Renata Tebaldi

On this CD:

1. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act 2: Porgi Amor
Composed by Wolfgang Amadeus Mozart
Performed by Santa Cecilia National Academy Orchestra Rome with Renata Tebaldi
Conducted by Alberto Erede

2. Il Trovatore, opera Che Più T'Arresti?...Tacea La Notte Placida
Composed by Giuseppe Verdi
Performed by Geneva Grand Theater Orchestra with Renata Tebaldi
Conducted by Alberto Erede

3. Otello, opera Mia Madre Aveva Una Povera Ancella...Piangea Canta
Composed by Giuseppe Verdi
Performed by Santa Cecilia National Academy Orchestra Rome with Renata Tebaldi
Conducted by Alberto Erede

4. Mefistofele, opera Act 3: L'altra Notte in Fondo al Mare
Composed by Arrigo Boito
Performed by Santa Cecilia National Academy Orchestra Rome with Mario Del Monaco, Renata Tebaldi
Conducted by Tullio Serafin

5. La Wally, opera Act I: Ebben? Ne Andrò Lontana
Composed by Alfredo Catalani
Performed by Monte Carlo National Opera Orchestra with Renata Tebaldi
Conducted by Fausto Cleva

6. La Wally, opera Né Mai Dunque Avro Pace
Composed by Alfredo Catalani
Performed by Renata Tebaldi
Conducted by Alberto Erede

7. Cecilia, opera Per Amor Di Gesù
Composed by Licinio Refice
Performed by Santa Cecilia National Academy Orchestra Rome with Renata Tebaldi
Conducted by Alberto Erede

8. Adriana Lecouvreur, opera Poveri Fiori
Composed by Francesco Cilea
Performed by Santa Cecilia National Academy Orchestra Rome with Renata Tebaldi
Conducted by Alberto Erede

9. Lodoletta, opera Ah! Il Suo Nome...Flammen, Perdonami
Composed by Pietro Mascagni
Performed by Santa Cecilia National Academy Orchestra Rome with Renata Tebaldi
Conducted by Alberto Erede

10. Tosca, opera Act 2: Vissi d'arte, vissi d'amore
Composed by Giacomo Puccini
Performed by Santa Cecilia National Academy Orchestra Rome with Renata Tebaldi
Conducted by Francesco Molinari-Pradelli

11. Madama Butterfly (Madame Butterfly), opera Act 2: Un Bel Dì, Vedremo
Composed by Giacomo Puccini
Performed by Santa Cecilia National Academy Orchestra Rome with Renata Tebaldi
Conducted by Tullio Serafin

Tracks:

Carmen: Act 1: Prld - LPO/Sir Georg Solti
La Traviata: Brindisi: Libiamo, Ne'lieti Calici - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
La Boheme: Che Gelida Manina - Luciano Pavarotti
Lakme: Flower Duet: Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
Fedora: Amor Ti Vieta - Jussi Bjorling
Carmen: Habanera: L'amour Est Un Oiseau Rebelle - Tatiana Troyanos/John Alldis Chor/John Alldis
Nabucco: Chor Of The Hebrew Slaves: Va Pensiero - Chicago Sym Chor/Margaret Hills
Le Nozze Di Figaro: Dove Sono - Kiri Te Kanawa
Rigoletto: La Donna E Mobile - Luciano Pavarotti
Lohengrin: Bridal Chor: Treulich Gefuhrt Ziehet Dahin - Konzertvereinigung Wiener Staatsopernchor/Walter Hagen-Groll
Gianni Schicchi: O Mio Babbino Caro - Renata Tebaldi
Il Barbiere Di Siviglia: Largo Al Factotum - Leo Nucci
La Wally: Ebben?... Ne Andro Lontana - Angela Gheorghiu
Madama Butterfly: Humming Chor - Wiener Staatsopernchor/Norbert Balatsch
Carmen: Flower Song: La Fleur Que Tu M'avais Jetee - Placido Domingo
Les Contes D'Hoffmann: Barcarolle: Belle Nuit, O Nuit D'Amour - Joan Sutherland/Huguette Tourangeau/Chor De La Radio Suisse Romande, Pro Arte De Lausanne Et Du...
Tosca: E Lucevan Le Stelle - Placido Domingo
Madama Butterfly: Un Bel Di - Mirella Freni
Les Pecheurs De Perles: C'est Toi... Au Fond Du Temple Saint - Gregory Cross/Gino Quilico

Tracks:

Die Walkure: The Ride Of The Valkyries - Wiener Phil/Solti
Le Nozze Di Figaro: Voi Che Sapete - Cecilia Bartoli
Pagliacci: Recitar!... Vesti La Giubba - Luciano Pavarotti
La Boheme: O Soave Fanciulla - Mirella Freni/Luciano Pavarotti/Roland Panerai
Il Trovatore: Anvil Chor: Vedi! Le Fosche - Chicago Sym Chor/Margaret Hillis
Manon Lescaut: Donna Non Vidi Mai - Jose Carreras
Don Giovanni: La Ci Darem La Mano - Lucia Popp/Tom Krause
Mattinata - Andrea Bocelli
Faust: Soldiers' Chor - Ambrosian Opr Chor/John McCarthy
L'elisir D'amore: Una Furtiva Lagrima - Roberto Alagna
Turandot: Signore, Ascolta! - Montserrat Caballe
Don Giovanni: Champagne Aria: Finch'han Dal Vino - Bryn Terfel
Cosi Fan Tutte: Trio: Soave Sia Il Vento - Renee Fleming/Anne Sofie Von Otter/Michele Pertusi
Il Trovatore: Di Quella Pira - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
Tosca: Vissi D'arte - Kiri Te Kanawa
Carmen: Toreador Song - Jose Van Dam/Tatiana Troyanos/Norma Burrowes/Jane Berbie/Thomas Allen/Pierre Thau/John Alldis...
Madama Butterfly: Love Duet: Vogliatemi Bene - Mirella Freni/Luciano Pavarotti
Cavalleria Rusticana: Intermezzo - Nat PO/Gianandrea Gavazzeni
Rusalka: O Silver Moon - Renee Fleming
La Boheme: Si. Mi Chiamano Mimi - Angela Gheorghiu
Turandot: Nessun Dorma - Luciano Pavarotti/John Alldis Chor/John Alldis

