as challenging. This set has a pair that could arguably be the best performers who have ever attempted the roles of Tonio and Marie: Luciano Pavarotti and Joan Sutherland. This recording, and early one for Pavarotti, shows us just how nimble his voice was in the early years of his career. It's a role he didn't perform when his voice got a bit darker, but when he had the ability, his interpretation of Tonio was magical. Sutherland's Marie is likewise one of her best roles and she's more than at home. Monica Sinclair performs the role of the Marquise. While I would not consider Sinclair's performance exquisite, her voice matches the role. As is so often the case in Sutherland/Pavarotti recordings, conductor Richard Bonynge pulls the various cast members, chorus, and orchestra together for an overall performance that is unsurpassed.

My guess is that anyone unfamiliar with this opera who purchases this recording will fall in love with it. I think it happens to anyone who hears this opera beginning with its sparkling overture to all the way to its ending. Fans of Sutherland, Pavarotti, or both will be reminded of why they love these performers so. French opera lovers will enjoy it because even though it's by an Italian composer, it was written for a French audience and the libretto was originally French, but it has all that makes Italian Bel canto opera such an experience. In short, it's an opera that has been loved by many for good reason and will continue to be a favorite for years to come.

Morbleu! Corbleu! .......2006-10-05

I finally got around to buying this SUPERB recording a few weeks ago, and it has not been far from my CD player ever since. This has to be one of the most utterly delightful operas ever written. Sutherland is in top form here, singing a vivacious and lively Marie. In this recording, we get the chance to listen to her effortlessly take off in flights of coloratura and belt out full throated C's and D's. We also get to hear that legendary Sutherland trill several times as well. All in all, a THOROUGHLY enjoyable Marie. Pavarotti, near the beginning of his career, is nothing less than astounding. He turns every musical phrase wonderfully, and gets to show off those formidable top notes of his. By the time he gets through with his 9 high C's, I feel like standing up and applauding. Sinclair handles the role of the blue-blooded Marquise very well. The role of the marquise doesn't go too high, but it does go quite low (to a low E-flat I believe). Malas is very believable as Sulpice, portraying a rough, rugged, "salty" old army captain. Orhcestrally, the recording is flawless (at least in my opinion). Richard Bonynge's conducting, as most always, is beyond reproach. This recording always makes me smile every time I listen to it.

Two Stars in Their Prime.......2006-02-18

This is a classic performance. Sutherland is at the top of her form. A very young Pavarotti shows why he was considerd the world's greatest tenor. A must have.

A Grand Fille Du Regiment Recording And A Must For Sutherland/Pavarotti Fans.......2006-01-27

This studio recording of Donizetti's brilliant French comedy is a must have for any true devotee of Joan Sutherland and Luciano Pavarotti. This opera was launched at the Met in the late 70's and early 80's (the time of this recording) and garnered great success to both singers. When Pavarotti sang the swift high C's in the famous Act 1 aria, he became an overnight opera sensation. For Sutherland, the role of Marie would become a signature role and one that best showcased all her vocal talents- high, gleaming upper register, beautiful coloratura scales, rich, creamy middle register and velvety textures. Conductor Richard Bonynge, Sutherland's hubby, conducts at a brisk, lively tempi and brings out the grander aspects of the score. While still a comedy, this opera was written for the Paris Opera, which still favored grand opera. Supporting the terrific tenor and soprano leads are Spiro Malas as a gruff, hilarious Sulpice (he would reprise the role many times, each time with great success mainly because he lived the role) and Monica Sinclair as La Marquesse. While Bonynge makes sure that the music for each singer wraps them in beautiful melody in a grand style made possible by studio recording engineering, I feel that Monica Sinclair's mezzo soprano voice is wholly unsuited for the part of the Marquesse. Why ? When compared to other Marquesses, such as the more lyric account of Rosalind Elias or the more character-driven interpretation by singer Muriel Costa-Greenspoon, hers is a weak, unexciting performance. It lacks wit and comedy, which is absolutely essential to the role of the Marquesse. If you don't know what I mean, I mean that the Marquesse is supposed to be a parody of a bourgeois, social-climbing and social-conscious grand dame of Paris. She's a joke of a woman and should be sung like that, without sacrifice to the beauty of the arias, particularly the first ones in Act 1.

Joan Sutherland has her share of loyal fans and her share of critics and detractors (what opera singer doesn't ?). While I don't think her Marie is the best, she does handle the music with great flair, with great passion and with a beautiful, agile voice. Yes, I'm a fan of Beverly Sills (long considered the antithesis of Sutherland and her rival, though there is no truth to that) and I have heard both Sutherland and Sills sing Marie. Both of them sing this well, each in their own skillful fashion. One has to understand that each have their ups and downs. Beverly Sills sings with a beautiful voice (despite what some would say) but she sacrifices chances for beautiful tone in order to do a Broadway-ish, theatrical Marie, one she even claimed was inspired by Lucille Ball. Joan Sutherland sings the role with more beauty of tone in abundance, but to the death of any real dramatic commitment. And the same goes for Luciano Pavarotti's portrayal of Tonio, who, at any rate, is a lesser star in the opera next to the character of Marie. I enjoy the Beverly Sills version a lot better because it's live and the comedy is better appreciated. Here, the music is more bland and if one did not know it was La Fille one could mistake it for a bel canto opera. But it's still a great performance. I heard it on a broadcast and was enchanted. It's a different animal from the Sills version, but it has its own strengths. Sutherland sings beautifully (even Sills adored Sutherland) and she cannot be surpassed in her great singing abilities. Pavarotti is Pavoratti, a huge, lyric voice that is still hailed as the finest of the 20th century.