Amazon.com

The labels that are now gathered under the Universal Classics umbrella have a pretty impressive scorecard in the area of classical compilations. We've seen The Greatest Opera Show on Earth, The Yellow Guide: Classical Music, Best of the Millennium, and now there's The No. 1 Opera Album. But that's no surprise, since Universal has some of the finest interpreters in its catalogue to draw from. This two-CD set (at the price of one), for example, brings together the likes of Cecilia Bartoli, Renée Fleming, Luciano Pavarotti, Kiri Te Kanawa, Sir Georg Solti, Herbert von Karajan, and many more. Yet the other key to a successful compilation is canny anthologizing, and here again, you have a nice selection to give you a smattering of opera's heavyweights from the Italian, German, and French repertory (there's even a step outside the standard framework with an aria from Dvorák's lovely Rusalka). Ranging from 1959 to 1997, the choices from back catalogue will doubtless be the entry ticket for many into this grandest of the arts. --Sarah Chin

Customer Reviews:

The beautiful gift of opera..........2007-07-17

This 2-CD set is absolutely wonderful! You can close your eyes and feel like you're actually at the opera, listening to those beautiful voices bringing tears to your eyes. Nessun Dorma still stirs up emotions in me, no matter how many times I hear it. Great examples of opera to give someone wanting to get interested in this style of music.

Pretty darn good.......2007-07-04

This CD set has a lot of familiar music on it, so if you're a newbie, you might want to try starting with this. There are some great pieces on the first CD. I usually don't even make it to the second.

The Opera #1 Opera Album.......2007-06-07

The music is wonderful. The production is terrible!! The sound fades in and out and is very scratchy in some places.

Excellent assortment.......2007-05-12

I'm not a big opera fan but I wanted to expose an assorted selection for my kids. This was perfect since it included several recognizable selections.

Great Selections.......2007-03-31

This Cd, has the very best of Opera
covering mainly from the classcal
to the to the romantic periods, a most
memorable selection here is Leo Nucci
in a lagendary performance of Rossini's
"Largo al Factotum" from "Il Barbiere di Seviglia"
also Andrea Bocelli in his performance of Leoncavallo's
memorable "Matinatta" here in an orchestrated version.
Indeed some of opera's most loved arias are in this recording
various conductors, orchestras, and soloists. All in their
very best. Indeed a five-star recording...

Average customer rating:

Correction to the entry by "sergiocqh"
Fantastic!
HATE OPERA? THIS ONE WILL CHANGE YOUR MIND
"Ultimate" only if you like your opera "al fresco"!
Wonderful Performance but Average Recording Quality

The Ultimate Puccini Collection
Giacomo Puccini , Herbert von Karajan , Riccardo Chailly , Stephen Barlow , Tullio Serafin , Lorin Maazel , Sir Edward Downes , Giuseppe Patane , Zubin Mehta , Alberto Erede , John Mauceri , Plácido Domingo , José Carreras , Kiri Te Kanawa , John Alldis Choir , Luciano Pavarotti , London Philharmonic Orchestra , Bologna Community Theater Orchestra , Ettore Bastianini , Carlo Bergonzi , Renato Cesari , Fernando Corena , Cesare Siepi , Renata Tebaldi , Gianna D'Angelo , Saint Cecilia Academy Orchestra , Franco Corelli , Alfredo Mariotti , Regine Crespin , Royal Opera House Orchestra Covent Garden , London Symphony Orchestra , Maggio Musicale Fiorentino Orchestra , Rome Opera House Orchestra , Pilar Lorengar , Berlin Philharmonic Brass Ensemble , Mirella Freni , Rolando Panerai , Jussi Bjorling , Leontyne Price , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Gheorghiu, Angela | Divas | Opera & Vocal | Styles | Music

Nilsson, Birgit | Divas | Opera & Vocal | Styles | Music

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

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music

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

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Essential Verdi
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
Puccini Without Words
Puccini: Great Opera Arias
The #1 Opera Album

ASIN: B000007OU1
Release Date: 1998-06-09

Tracks:

Turnadot: Nessun Dorma!
Gianni Schicchi: O Mio Babbino Caro
Manon Lescaut: Donna Non Vidi Mai
La Boheme: Musetta's Waltz Song
Tosca: Recondita Armonia
Madame Butterfly: Un Bel Di
TOSCA: E Lucevan Le Stelle
La rondine: Il Sogno Di Doretta
La Boheme: Che Gelida Manina
La Boheme: Si, Mi Chiamano Mini
La Boheme: O Soave Fanciulla - Love Duet, Act I
Ch'ella mi creda libero
TOSCA: Ah, Quegli Occhi...Qual'occhio Al Mondo - Love Duet, Act I
TOSCA: Vissi D'Arte
Madame Butterfly: Vogliatemi Bene - Love Duet, Act I
La Boheme: Donde Lieta Usci
Turandot: Signore, Ascolta!
Turandot: In Questa Reggia

Amazon.com essential recording

Ordinarily, it pays to be wary of collections such as these, which often promise a lot but deliver a mishmash of disconnected excerpts. This disc, however, is something of an exception: you really do get just about all of Puccini's best arias, which is possible, because he didn't write so many operas that choosing the best moments becomes a matter of the producer's personal taste. Also, Puccini's operas are so popular that every major label has excellent complete recordings of all of them, so in making this compilation it was possible to cast from strength: all the singers here are fine. In fact, the only proviso that needs to be made before you rush out and add this disc to your collection is that it's wrong to assume that all of Puccini's best tunes lie in his arias. The opening 10 minutes of any one of his operas will tell you that's not true. So by all means enjoy this disc--then start sampling the operas complete. --David Hurwitz

Customer Reviews:

Correction to the entry by "sergiocqh".......2005-11-08

"Quando m'en vo" is not omitted from this CD; it is just called "Musetta's waltz song." It is the same aria.

Fantastic!.......2003-10-14

This is one of the first opera CDs I ever got. It's wonderful for just about any body;from the newbies like me or the opera fanatics. I especially like 'In Questa Reggia'. Buy it now!!

HATE OPERA? THIS ONE WILL CHANGE YOUR MIND.......2003-09-04

The Ultimate Puccini Collection features some of Puccini's most arias and will appeal to even the most ardent operaphobes.

A great listening experience featuring some of the greatest opera performers of all time.

"Ultimate" only if you like your opera "al fresco"!.......2002-06-13

The music is without question, among the most beautiful ever written. But the quality of the fidelity tells me that many of the selections were recorded live in concert in outdoor venues. I wish that was clear to me before I bought the disc. So, is the music the ultimate? YES! Is the recording the ultimate? NO!

Wonderful Performance but Average Recording Quality.......2002-02-18

I love opera! I love Puccini! Not only is the vocalism important to me, but the quality of the recording as well. I enjoy my hi-tech sound system. I like to feel as if I am sitting in the front row of the first balcony when I listen to opera. This CD is excellent! The vocalists were well chosen. The technical performances are eloquent and emotional, as Puccini should be. However, the quality of the recording is not very good. No matter how you adjust your sound system, the recording is a bit tinny and as a result, the emotional high points of the arias are not as vibrant as they could be if the recording were of better quality. I would recommend this CD to anyone who loves Puccini and who is not as finicky as I!

Average customer rating:

Superb singing by my favorite tenor
exceptional recording of Bizet, Verdi and Puccini
The Kiss of Jussi
Notes on a classic
Pearl Fishers Duet

The "Pearl Fishers" Duet

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Artists Of The Century - Jussi Bjorling, The Ultimate Collection
The Most Famous Opera Duets
Bizet: The Pearl Fishers (Complete opera); Hendricks, Aler, Plasson, Capitole de Toulouse
Jussi Björling Rediscovered
Jussi Bjorling: Opera Arias

ASIN: B000003ERE
Release Date: 1990-10-25

Tracks:

The Pearl Fishers: Au Fond Du Temple Saint
Tosca: Mario, Mario, Mario! - Zinka Milanov
Don Carlo: Io L' Ho Perduta!, Dio, Che Nell' Alma Infondere
Manon Lescaut: Tu, Tu, Amore? Tu? - Licia Albanese
La Boheme: O Mimi, Tu Piu Non Torni
La Forza Del Destino: Solenne In Quest' Ora
Aida: La Fatal Pietra; Oterra Addio - Zinka Milanov
Turandot: Signore, Ascolta!; Non Piangere, Liu - Renata Tebaldi
Otello: Si, Pel Ciel Marmoreo Giuro!

Amazon.com

This disc is essential for Jussi Bjoerling fans--doesn't that include almost everyone?--and for anyone who wants a distinctive sampling from recorded opera's most eloquent age. Best are Bjoerling's duets with baritone Robert Merrill--especially the classic "Au fond du temple saint" from The Pearl Fishers--and the scene with Renata Tebaldi, "Signore, ascolta; non piangere, Liu," from Turandot. Although the sound is variable--and sometimes disappointingly, annoyingly glitch-ridden in these recordings made between 1950 and 1959--the voice, the style, and the passion of the inimitable Bjoerling more than make up for it. --David Vernier

Customer Reviews:

Superb singing by my favorite tenor.......2006-12-29

I can hardly tell you how much I loved this CD when musicologist David St. George gave
gave me a copy of it. Each time I hear the CD, Bjoerling's singing astounds me, because
depsite his age, he was in excellent voice when he recorded the "Pearl Fishers Duet."
My only complaint about Bjoerling is that a year before my birth, he died. :)

exceptional recording of Bizet, Verdi and Puccini.......2006-10-23

The beautiful main duet from Bizet's "The Pearlfishers" ("Au fond du temple saint") is the centerpiece of this disc, that also features pieces from "Aida", "Tosca", "Turandot" and "Otello", amongst others by Puccini and Verdi.

Legendary opera stars Robert Merrill, Zinka Milanov, Licia Albanese and Renata Tebaldi have the kind of voices that one rarely hears these days in opera. It's such a pleasure to know that these singers have received immortality thanks to CD reissues like this one. As other reviewers have noted, these recordings have great historical value but don't expect miracles with the overall sound quality.

[RCA/BMG Classics GD87799]

The Kiss of Jussi.......2006-08-23

Bjoerling never misses his pitch, never struggles with any note in his repertoire, never runs out of breath, and most importantly, never fails to makes any note perfectly beautiful. Bjoerling's supporting cast are immortalized by their association with this incomparable singer. Every track in this album is historically as well as artistically precious.

Notes on a classic.......2006-06-04

I'm prompted to comment only because a reviewer below offers no criticism of this famous duets recording exceept for the Manon Lescaut excerpt with Licia Albanese. As it happens, the only weakness in the cuts with Bjorling and Merrill is the workaday conducting by Renato Cellini (and the boxy sound that deserves the same miraculous remastering BMG has recently given to Toscanini). The Met was a singers' house and often fell short on conducting, saddling Golden Age voices with less than stellar maestros like Cillini, Fausto Cleva, and Leinsdorf (who actually does a very good job, for him, in Turandot, Bjorling's last opera recording before he died).

But the RCA Manon Lescaut from Rome was a wonderful exception. It is arguably the most satisfying collaboration in Bjorling's career, thanks to Jonel Perlea and the inspired Licia Albanese. Others might argue for the Aida with Milanov or the famous La Boheme with de los Angeles under Beecham. But for me the dramatic intensity of this Manon Lescaut is unparalleled. It's true that Albanese doesn't sound like a lush, full-voiced Puccini soprano, but she inhabits the role of Manon with astonishing realism and passion.

Pearl Fishers Duet.......2006-03-18

The Pearl Fishers Duet by Georges Bizet is well presented and delightfully sung. There are several additional duets on this CD which, whilst sung correctly and well, do not come over with the same lightness and flow. They would not be the best of their genre.