Average customer rating:

Mistaken Composer
Una Furtiva Lagrima
Juan Over
Florez Continues to Impress
A CD worth having

Una Furtiva Lagrima

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Juan Diego Florez ~ Rossini Arias
Great Tenor Arias
Sentimiento Latino
Sentimiento Latino
Rossini - Il Barbiere Di Siviglia / Juan Diego Florez, Maria Bayo, Pietro Spagnoli, Ruggero Raimondi, Bruno Pratico, Gianluigi Gelmetti, Madrid Opera

ASIN: B00008CLJK
Release Date: 2003-04-08

Tracks:

Allegro Io Son
Una Furtiva Lagrima
L'Elisir D'Amore
Povero Ernesto
Com E Gentil
Tutto E Sciolto
Ah Non Sogno
A Teo O Cara
La Fille Du Regiment

Amazon.com

Here again young Peruvian tenor Juan Diego Florez proves himself a pleasure to listen to. The music on this CD is not as florid as on his previous recital, but the manner in which he approaches this selection of scenes by Donizetti and Bellini is just as artful. The tone is beautiful and even from bottom to amazingly easy top; he gets "in" each character; his smooth, elegant delivery ("Una furtive lagrima" is simply and meltingly sung, as is Ernesto's aria from Don Pasquale) is as wondrous as his acrobatics--rarely have Tonio's nine high Cs from the Fille du Regiment aria sounded so natural, so part of the character's enthusiasm, and rarely has Arturo's abrupt rise to high C sharp in "A te o cara" sounded so effortless. Florez's basic sound is sweet, but he can exclaim excitingly, as he does in the scene from I Capuleti e i Montecchi. And wait until you hear the ditty from Donizetti's Rita! Rarely has singing sounded like so much fun. Conductor Riccardo Frizza leads the orchestra (and chorus) with knowing early 19th-century style. Don't miss this. --Robert Levine

Album Details

2003 Release from Peruvian Opera Singer who Won the "Premio Abbiati Della Critica" and "Rossini D'oro" Prizes for Best Singer. He Carried Out his First Music Studies at the Conservatorio Nacional De Lima and Later at the Curtis Institute of Music of Philadelphia. He was Invited by the Famous Peruvian Tenor Ernesto Palacio (With Whom He Has Been Preparing his Repertoire Since Then) to Take Part to Some Opera Productions in Italy and They Sang Together in the First Modern Performances of Zingarelli's Oratorio "le Tre Ore Di Agonia Di Cristo" and in Martin Y Soler's Opera "il Tutore Burlato". He Sang at the Sully-sur-loire Festival and at the International Festival of Gerace (Italy). Since Then He Has Been Appearing in all the Most Important Opera Houses in Europe: London, Meyerbeer, Rome, Verona, Pesaro, Milan, Nice, Florence, Barcelona, Seville, Las Palmas, Genua, Pesaro, Trieste, Hamburg, Munich, Turin, Toulouse and Vienna.

Customer Reviews:

Mistaken Composer.......2005-09-24

While it was a nice recording your listing is incorrect. The correct composer of "Una furtiva lagrima" is Donizetti, not Bellini. Please review your data.

Una Furtiva Lagrima.......2005-04-12

After hearing the first track ("Allegro io son") on our local station (www.allclassical.org), I immediately bought this album. I was a little nervous that there would only be one good track, but (after listening _many_ times) consider most of the tracks to be "keepers". The title track is very moving, but my personal favorite is "Com'e gentil", for the wonderful match of voice and instrument.

Some of the tracks are a little heavy on the recitative, but the album notes include the translation, which makes it more interesting to listen to.

Juan Over .......2004-09-15

When it comes to reviewing classical music, I feel a little bit like a hillbilly at the opera. I really like it, but I'm not all that sure what's going on. And like that hillbilly at the opera (there aren't any hillbillies out there, reading this are there -- Mammy? Pappy)? I love classical music, but I can't honestly say I know much about it.

What I DO know is that to my untrained ear, Mr. Florez' voice is incredibly beautiful, a pleasure to revel in. Listening to his "Una furtiva lagrima" seems to transport me to another time and place. His voice is warm and tender and seems to soar effortlessly as he hits one high note after another and is worthy of appreciation by fans of any music style.

If you want an album filled with exquisite singing, this would certainly be a fine place to start.

Florez Continues to Impress.......2004-03-24

Too often singers arrive on the musical scene, make one recording, catch the glamour star, only to recede into the background once the initial flourish is made. Not so with Peruvian bel canto tenor Juan Diego Florez. The resounding success of his first album of ROSSINI ARIAS made us hold our breath; could this wonderful new true bel canto tenor hold his own on the stage and on further recordings? Well, yes, he can and has. Not only does he possess a clear, focused, high tenor voice seemingly capable of overcoming any hurdles of power or agility, Juan Diego Florez is a stunning stage presence of handsome bearing. AND he can act with both his body and his head and his voice. UNA FURTIVA LAGRIMA shows Florez in firm control of a broader spectrum of emotional material. True, this selection remains in the bel canto repertoire, but then that is also to his credit, as he is not trying to "sing it all". He has the intelligence to know where his vocal lines are most secure and does not give in to the tendency of foraging into repertoire that could damage his young voice. On this recording there is less distraction from his rather rapid vibrato and more emphasis on the total music line. This CD documents not only a fine tenor currently before the public: it also is a good indicator that he will be around for a long time. Excellent recording, well worth its place in your library.

A CD worth having.......2003-06-17

Keeping more in "tune" with his voice, Juan Diego has recorded an excellent album of great arias. His previous debut album was quite a feast for lovers of high Rossini. This new album gives a feast for just about everyone. It covers a nice range of arias from the beautiful title song to the show-stopping "Mes Amis". Definitely worth buying and enjoying.