Average customer rating:

Very Fine - Not the Last Word
Mithical Edition!
Turandot, third time around
Excellent Turandot!
Historic Turandot Recording Finally Back in the Rich Sound It Deserves

Puccini: Turandot [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000G759LM
Release Date: 2006-09-05

Tracks:

Act I: Popolo Di Pekino!
Act I: Gira La Cote, Gira, Gira!
Act I: Perche Tarda La Luna?
Act I: O Giovinotto (Funeral March)
Act I: O Divina Bellezza!
Act I: Figlio, Che Fai?
Act I: Fermo! Che Fai? T'arresta!
Act I: Non Indugiare!
Act I: Singore, Ascolta!
Act I: Non Piangere, Liu!
Act I: Ah! Per L'ultima Volta!
Act II - Scene 1: Ola, Pang! Ola, Pang!
Act II - Scene 1: Ho Una Casa Nell'Honan
Act II - Scene 1: O Mondo...O Mondo...
Act II - Scene 1: Non V'e In China Per Nostra Fortuna
Act II - Scene 2: Gravi, Enormi Ed Imponenti
Act II - Scene 2: Un Giuramento Atroce Mi Costringe
Act II - Scene 2: Popolo Di Pekino!

Tracks:

Act II - Scene 2: In Questa Reggia
Act II - Scene 2: Straniero, Ascolta
Act II - Scene 2: 'Giuzza Al Pari Di Fiamma'
Act II - Scene 2: 'Gelo Che Ti Da Foco'
Act II - Scene 2: Figlio Del Cielo!
Act II - Scene 2: Tre Enigmi M'hai Proposto
Act II - Scene 2: Ai Tuoi Piedi Ci Postriam
Act III - Scene 1: Cosi Comando Turandot
Act III - Scene 1: Nessun Dorma!
Act III - Scene 1: Tu Che Guardi Le Stelle
Act III - Scene 1: Straniero, Tu Non Sai
Act III - Scene 1: Principessa Divina!
Act III - Scene 1: Chi Pose Tanta Forza
Act III - Scene 1: Tu Che Di Gel Sei Cinta (Death Of Liu)
Act III - Scene 1: Ah! Tu Sei Morta
Act III - Scene 1: Principessa Di Morte!
Act III - Scene 1: Che E Mai Di Me?
Act III - Scene 1: Del Primo Pianto
Act III - Scene 2: Diecimila Anni

Amazon.com

This reissue of a 1959 recording captures four glorious voices at their peak, triumphantly conquering one of the most brutally difficult operas in the literature. Puccini taxed his singers almost beyond human endurance with his prolonged stratospheric writing (he also loved the musical depiction of physical torture). Nilsson's Turandot is thrilling; every inch the Ice Princess, her voice cuts through and soars over orchestra and chorus with the intense, brilliant radiance of a snowfield reflecting the sun, especially in the uppermost range. Required to sing at full volume until near the end, her stamina is incredible, as is her ability to suddenly modulate her voice from vengeful defiance to human warmth. Tebaldi's voice is achingly beautiful, lustrous and creamy; she makes Liu's submissiveness and fortitude deeply moving. Bjoerling combines the power and brightness of a "Heldentenor" with melting lyricism; his top has a radiant, clarion ring. Tozzi's sonorous bass gives Timur both majesty and desperation, De Paolis' Emperor quavers with age, the three Councilors are a pathetically antic comedy act. Puccini intended the last duet and orchestral finale to be an apotheosis, showing Turandot's transformation to humanity through love. Tragically, he died before they were finished - and before he could undertake his customary revisions - and Franco Alfani completed the opera, using some earlier material. A competent composer could hardly be expected to realize the vision of a genius, however, so Turandot feels both unfinished and incomplete. Still, despite its blood-thirsty plot and unbelievable characters, it is a fascinating masterpiece. The recording's only lack is a libretto; it is available on a website, but downloading is not every opera lover's forte. --Edith Eisler

Customer Reviews:

Very Fine - Not the Last Word.......2007-03-27

Nilsson's Turandot is reason enough the acquire this recording, but her later version for EMI is vocally and dramatically finer still. Bjoerling is a very good Calaf for the phonograph who probably couldn't have brought it off in the theater. As a lyric voiced Calaf, he doesn't pack the sheer visceral excitement of the Nilsson/Corelli pairing on EMI. Tebaldi is vocally bested only by her younger self in the early stereo Decca effort that also featured Inge Borkh and Mario del Monaco. She's pretty conventional on the dramatic side - for a real change of pace listen to Schwarzkopf's detailed characterization on EMI with Callas. Tozzi, in my opinion, is the best Timur on record. The Ping, Pang and Pong are nicely characterized and well sung. Leinsdorf's conducting is on the restrained side but very satisfying, bringing out a lot of orchestral detail.

The SACD includes the three channel mix, giving a theatrical perspective to the voices and orchestra. No rear channel fake ambiance, thank goodness. While this latest remastering betters the older Red Seal and Living Stereo incarnations of this venerable recording, it didn't come out as well as the other Living Stereo SACD opera sets released at the same time (Boheme, Butterfly, Traviata) despite its repuation over the years as a sonic blockbuster. The sound is still somewhat harsh and congested in places but probably as good as we'll get from the master tapes. Nevertheless, it is better sonically than Nilsson's later effort on EMI where the shrill recording doesn't do the outstanding performance justice.

Mithical Edition!.......2007-01-10

A splendid, mithical edition: one of the best of the XX sec. Birgit Nilsson is yet widely known as the leading Turandot of any time. Renata Tebaldi was and is one of the best soprano voices that any century has ever heard.

Turandot, third time around.......2007-01-05

Puccini's final opera, Turandot, with an outstanding cast (Jussi Björling, Birgit Nilsson, Renata Tebaldi, Giorgio Tozzi, and Mario Sereni as principal singers) and illustrious conductor (Eric Leinsdorf) has now been released for the third time in Super Audio version (supplanting the Living Stereo version of a few years back). To the untrained ear, so to speak, there appears to be little difference between the two recent versions; nonetheless, the Super Audio (played on a SACD,5.1 chanel system) captures the nuances and dynamics of both orchestral and vocal production in a manner that sets it apart from the Living Stereo initial release. The orchestra sounds much richer than before. The choral accompaniment and comprimario singers (Ping, Pang, and Pong)have an immediacy and clarity that seem lacking in previous versions. Björling's hauntingly exquisite voice projects an Italianate warmth, coupled with a glistening upper register, that makes it extremely effective in the role of Calaf; Nilsson's heroic soprano (reflecting her Wagnerian training and repertory) rings out with a penetrating clarity of tone and pitch. She blends power and sweetness in a superb interpretation of the ice princess, Turandot. The final duet with Björling is indeed well worth the price of the two-disc set; both voices join in lyrical and dramatic utterances of rare beauty that elicit something close to awe in the listener.

There are some minor defects (at times Björling sounds oddly distant and the orchestra tends to cover the singers in the crescendo passages) due, perhaps, to the problems of early stereo recording (1959). For those who are Corelli or Pavarotti fans, this performance may not supersede these great artists' classic recordings of Turandot but the Leinsdorf/Björling/Nilsson Super Audio release is still one of the very best currently available. It belongs in the top three by virtue of its superior artistry and dramatic force. Highly recommended.

Excellent Turandot!.......2006-10-15

This recording of Turandot is great for three reasons: Nilsson, Jussi, and Tozzi. The voices are in great shape. For many reasons, Nilsson is my favorie in this role. Crystal clarity! Power beyond belief. Tozzi is grand and Jussi is NOT Pavarotti. So unmannered. Thankfully.
Enough said!!This recording is not satisfactory for Leinsdorf and the orchestra. Thank you for great singing!!
The remastering is quite good. The voices are in the correct perspective and sound great!

Historic Turandot Recording Finally Back in the Rich Sound It Deserves.......2006-09-26

Here, at last, the famous 1959 RCA recording is presented in what is truly "master tape" sound. Originally recorded in three channel stereo, this SACD allows playback in that format, in an SACD mixdown to two channels, or in CD audio of the two channel mix -- and all at a bargain price! The lack of artificially added reverb boosts the presence of the voices of the cast, emphasizing the authority of Giorgio Tozzi's Timur, the passion and resignation of Renata Tebaldi's Liu, and the gleam and burnished luster of Jussi Bjoerling's late-career Calaf. Choral passages that formerly were muddy-sounding are now clear, and, in the orchestra, the basses, timpani and bass drum benefit from a much more solid bottom end sound. The SACD formats also allow the brass to shine more brightly, and nothing is over-modulated. Yes, the winds and the strings are still horribly out-of-tune, but the sound overall is clear and present. The exception to the relatively dry acoustic is the voice of Birgit Nilsson, who, in her portrayal of Turandot, makes the Rome Opera House absolutely ring (pun intended?) with her voice.

The characters can be followed as they navigate the soundstage, with no remixing attempts to "correct" the original choreography by artificially placing the voices in the center, as has been done previously with some sections of this recording.

The enclosed booklet contains poorly reproduced pictures taken during the recording sessions (if it was a choice between preserving the original photos or the master tapes, thank goodness it was the tapes!), and no libretto. However, an internet link for downloading the libretto as a PDF file is included.

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor

Average customer rating:

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

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
Giuseppe Verdi , Giacomo Puccini , Ruggiero Leoncavallo , Pietro Mascagni , Amilcare Ponchielli , Tullio Serafin , Herbert von Karajan , Georg Solti , Rafael Kubelik , Nello Santi , Gianandrea Gavazzeni , Lamberto Gardelli , Sir John Pritchard , Carlo Bergonzi , Renata Tebaldi , Ettore Bastianini , Fiorenza Cossotto , Enzo Sordello , Dietrich Fischer-Dieskau , Tugomir Franc , Renata Scotto , Libero Arbace , Fernando Corena , Birgit Nilsson , Giulietta Simionato , Sylvia Stahlman , Joan Sutherland , Dora Carral , and Piero de Palma
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini
The Very Best of Franco Corelli
The Very Best of Beniamino Gigli
The Very Best of Giuseppe di Stefano
The Very Best of Nicolai Gedda

ASIN: B00004C8TH
Release Date: 2001-06-12

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

Atto 1: ...E soffito e pareti...
Atto 1: Sorride Vostro Onore?
Atto 1: Dovunque al mondo
Atto 1: America forever
Atto 1: ler l'altro il Colaolato
Atto 1: Ecco. Son giunte al sommo del pendio
Atto 1: Gran ventura
Atto 1: L'Imperial Commisario
Atto 1: Vieni, amor mio!
Atto 1: leri son salita tutta sola in segreto allo Missione
Atto 1: Tutti zitti!
Atto 1: O Kami! O Kami!
Atto 1: Cio-cio-san! Cio-cio-san!
Atto 1: Bimba, bimba, non piangere
Atto 1: Viene la sera
Atto 1: Vogliatemi bene
Atto 2, Parte 1: E lzaghi ed lzanami, Sarundasico e Kami
Atto 2, Parte 1: Un bel di vedremo
Atto 2, Parte 1: Ce. Entrate

Tracks:

Atto 2, Parte 1: Non lo sapete insomma
Atto 2, Parte 1: Si sa che aprir la porta
Atto 2, Parte 1: Udiste?
Atto 2, Parte 1: Ora a noi. Sedete qui
Atto 2, Parte 1: Ebbene, che fareste, Madama Butterfly
Atto 2, Parte 1: E questo? E questo?
Atto 2, Parte 1: Che tua madre dovra prendeteri in braccio
Atto 2, Parte 1: Vespa! Rospo maledetto!
Atto 2, Parte 1: Una nave da guerra
Atto 2, Parte 1: Scouti quella fronda di ciliegio
Atto 2, Parte 1: Or vienmi ad adornar
Atto 2, Parte 1: Coro a bocca chiusa
Atto 2, Parte 2: Intermezzo
Atto 2, Parte 2: (fischi d'uccelli dal giardino
Atto 2, Parte 2: Gia il sole!
Atto 2, Parte 2: Chi sia?
Atto 2, Parte 2: lo so che alle sue pene
Atto 2, Parte 2: Non ve l'avevo detto?
Atto 2, Parte 2: Addio fiorito asil
Atto 2, Parte 2: Suzuki! Suzuki! Dove sei?
Atto 2, Parte 2: Tu, Suzuki, che sei tanto buona
Atto 2, Parte 2: Come una mosca prigioniera
Atto 2, Parte 2: Con onor muore chi non puo serbar viat con onore