La Stupenda ~ The Supreme Voice of Joan Sutherland

Average customer rating:

La Stupenda at her best
this is the one to buy
La Stupenda lives up to her name
La Stupenda, Amore, amore, amore
La Stupenda - well deserved title for Joan

La Stupenda ~ The Supreme Voice of Joan Sutherland
Gaetano Donizetti , Jules Massenet , Giuseppe Verdi , Richard Bonynge , and Joan Sutherland
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005OC0E
Release Date: 2001-10-09

Tracks:

Attila: Santo Di Patria... Allor Che I Forti Corrono - Joan Sutherland
Lakme: Viens, Mallika... Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
Les Contes D'Hoffmann: Les Oiseaux Dans La Charmille - Joan Sutherland
Die Zauberflote: O Zittre Nicht, Mein Lieber Sohn... Zum Leiden Bin Ich Auserkoren - Joan Sutherland
Linda Di Chamounix: Ah! Tardai Troppo... O Luce Di Quest'anima - Joan Sutherland
Semiramide: Serbami Ognor Si Fido - Joan Sutherland/Marilyn Horne
Beatrice Di Tenda Bellini: Eccomi Pronta... Deh, Se Un'urna - Joan Sutherland/Ambrosian Singers
La Fille Du Regiment Donizetti: Pour Ce Contrat Fatal... Ah! Salut A La France - Joan Sutherland/Chor Of The ROHCG
La Traviata: Un Di Felice - Joan Sutherland/Carlo Bergonzi
The Bohemian Girl: I Dreamt I Dwelt In Marble Halls - Joan Sutherland
Home Sweet Home - Joan Sutherland
Casanova: Nuns' Chorus - Joan Sutherland/Ambrosian Light Opr Chor
Lucia Di Lammermoor: (O Giusto Cielo!)... Il Dolce Suono Mi Colpi Di Sua Voce!... Ardon Gl'incensi.. - Joan Sutherland/Chor De L'Opera De Paris/Rene Duclos

Tracks:

Norma: Sediziose Voci... Casta Diva - Joan Sutherland/Chor Of The ROHCG/Douglas Robinson
Alcina: Tornami A Vagheggiar - Joan Sutherland
Con For Coloratura Soprano, Op.82: Andante - Joan Sutherland
Con For Coloratura Soprano, Op.82: Allegro - Joan Sutherland
Lucia Di Lammermoor: Sulla Tomba... Ah! Verranno A Te Sull'aure - Joan Sutherland/Luciano Pavarotti
Rigoletto: Gualtier Malde... Caro Nome - Joan Sutherland/Riccardo Cassinelli/Christian Du Plessis/John Gibbs/Ambrosian Opr Chor
Esclarmonde Massenet: Esprits De L'air! Esprits De L'onde! ... Roland! Roland! Roland! - Joan Sutherland/Huguette Tourangeau/John Alldis Chor
Operette: Where Are The Songs We Sung? - Joan Sutherland
The Boys From Syracuse: Falling In Love With Love - Joan Sutherland/Ambrosian Light Opr Chor
I Puritani: Son Vergin Vezzosa - Joan Sutherland/Margreta Elkins/Pierre Duval/Ezio Flagello
Turandot: In Questa Reggia - Joan Sutherland/Luciano Pavarotti/John Alldis Choir/Wandsworth School Boys' Choir/Russell Burgess
Tristan Und Isolde: Mild Und Leise Wie Er Lachelt - Joan Sutherland
Adriana Lecouvreur: Poveri Fiori - Joan Sutherland
La Sonnambula: Ah! Non Giunge Uman Pensiero - Joan Sutherland/London Opr Chor/Terry Edwards

Customer Reviews:

La Stupenda at her best.......2007-05-06

This 2 CD set is entitled "La Stupenda," which creates extremely high expectations. Joan Sutherland meets those expectations on this CD; she is, indeed, "La Stupenda." One of the interesting aspects of this set is Dame Joan's singing some non operatic works (such as "Home Sweet Home" or "Where Are the Songs We Sung?" or "Falling in Love with Love"). In the end, this is a wonderful compilation of the art of Joan Sutherland.

First, let's consider a sampling of the cuts on these CDs.

"O Zittre Nicht" is from Mozart's "Magic Flute" and it is a challenge to sopranos, with its series of staccato high notes. Sutherland essays this well. There are some nice trills; she hits the high notes well. The series of (treacherous) high notes toward the end is handled very nicely by Sutherland. In short, she scintillates, with a closing high note well hit.

From Donizetti's "Linda di Chamounix," she sings "O luce di questi'anima." Her voice and technique are well suited for Donizetti (and Bellini). The cantabile is smoothly sung. The cabaletta is rollicking. Her coloratura technique is on target; the ornamentation is compelling. There are trills, runs, high notes and other ornamentation well done. The close is nice (although there may be a bit of a scoop on the final high note).

From "Beatrice di Tenda" (by Bellini), we hear ""Eccomi pronta. . .Deh, se un'urna." The cantabile is sung well. She hits notes clearly. The spirited cabaletta follows. Sutherland exhibits somewhat less ornamentation than usual, but trills are well done and, overall, the piece is nicely sung. The close features clean high notes.

"Home Sweet Home." This kind of illustrates Joan Sutherland's work nicely. I can hardly make out the words (and it is sung in English). But it is an interesting version. She sings the song straight, without overpowering the song with operatic technique (an occasional trill actually works out well).

Elsewhere, I have commented on her 1959 version of the "Mad Scene" from "Lucia di Lammermoor" (from her album "The Greatest Hits").