Customer Reviews:

renata is a dream.......2007-03-17

i have been playing non-stop for two weeks and have not tired of it yet--i love it

An Opera I Love That I Know I Should Loath.......2006-05-11

I'll admit that MADAMA BUTTERFLY is not one of my favorite operas, at least as far as characters are concerned. I find Pinkerton repulsive and as an American, I hate the fact that one of opera's most popular works has what is perhaps the most obvious example of an "Ugly American." I remember reading that some American critics hated the work at its New York premiere for the reasons I state. And yes I know, there are far more vile characters in opera than "Love'm and Leave'm Pinkerton, but he's so realistic ,Cio Cio San is so vulnerable, and Puccini's music so fits the story, I almost hate to listen to the opera because the same tragedy happens over and over again. Yet every time I put the CDs in the player and hear the string prelude, I know I have to listen because there are some of opera's most emotional and passionate musical moments in this work.

There are a number of tremendous recordings of this work available with some of operas greatest stars as Cio Cio San: Maria Callas, Mirella Freni, Anna Moffo, and Renata Tebaldi. Tenors who love the bravado of Pinkerton include Pavarotti, Carreras, Domingo, Mario Del Monaco and Carlo Bergonzi. Any set with any of these stars is musical heaven, but for me the BUTTERFLY of choice is this mid priced set with Renata Tebaldi and Carlo Bergonzi under the direction of Tulio Serafin. Anytime I listen to it, I'm captivated by the performance and drawn into the drama. It is often considered one of Tebaldi's best studio recordings, and Decca has used excerpts from this recording in many of its opera compilations.

Since this is a role often associated with both Renata Tebaldi and her rival Maria Callas, some may wonder which is the better choice. Well, I'm the wrong person to ask. I own and love both. The Callas recoding has certain intensity as opposed to the polish of this set, and this set is in stereo as opposed to the mono recording of the Callas set. Both sets are masterpieces, but for my tastes, the Tebaldi set is the better choice.

Better than Tebaldi's first recording.......2003-02-26

This is Renata Tebaldi's second recording of "Madama Butterfly". She sounds wiser in this role than when she recorded it the first time around. Her vibrato sometimes turns into an obtrusive wobble, but it is mostly under control. Her high notes are not as secure as in her first recording of the work. Her interpretation is subtler here than it is in her first recording. Butterfly's Death Scene is more subtly sung in this version than it is in her first, but the high notes are not nearly as secure. Dramatically, she is no Renata Scotto or Victoria de los Ángeles, but she has a superior voice. Her voice is a little different here than in her first recording. The rest of the cast is marvelous. Carlo Bergonzi is a great Pinkerton. To my ears, he is the best tenor to have recorded this role. He is significantly better than Giuseppe Campora on Tebaldi's first recording. Enzo Sordello has a wobbly, but very attractive baritone. He sounds too light to be a convincing Sharpless. He has a better voice than Giovanni Inghilleri, the Sharpless on Tebaldi's first recording. However, Inghilleri's voice is much more suited to the role of Sharpless than Sordello's is. Fiorenza Cossotto is a heavenly Suzuki. She has a beautiful voice and characterizes nicely. She has got to be the best Suzuki on records. She is infinitely better than Nell Rankin, the Suzuki in Tebaldi's first recording. That Suzuki has poor Italian and a vastly inferior voice. Tullio Serafin is a marvelous conductor. He is much better than Alberto Erede, the conductor on Tebaldi's first recording. Erede goes through the motions. Serafin actually takes time to conduct and pace this opera intelligently. Overall, this is a marvelous recording.

Maravillosa pero..........2002-08-30

Esta es una gran Butterfly en muchos sentidos, con un Elenco de los que ya no existen. Bergonzi canta su Pinkerton con su seducuctora elegancia característica, lo que lo pone en los primeros lugares para este papel. Cossotto, lo mejor que se puede pedir para Suzuki. Y Tebaldi, bueeno, si bien canta con esa voz que hace que cualquiera se derrita por ella, tenemos otra vez uno de sus grandes problemas para estos papeles... Su voz es demaciado madura, olvida que Butterfly tiene 15 y después 18 años, no se la puede cantar como a Desdemona. Mi Butterfly favorita es aquella que a priori parece la más inadecuada para el papel de todas: Maria Callas, si bien la dureza de su timbre hace que uno sienta cierto rechazo, no hay intérprete como Callas, simplemente. Y Serafin, bueno, es Serafin, no se puede desear algo mejor.

stunning.......2002-02-20

This recording is amazing. It sounds very live with the passion and emotion that come through in the singing, not often found in studio recordings.

Tebaldi's Butterfly is electrifying, flirtatious, and innocent at the same time. The lush, cool power that she has comes through everywhere and she is never drowned out by the orchestra. This is a recording of Tebaldi in her prime and he rhigh notes are spacious and ringing, never strained.

Bergonzi is, as usual, perfect and makes every tenor green with envy. His duet with Butterfly at the end of Act I is booming, arrogant, and passionate. Under the baton of Tullio Serafin, the orchestra creates a truly moving sequence of all-encompassing sound here as well; it's hard not to fall into the romantic scope of the scene.

The supporting cast is also very convincing, especially Cossotto as Suzuki, with the fervor she injects in the scene where she is praying, and Enzo Sordello as Sharpless fills "America Forever" with backhanded patriotism.

Tracks:

Otello: Act One: Una vela! Una vela! - Vienna State Opera Chorus
Otello: Act One: Esultate! - Mario Del Monaco
Otello: Act One: Roderigo, ebben che pensi? - Aldo Protti
Otello: Act One: Fuoco di gioia! - Ciprioti
Otello: Act One: Roderigo, beviam! - Aldo Protti
Otello: Act One: Inaffia l'ugola! Trinca, tracanna - Aldo Protti
Otello: Act One: Capitano, v'attende la fazione ai baluardi - Tom Krause
Otello: Act One: Abbasso le spade! - Mario Del Monaco
Otello: Act One: Gia nella notte densa - Mario Del Monaco
Otello: Act Two: Non ti crucciar - Aldo Protti
Otello: Act Two: Vanne! la tua meta gia vedo - Aldo Protti
Otello: Act Two: Credo in un Dio curdel - Aldo Protti
Otello: Act Two: Cio m'accora... - Aldo Protti
Otello: Act Two: Dove guardi splendono - Renata Tebaldi
Otello: Act Two: D'un uom che geme sotto il tuo disdegno - Renata Tebaldi
Otello: Act Two: Se inconscia, contro te, sposo, ho peccato - Renata Tebaldi
Otello: Act Two: Desdemona rea! - Mario Del Monaco
Otello: Act Two: Tu? Indietro! fuggi!! - Mario Del Monaco
Otello: Act Two: Ora e per sempre addio - Mario Del Monaco
Otello: Act Two: Pace, signor - Aldo Protti
Otello: Act Two: Era la notte, Cassio dormia - Aldo Protti
Otello: Act Two: Oh! mostruosa colpa! - Mario Del Monaco
Otello: Act Two: Si, pel ciel marmoreo giuro! - Mario Del Monaco

Tracks:

Otello: Act Three: La vedetta del porto ha segnalato - Monaco/Protti
Otello: Act Three: Continua - Mario Del Monaco
Otello: Act Three: Dio ti giocondi, o sposo - Renata Tebaldi
Otello: Act Three: Esterrefatta fisso - Renata Tebaldi
Otello: Act Three: Dio! mi potevi scagliar - Mario Del Monaco
Otello: Act Three: Cassio e la! - Aldo Protti
Otello: Act Three: Vieni; l'aula e deserta - Aldo Protti
Otello: Act Three: e intanto, giacche non si stanca mai - Aldo Protti
Otello: Act Three: Quest'e il segnale - Aldo Protti
Otello: Act Three: Il Doge e il Senato salutano - Fernando Corena
Otello: Act Three: Messere, son lieto di vedervi - Aldo Protti
Otello: Act Three: A terra!...si...nel livido fango - Renata Tebaldi
Otello: Act Three: Quell'innocente un fremito - Ana Raquel Satre
Otello: Act Three: Fuggite! - Mario Del Monaco
Otello: Act Four: Era piu calmo? - Ana Raquel Satre
Otello: Act Four: Mia madre avera una povera ancella - Renata Tebaldi
Otello: Act Four: Piangea cantando nell'erma landa - Renata Tebaldi
Otello: Act Four: Ave Maria, piena di grazia - Renata Tebaldi
Otello: Act Four: (Otello compare) - Wiener PO/Karajan
Otello: Act Four: Diceste questa sera le vostre preci? - Mario Del Monaco
Otello: Act Four: Aprite! aprite! - Ana Raquel Satre
Otello: Act Four: Niun mi tema - Mario Del Monaco

Customer Reviews:

A Grand Otello.......2005-11-18

This Otello, starring the stentorian tenor Mario Del Monaco, soprano Renata Tebaldi and baritone Aldo Protti is largely considered the greatest of the post World War II LP Era. It is a very old-school Otello, with emphasis on the grand Italian opera technique and the singers are in top shape and the sound quality is supreme on this digitally remastered recording. Mario Del Monaco makes a fearsome Otello, every bit the proud, roaring "lion of Saint Mark" he is said to be. From his opening exclamation: "Exultate!" to his first slip into jealous madness "Ora Per Sempre Addio" and his confrontations with Desdemonas are all incredibly dramatic and vocally magnificent. For a long period of time, Del Monaco was considered the undisputed finest interpretor of Otello. Jon Vickers and Placido Domingo followed in his footsteps. Del Monaco may be quite, well "hammy" in certain scenes, but he was an incredible actor and his voice, which is the biggest to date, soared above the orchestra and awed audiences worldwide. Though he wore "black paint" he was statuesque and grand in his dramatic gestures. As for Renata Tebaldi, she owned the role of Desdemona, for not even Maria Callas sang it on stage during her own career. This role was entirely her own, and she sang the heck out of it. Lyric enough to appear vulnerable and innocent as Desdemona is, she was also able to project enough bite and dramatic ardor. It's a lush Desdemona, a regal Desdemona, and very few sopranos were able to sing it that way. Her teamwork with Del Monaco was virtuosic. They recorded several big operas on LP- Tosca, Aida, La Forza Del Destino, Mefistofele. As for the baritone Aldo Protti (who ?) he's only serviceable as Iago. This is a shame. With George London around, and Tito Gobbi, it's a shame they cast a singer who does not put any real effort into the part of Iago, which is a pivotal part. His villainous scheming, his greed and the complexities of his character should surface in the singing. And Protti does nothing to impress us. But this is only a slight and trivial mistake. Other great Otellos you might want to check out include Placido Domingo's several Otellos on recording, Jon Vickers Otellos and that of James McKraken. All fine Otellos but in size and volume they do not compare to Del Monaco, the master of grand opera.

Brilliant.......2005-06-21

Great recording all round of Verdi's most profound opera.

Chief singers are great -- I find del Monaco and Domingo the best Otellos.

Sound very good for early 60s.

Almost Incomparable.......2005-02-25

I'm going to make this short since there are plenty of other reviews about this recording. Vocally, orchestrally, and sound wise-this is the definitive (Studio) recording of Otello, hands down. The only problem I have with this CD transfer is the absence of the ballet which is on the original LP's and which is why I give this 4 stars instead of 5.