"Falling in Love with Love" is an interesting cut. This is a classic Rodgers and Hart song. Sutherland sings it pretty well, and one can pick up the words cleanly. However, one might compare this with Anna Moffo's version, which is more musical. Sutherland's version is a bit too operatic for what the song is about.

Finally, "Ah non giunge" from Bellini's "La Sonnambula," a great coloratura tune! This is taken at a sprightly pace. Sutherland exhibits good coloratura technique. There is nice ornamentation. She precisely nails high notes. In the repeat, the florid singing ramps up. This is a compelling version, with series of staccato high notes to close the work out.

Thus, this 2 CD set is a welcome entrée to the body of work of Dame Joan Sutherland. Sometimes (as with "Home Sweet Home") one has a hard time picking out the words. But with Sutherland, the skills and techniques create a compelling oeuvre that is well worth attending to.

this is the one to buy.......2007-04-18

I'm not an opera expert I just enjoy it. La Stupenda has the best of Joan Sutherland in a two CD set and it's amazing. She looked like a nice, quiet housewife but an indescribalbe voice. Her aria from Norma gave me chills and her version of "I Dreamed I Dwelt in Marble Halls" is flat out one of the prettiest things I've ever heard.

La Stupenda lives up to her name.......2006-11-12

Joan Sutherland was undeniably one of the greatest operatic sopranos of the 20th century. This comprehensive two-CD retrospective of her long career will delight her many fans, and serve as a fitting introduction for those unfamiliar with her artistry. The two CDs span a period of nearly thirty years, from 1959 to 1988, with the majority of the 27 tracks recorded during the 1960s and 1970s, when her voice was at its' astounding best. Sutherland was renowned first and foremost as a dramatic coloratura, and her supple technique is brilliantly illustrated in selections such as the Mad Scene from Lucia di Lammermoor; Doll Song from The Tales of Hoffmann; Queen of the Night aria from The Magic Flute; and the seldom-performed Concerto for Coloratura Soprano by Gliere. As her career progressed, her voice became larger and more powerful, as demonstrated by the Liebestod from Wagner's Tristan and Isolde, and In Questa Reggia from Puccini's Turandot. Lastly, Sutherland was a diva who was not afraid to let her hair down once in a while, and we are treated to lighter selections such as Where are the songs we sung? by Noel Coward, and Falling in love with love, by Rogers and Hart. Highly recommended for all lovers of great singing.

La Stupenda, Amore, amore, amore.......2006-01-28

I adore this woman's voice. And I love this cd. I was really happy to find an aria of "Esclarmonde" which is virtually impossible to find as well as some of the more lesser known works of hers such as Mozart's Queen of Night, although I wish she had done a recording of the revenge aria (Der Holle Roche) The whole cd was wonderful to hear but if I had to make on complaint it's that I didn't buy her Isolde's Liebestod but the woman can sing Lucia better than just about anyone so I'll forgive her for not sticking with the Wagner. In fact I am thrilled that she chose Lucia over Isolde because frankly acting and interperation was never her strong suit, it was the pure beauty of her voice. It's always a grand pleasure to listen to Joan kick butt in any coloratura arias but of course she set the bar so high that there is yet a coloratura since her that can do those arias half as well. She has spoiled me for life and that's why she is La Stupenda.

La Stupenda - well deserved title for Joan.......2006-01-12

I am not an opera expert by any stretch of the imagination - but I love opera. I love the expertise and beautiful voices of these hardworking singers. When I first heard Joan sing, it was from a recording she made late in her career and I honestly thought, what's the big deal about her? So, I decided to get The Art of Prima Donna album, and all I have to say is WOW! In her prime, this woman was a fantastic singer! While she wasn't the dramatist like Callas was (I also love Callas), her range and the way she hit each note so precisely was amazing! So, I bought La Stupenda. I loved the piece she did from Handel's Alcia and the fantastic Rossini duet she did with Marilyn Horn. The entire album is wonderful. I particularly like how Joan's high notes are never screechy - she makes those high notes sound so effortless. I also appreciate how she had such control over her vibrato - not too trilly (I like trilly - especially by Beverly Sills - however, not every song should be all trill). Finally, I think that Joan was one of the few sopranos that didn't try to drown everyone out. When she sang a duet, she blended with the other singer - how rare! Not all singers seem to be able to accomplish that - duets shouldn't be a competition. This album is worth every penny. Joan was one of the great singers of the 20th century and she deserves her title of La Stupenda!

Average customer rating:

Classic coloratura singing by Dame Joan
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Manufacturer: Decca
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Binding: Audio CD

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ASIN: B000006P4S
Release Date: 1998-05-12

Tracks:

Samson: Let The Bright Seraphim
La buona figliuola: Furia di donna
Norma: Casta diva
I Puritani: Son vergin vezzosa (Polonaise)
La Fille Du Regiment: Pour ce contrat fatal...Ah! salut a France
Lakme: Ah!...Ola jeune Indoue (Bell Song)
Rigoletto: Gualtier Mald.Caro nome
Faust: Dieu! que de bijoux!...Ah! je ris de me voir si belle (Jewel Song)
La Traviata: E' strano!...Ah, fors'ui...Sempre libera
Les Contes d'Hoffman: Les oiseaux dan la charmille (Doll Song)
Lucia di Lammermoor: Il dolce suono mi colpi di sua voce!...Ardon gl'incensi (Mad Scene)

Customer Reviews:

Classic coloratura singing by Dame Joan.......2007-01-21

Joan Sutherland was one of the wonders of coloratura technique in the 1950s and 1960s. Some say that the 1960s represent the peak of her accomplishments. The cuts on this CD represent that period, so this is Dame Joan at her best. Music ranges from Handel to Bellini to Delibes to Donizetti to Verdi, with Gounod, Piccinni, and Offenbach thrown in for good measure. She was not great on characterization (no Tebaldi, Callas, or Moffo here), but, oh, that voice! Some illustrative examples follow. . . .

She began as a dramatic soprano, so that there is a lot of punch behind her coloratura technique. It is amazing that she exhibits such agility, given that background. "Let the Bright Seraphim" from Handel spotlights that agility, as well as one of the best trills of the past 60 years. While some CDs that feature coloratura singing may end up with excessive ornamentation, ornamentation at some level is di rigueur. And a trill is a key part of the coloratura soprano's armamentarium. Also present on this cut is a command of high notes, precisely hit.

Bellini's opera, "I Puritani," includes a "polonaise," entitled "Son vergin vezzosa" that shows off Sutherland's gifts to good effect. Coloratura techniques, again, are evident. The repeat features increased ornamentation and a clean hit on the final high note. The "Bell Song" from Delibes' "Lakme" is included on this CD. Some stunning trills are featured; again, she hits the notes well, including the high ones. This ends with a nice trill and high notes well done.

Verdi's opera, "Rigoletto," features wonderful music, including ""Gaultier Malde. . .Caro nome," where an innocent is messed around with by a genuine cad. But the music is wondrous, one of Verdi's best tunes. Sutherland hits trill after trill. Well conceived and executed effects. From "La Traviata," also by Verdi, a nice rendering of "Sempre libera." Again, characterization is not her forte; for Violetta, go to others like Renata Scotto and Anna Moffo for that. Once more, trills that are glorious are manifest. An agile voice and well done high notes.

The "Mad Scene" from Donizetti's "Lucia di Lammermoor"? Here is one of the iconic recordings. This was one of Sutherland's genuine "greatest hits." Again, forget characterization and acting; that was never her strength. Listen to the voice and the singing. "Spargi d'amaro pianto," the culminating segment of the "Mad Scene," is absolutely stunning. Trills, runs, high notes cleanly hit, other ornamentation (e.g., appoggiaturas) are exemplary.

I have not listened to Sutherland's work in some time and I had begun to wonder if I had romanticized her skills as I was listening to more contemporary coloratura sopranos singing the same repertoire. However, listening to this CD reassures me that I am not simply some old-timer going into the past. While there is talent today (including the voices of Netrebko, Fleming, Dessay, and others), Dame Joan Sutherland is one of "the real deals" among coloratura sopranos.

Great Sutherland Recordings.......2006-08-02

For starters, I am not not a die-hard Sutherland fan,
for various reasons not to be discussed here. However,
it's impossible to deny her status as one of the
quintessentially impeccable soprano voices of
recorded history. Many of her recordings are
prototypes of how certain arias "should sound."
Above all, I love her clarion-like vocal presentation.
Her virtuoso trills and technical ability are
hall of fame-worthy.

This CD displays much of her famed vocal
ability. Although, a couple of the tracks
seemed personally out of place for me, several
other tracks are wonderful showpieces of her talent.

"Ou va la jeune hindoue" from Lakme is text book perfect. She lifts the roof about 10 meters on the final E; over a full orchestra! (Outstanding work.) "Il dolce suono" from Lucia di Lammermoor is incredible. Her control of pitch and dynamics are almost frightening. She displays power and vocal grace in equal parts. Her "Casta Diva" is well done, but I can't help but compare it to that of Maria Callas. Sutherland is the soprano
archetype in term of technique, however,
her emotional delivery is not always on the par
with other great sopranos. Nonetheless, the "Casta Diva"
track is still superb and pleasant to the ears.

This is an excellent collection of recordings. I believe that both new and veteran fans of Joan Sutherland will be pleased.

Highly recommendable.

Joan Sutherland in her Prime!! Amazing!!!.......2006-07-21

Joan Sutherland is truly the voice of the twentieth century. Up until hearing this album, I had only heard recordings of her from the 80's, and frankly, I wasnt impressed. I have since learned that she was is her prime in the 60's and early 70's.

Her sound during her vocal prime is so bright and amazing. Her high notes are truly umatched by any other singer, and she has such expresssion. Although her diction is somewhat lacking, she makes up for it in vocal splendor. WOW!

She goes from heavy, bright Verdian arias like Sempre Libera to a light, high aria like the Doll Song. She is truly an amazing vocalist with unparalled vocal versatiltiy.

He sound from the 80's was very covered and her high notes sometiems seemed almost strained. If not strained, they were very small and dainty. While she was in her prime, her high notes were big and bawdy, and thats how us opera folks like it!

If you are looking for a reasonable priced compilation of Ms. Sutherlands finest work, then look no more. This is the one for you. It has excellent recordings of Verdian Soprano arias, Coloratura arias, and lots of Bel Canto vocal fireworks. Her recording of the Bell Song from Lakme is alone worth the purchase. The whole thing is great.

La Stupenda!.......2006-06-04

I have to say that Dame Joan Sutherland has one of the most amazing voices ever with such a range. This collection is my first but not my last. In fact, I would use this cd when the upstairs neighbors would start getting loud and I assure you that it probably made them quieter down. Anyway, God Bless Dame Joan Sutherland who has accomplished so much more than anybody. No wonder, her nickname is La Stupenda.

Exquisite combination of lyricism and coloratura.......2004-02-03

Here Sutherland proves that she wasn't a "mere" lyric coloratura songbird but a full-voiced dramatic soprano d'agilita. Singing Violetta's aria and the Jewelsong she manages an exquisite balanche between glittering acuti and lyric ardour. This is by far one of the best recitals ever recorded and no opera-collection is complete without it!

Average customer rating:

Highly recommended

Coloratura Assoluta

Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

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

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French Coloratura Arias

ASIN: B00000DFNQ
Release Date: 1998-10-20

Tracks:

'Chacun Le Sait'
'Il Faut Partir'
'Et Mon Coeur La Changer
La Fille Du Regiment: 'Salut A La France'
Sadks: 'Song Of India'
Lakme: 'Pourquoi Dans Les Grands Hois?'
Dinorah: 'Ombre Legere' (Shadow Song)
'Regnava Nel Silenzio...Quando Rapita In Estasi'
Lucia Di Lammermoor: 'Il Dolce Suono Mi Colpi...Ardon Gl'Incensi'
Rigoletto: 'Caro Nome'
Lakme: 'Ou Va La Jeunne Hindoue' (Bell Song)
Mireille: 'O Legere Hirondelle'
Romeo Et Juliette: 'Je Veux Vivre'
La Traviata: 'Ah, Fors'e Lui...Sempre Libera'

Tracks:

Le Coq D'Er: 'Hymne Au Soleil'
Les Contes D'Hoffmann: 'Les Oiseaux Dans La Charmille'
Zemire Et Azor: 'La Fauvette'
Mignon: 'Jesuis Titania'
I Puritani: 'Son Vergin Vezzosa'
Linda Di Chamounix: 'O Luce Di Quest' Anima'
La Sonnambula: 'Ah, Non Credea..Ah, Non Giunge'
Porgy And Bess: 'Summertime'
'The Russian Nightingale'
'Fledermaus Fantasy'
'Les Roses D'Ispahan'
'L'invitation Au Voyage'
Chansons De Rensard: 'A Une Fountaine'
Chansons De Rensard: 'A Cupidon'
Chansons De Rensard: 'Tais-Toi, Babillarde'
Chansons De Rensard: 'Dieu Vous Gard'
'Clair De Lune' - Frank La Forge
'Fantoches' - Frank La Forge
'Plaisir D' Amour'
'Home, Sweet Home'

Amazon.com

In many respects, Lily Pons was the Galli-Curci of her generation: a winning combination of good looks, charm, an appealing and non-confrontational timbre, and easy facility in the stratosphere. Those who learned the "Mad Scene" from Lucia di Lammermoor or the "Bell Song" from Lakmé via the original 78s back in the 40s will be bowled over by the vivid detail and lack of background noise in these stunning Sony restorations. First-time listeners will marvel at her effortless passagework and high notes (she often transposed her arias up on records); but may be put off by a slight thinness in the middle register (not evident in her Odeon recordings from the late 20s), sketchy intonation at times, and expedient aspirating in downward scales. Although these selections encompass a gamut of stylistic and emotional contrasts, you'd scarcely know it from the singer's pleasant but characterless interpretations, which tickle the ear without quite racking the brain. --Jed Distler

Customer Reviews:

Highly recommended.......2007-07-09

This could have been recorded yesterday, the sound quality is excellent and without blemish. By far the best recordings of Pons I have, and I would like to have others. She reminds me of Jo, separation of notes, clear, real trills, a range to rival Sumac, flexibility to perfection, and always that today neglected once standard fare of the coloratura, the requisite leap to the top note at the end of an aria. And a pretty sound. I love this album.

Opera Obsession! - Opera d'Oro's Greatest Hits

Average customer rating:

A Great Introduction to Opera
Excellent Potpourri

Opera Obsession! - Opera d'Oro's Greatest Hits

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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ASIN: B000062Y9J
Release Date: 2002-03-05

Tracks:

Aida: Celeste Aida - Placido Domingo
The Pearl Fishers: Au Fond Du Temple Saint - Alfredo Kraus
La Wally: Ebben? Ne Andro Lontana - Renata Tebaldi
Manon: Io Son Sol... Ah Dispar, Vision! - Luciano Pavarotti
La Fille Du Regiment: Il Faut Partir - Fernando Corena
La Traviata: Libiamo Ne'lieti Calici - Jose Carreras
Maria Stuarda: Oh Nube! Che Lieve - Montserrat Caballe
Turandot: Nessun Dorma - Franco Corelli
Don Giovanni: Dalla Sua Pace... - Alfredo Kraus
Mefistofele: Die Campi, Dai Prati - Carlo Bergonzi
Il Trovatore: Di Quella Pira - Franco Corelli
Arabella: Und Du Wurst Mein... - Montserrat Caballe
Tannhauser: Dich Teure Halle - Gundula Janowitz
La Damnation De Faust: Merci, Doux Crepuscule! - Nicolai Gedda
La Boheme: Si. Mi Chiamano Mimi - Mirella Freni
Otello: Dio! Mi Potevi Scagliar - Jon Vickers
Tosca: E Lucevan Le Stelle - Giuseppe Di Stefano
Rigoletto: E Il Sol Dell'anima - Maria Callas
Lucia Di Lammermoor: Tu Che A Dio... - Luciano Pavarotti

Customer Reviews:

A Great Introduction to Opera.......2004-11-28

This CD serves as a great beginner's guide to opera. there is plenty to choose from on this CD. Placido Domingo starts off the CD with his trademark "Celeste Aida." Next, Alfredo Kraus and Giuseppe Taddei sing "Au fond du temple saint," in Italian instead of French. Renata Tebaldi follows in "Ebben? ne andro lontana." You can't have a opera CD without Luciano Pavarotti, and you get him in "Io son sol...Ah dispar, vision!" from Manon. A great trio from La fille du regiment, "Il faut partir" follows, starring Beverly Sills, Fernando Corena, and Grayson Hirst. Jose Carreras and Renata Scotto follow in the Brindisi from La Traviata. Montserrat Caballe graces the #7 spot in "Oh nube! che lieve" from Maria Stuarda. Franco Corelli is excellent is "Nessun dorma" from Turandot. Alfredo Kraus returns again in "Dalla sua pace" from Don Giovanni. This is one of my favorite arias on the CD. Carlo Bergonzi follows in "Die campi, dai prati" from Mefistofele. Franco Corelli follows in the role he was made for: Manrico's "Di quella pira" from Il Trovatore. Montserrat Caballe and Siegmund Nimsgern sing in one of the only German arias on the CD: "Und du wurst mein..." from Arabella. Gundula Janowitz sings in "Dich teure Halle," the other German aria on this CD. I can't believe Nicolai Gedda isn't on this CD more than once. He sings "Merci, doux crepuscule" from La damnation de Faust. Mirella Freni comes next in "Si. Mi chiamano Mimi" from La Boheme. My favorite tenor, Giuseppe di Stefano comes in the next two clips: "E lucevan la stelle" from Tosca, and, with Maria Callas, "E il sol dell'anima" from Rigoletto. How can this great recording end? With Pavarotti in "Tu che a Dio" from Lucia di Lammermoor of course.

Excellent Potpourri.......2004-09-12

Do not be misled by the incredibly low price on this album; the recording quality is quite good. I would have liked more information in the liner notes (especially the year of the performance), but that is a minor quibble when compared to hearing some of the best opera stars of the last century for less than a matinee movie ticket.

So, indulge and enjoy!

Average customer rating:

Great Voice
Florez shines in enticing variety, versatility of repertoire
Third album by Florez
Florez in another dazzling disc!
Muy bien cantado...Pero falta algo

Great Tenor Arias

Manufacturer: Decca
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Binding: Audio CD

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Juan Diego Florez ~ Rossini Arias
Una Furtiva Lagrima
Sentimiento Latino
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Rossini - Il Barbiere Di Siviglia / Juan Diego Florez, Maria Bayo, Pietro Spagnoli, Ruggero Raimondi, Bruno Pratico, Gianluigi Gelmetti, Madrid Opera

ASIN: B0002K6ZWU
Release Date: 2004-09-14

Tracks:

J'ai Perdu Mon Euridice
Pietoso Al Lungo PiantoAlfin M'arride Amore...Deh! Lasciate A Un'Alma Amante
La Speranza Piu Soave Gia Quest'Alma Lusingava
Eccomi Finalmente...Feste? Pompe? Omaggi? Onori?
Loin De Son Amie Vivre Sans Plaisirs
Languir Per Una Bella
La Donna E Mobile
Pria Che Spunti In Ciel L'aurora
Com'e Soave Quest'Ora Di Silenzio Al Mio Dolente Cor... Anch'io Provai Le Tenere Smanie D'un Puro Amore
Avete Torto!...Firenze E Come Un Albero Fiorito

Amazon.com

Here the remarkable young Peruvian tenor Juan Diego Florez not only offers us what we've become accustomed to---gorgeous, graceful singing of very difficult bel canto gems (in this case, high-flying, virtuosic arias from Rossini's Semiramide and L'Italiana in Algeri. He also ventures into unknown waters. He sings an aria added by Donizetti for an Italian production of The Daughter of the Regiment ("La figlia" rather than the usual "La fille") which turns out to be just right for his voice, and he charms with his crisp diction and youthful approach. Paolino's aria from Cimarosa's Il matrimonio segreto is a substantial piece of bel canto writing, with some nice coloratura fireworks near the end which Florez sails through with ease, and Rinuccio's ditty from Puccini's Gianni Schicchi---perhaps the most heavily orchestrated piece he's sung and stylistically the opposite of anything else on the CD---is also tossed off with true élan. On the other hand, Florez has a lot to learn about the Gluckian style, judging from his Romantic approach to Orphée's aria, and his French could use some brushing up if he's going to sing anything from Halévy's La Juive, although the vocal hurdles that the composer put in the tenor's way do not seem to bother him at all. A surprising disappointment is "La donna e mobile," which is over-sung and charm free. But can any tenor around be expected to sing all of these (and a few others, too) perfectly? Florez remains a true delight, his sound beautiful, his production easy from top to bottom. Despite reservations, highly recommended. --Robert Levine

Customer Reviews:

Great Voice.......2007-05-13

This young tenor is a worthy successor to Carreras, he will be a superb singer.

Florez shines in enticing variety, versatility of repertoire.......2005-03-14

An altogether delightful disc. The arias on here that do not require heavy pryotechnics are delightful and reveal a very pleasant insouciance of tone and character that are very fitting, only very intermittently offset by a slight hardness of tone on top. The aria from Semiramide and cabaletta to the charming Cimarosa aria serve up the fireworks, so common on the first disc and perhaps the one that followed it, for those listeners who are attracted to this disc by having heard especially the first and highly brilliant all-Rossini outing. Rossini is also well represented here by a charming romanza and lively cabaletta from Italiana in Algeri.

Several rarities are included, unlike with the above, and he makes something very charming and inviting of the selection from Verdi's Un giorno di regno (Verdi's rarely performed comedic second opera). The alternate Italian aria from Fille du regiment is a welcome supplement to his having recorded the more famous aria for Tony on his second recital disc. The aria from Donizetti's Lucrezia Borgia (an easy equal to Lucia in inspiration) is also a highlight, Florez's insouciance of manner here particularly telling, as it has fatal consequences for his character and all this character's buddies in this opera. Eleazar's aria, or one of them, from Halevy's La Juive reveals the possibility of a little greater reach into repertoire that approaches the dramatic for this tenor - but one senses as well that he will and can, should take his time getting there. The tribute to Firenze from Gianni Schicchi at or toward the end of this recital is compelling enough to convince the most hardened travel cynic buying this disc to call the airlines/hotels, inns to book for there right away. The "Che faro" from Orfeo (but sung in French) is an ideal vehicle from which Florez can deliver such a sublime and heartfelt lament, as heard here, albeit a bit too closely recorded.

Carlo Rizzi, not always dependable, gives fine accompaniments here. The engineering does place the voice just a bit too forward, however, yet ironically a voice that has developed full body and better evenness than when his first all-Rossini disc was recorded (yet still certainly too early to tackle the part of Eleazer on stage as of yet), erasing any concerns I may have had at that time. For some readers, any problem with the sound quality here might demote this outing to four stars, but taking the singing, the interesting repertoire chosen for this disc, and the fine, deft accompaniments from Rizzi and the Verdi orchestra from Milan (some alternate band to Muti's peerless one at La Scala? - the endless nature of so much politics in music), have me sticking with five, and with a mind about several other vocal recital discs that have been getting rated too highly on this website.

Ditto. Just received credible correction from Vince Chau of one piece of misinformation I submitted here. The aria that Florez sings from La Juive belongs to the second tenor part of Leopold, not that of Eleazar. While I am on the subject of corrections of my reviews, he also had said that I had incorrectly challenged Gheorghiu's Laggiu nel Soledad for having ended on a high C. Not having been so graphic as that in how I describe what happened there, I had led him to believe and perhaps a few others that I was saying there was no high C in the aria at all, so I have just taken pains to fully explain the situation on the new Gheorghiu Puccini recital by thereby editing my review of it. I would not trade Gina Cigna's ONLY high C TOWARD the end of Laggiu nel Soledad for all the gold in Fort Knox, or Nilsson's or Tebaldi's ...

Third album by Florez.......2005-01-01

This, the young Peruvian tenor Juan Diego Florez' third album, includes more of the bel canto repertory with which he has risen to international fame. Hearing Lindoro's scene from L'Italiana in Algeri, to cite one example, will make the first-time listener realize why. The tenor's firm, even tone, agility in coloratura and secure high notes--all the way up to a solid high D in one selection--are still sources of wonder.

"Great Tenor Arias" also includes forays into other areas of the repertory, from operas which Florez has not yet sung and may never sing on stage. Indeed, one hopes that no one talks him into trying Verdi's Duke of Mantua any time soon--his rendition of "La Donna e Mobile" is solid, if a bit lacking in charm, but the entire role would surely overtax his vocal resources. Puccini's Rinuccio, from the evidence of Florez' take on the aria from Gianni Schicchi that concludes this somewhat short (less than an hour of music) CD, would be a more comfortable fit, but he is already too much of a marquee name to take on what is basically a supporting role.

If this CD as a whole leaves a slightly unsatisfying impression, it is because the experiments by Florez remain just that--vocal explorations rather than performances undertaken out of deep dramatic or musical conviction. In addition, some of the more obscure music, Cimarosa and early Verdi in particular, is not of the highest quality, and here Florez' comparative inability to characterize vocally becomes a liability. All in all, despite the outstanding singing, a newcomer to this tenor's art would probably be better served by starting with one of his two earlier albums, the first of Rossini, the second Bellini/Donizetti.

Florez in another dazzling disc!.......2004-11-25

Juan Diego Florez is definitely on a spin and that well-deserved
journey is the product of fine training, excellent coaching, and a keen sense of pacing in a career that tends to push the gifted ones too quickly. Though Florez' crowning gifts are in the bel canto repertoire, with this recording he just starts there and pushes into the range of more lyrical arias, and to these ears he succeeds in demonstrating how special is this beautiful voice.

Even the decision about lineup of arias on this fine recording is intelligent: Florez moves from Gluck, Cimarosa and Rossini into Donizetti, Verdi and Puccini with great ease. Here is a tenor who can belt out the high notes to please the balcony but who is equally sensitive to the diminuendos and barely audible phrases that mark the true artist.

Dashingly handsome, and physically as well as vocally a fine actor on stage, this CD simply further demonstrates that Juan Diego Florez is one of the brightest tenors before us today. It is interesting to see how many Latin American tenors are suddenly becoming so important - Villazon, Calleja, Alvarez, Florez, etc. Refreshing! GRady Harp, November 2004.

Muy bien cantado...Pero falta algo.......2004-11-07

JUAN DIEGO FLOREZ es sin duda alguna el mejor tenor de la actualidad en su repertorio (Rossini y ciertos roles belcantistas) y sus trabajos discograficos siempre consiguen los mas fervientes aplausos. Yo mismo, ya elogie en su dia aqui sus dos registros anteriores en solitario con este mismo sello.
Pero ahora, en este tercer trabajo, la magia no se produce de igual manera que las veces anteriores: la voz sigue estando ahi, bellisima y con un alarde de agudos bastante importante...Pero el repertorio no es el mas adecuado a la vocalidad de Florez, por lo que le ofrece escasas posibilidades de lucimiento. Un repertorio como este, en la voz de un tenor desconocido que comienza pudo haber sido interesante, pero en la voz de un tenor ya consagrado como es Florez, deja una sensacion de vacio bastante grave. Habra que esperar al cuarto (ya se anuncian "Canciones latinoamericanas" en lo que puede ser un interesante cambio de registrio) para ver si se vuelve a producir la magia.
CARLO RIZZI y la orquesta rinden a un buen nivel, mucho mayor que la orquesta y el director del disco anterior de Florez.

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