Great Cast, Great Recording.......2005-01-24

The premiere of OTELLO was one of the greatest moments in operatic history. Verdi was near the end of his career. Only FALSTAFF succeeded OTELLO and in the eyes of many, OTELLO is Verdi's greatest achievement. Music lovers of the day, who were usually late for performances made an exception and arrived early for OTELLO. The public was so excited at the premiere, riots nearly started on the streets of Milan. The crowds were so enthusiastic about the music, the applause and cheering was deafening, at least according to legend. OTELLO still causes excitement. This adaptation of the Shakespeare play, which tells of pure love as well as the tragedy that results when power and jealousy take control of a person is timeless. When the greatest singers are assembled and have the vocal gifts to bring this great work to life, the results are magical. Three great voices who are legendary in this opera include Mario Del Monaco as Otello, Renata Tebaldi as Desdemona, and Aldo Protti as Jago.

Verdi's OTELLO always tops my list of favorite operas, and Mario Del Monaco and Renata Tebaldi are my Otello and Desdemona of choice. I also enjoy Aldo Protti's Jago. Protti is masterful as the evil Jago. Fans of Tebaldi, Del Monaco, and Protti have a choice of two great recordings of this work: one under the baton of Alberto Erede and the other under Herbert Von Karajan's direction. The Karajan recording dates back to 1961 and is one of the standard bearers of this great work.

Many people looking at this review are probably trying to decide between this recording and the Erede version. Both are among the best recordings of this work. While either would make an excellent choice, there are a few differences. The principals, particularly Del Monaco, are not as clean as in the Erede set, but all three are comfortable in their roles which give the recording a dramatic intensity. In the Karajan set, the orchestra is the trademark full blown sound characteristic of most Karajan sets. For those who love Karajan's sound, this will be an asset. I happen to love the Karajan recordings I have in my collection, especially the OTELLO.

This set includes a full libretto as well as some background information about Verdi and the opera. One thing I found disappointing is that the CD version does not include the ballet music inserted into Act III. While this was added after the premiere, and is not an example of Verdi's greatest music, the LP and cassette versions include it. I grew accustomed to hearing the music, and miss it in the CD version. Even without the ballet music, this is still a superior recording.

Blitzkonducting.......2004-09-05

This recording of Otello, although great otherwise, suffers from the heavy hand of Karajan. Karajan (and one either loves this or hates this) conducts his orchestras to make much louder and faster recodings than are usual. If you are looking at a Karajan Otello, I suppose you are one of his proponents.

Karajan's grandiose style does wonders to deepen and enliven timid and lighthearted works. For example he is marvelous with Mozart; I love the Karajan Zauberflote and Requiem. However, Otello is neither a timid nor a lighthearted work. Verdi and Karajan both produce delightful but overstated music. Putting them tgether just makes an unsubtle and overloud recording.

Puccini: La Bohème (Tebaldi, Prandelli, Erede)

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EREDE ES UN CRACK
No man ever cried like Giacinto Prandelli
One of the Great La Bohemes!
Simply Superb

Puccini: La Bohème (Tebaldi, Prandelli, Erede)
Giacomo Puccini , Alberto Erede , Fernando Corena , Giacinto Prandelli , Giovanni Inghilleri , Hilde Gueden , Hilde Güden , Ildebrando Santafe , Melchiorre Luise , Piero de Palma , Raffaele Arie , Renata Tebaldi , and Rome Chorus and Orchestra of the Academy of St. Cecilia
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Puccini: Madama Butterfly
Puccini: Madama Butterfly
Mozart: Le Nozze Di Figaro
Puccini: La fanciulla del West
La Tebaldi

ASIN: B00000421S
Release Date: 1994-04-12

Tracks:

La Boheme: Act One: Questo mar rosso
La Boheme: Act One: Pensier profondo!
La Boheme: Act One: Legna!... Sigari! (Rodolfo)
La Boheme: Act One: SI puo?
La Boheme: Act One: Io resto per terminar l'articolo (Rodolfo)
La Boheme: Act One: Chi e la? l'articolo (Rodolfo)
La Boheme: Act One: Si sente meglio? l'articolo (Rodolfo)
La Boheme: Act One: Che gelida manina l'articolo (Rodolfo)
La Boheme: Act One: Si. Mi chiamano Mimi (Mimi)
La Boheme: Act One: O soave fanciulla l'articolo (Rodolfo)
La Boheme: Act Two: Aranci, datteri! Caldi i marroni e caramelle!
La Boheme: Act Two: Chi guardi? l'articolo (Rodolfo)
La Boheme: Act Two: Viva Parpinol! Parpignol! Parpignol!
La Boheme: Act Two: Oh!... Essa!... Musseta! l'articolo (Rodolfo)
La Boheme: Act Two: Quando men vo (Musetta)
La Boheme: Act Two: Chi l'ha richiesto

Tracks:

La Boheme: Act Three: Ohe la, le guardie! Aprite!
La Boheme: Act Three: Sa dirmi, scusi, qual'e l'osteria (Mimi)
La Boheme: Act Three: Mimi! ... Speravo di trovarvi qui (Mimi)
La Boheme: Act Three: Marcello, Finalmente! (Rodolfo)
La Boheme: Act Three: Mimi e una civetta (Rodolfo)
La Boheme: Act Three: Mimi e tanto malata! (Rodolfo)
La Boheme: Act Three: Donde lieta usci al tuo grido (Mimi)
La Boheme: Act Three: Dunque e propria finita! (Rodolfo)
La Boheme: Act Four: In un coupe?
La Boheme: Act Four: O Mimi, tu piu non torni (Rodolfo)
La Boheme: Act Four: Gavotta! (Colline)
La Boheme: Act Four: C'e Mimi ... c'e Mimi che mi seque (Musetta)
La Boheme: Act Four: Vecchia zimarra, senti
La Boheme: Act Four: Sono andati? Fingevo di dormire (Mimi)
La Boheme: Act Four: Che avvien?

Customer Reviews:

EREDE ES UN CRACK.......2006-11-10

Bohème de absoluta referencia. Sonido magnífico. Estupendos cantantes: Quizá los haya más dotados (con excepción, claro está, de la Tebaldi) pero no más convincentes. La batuta, soberbia, excelente acompañante de las voces. Una versión arquetípica, sin afectación, de las que no cansan.

No man ever cried like Giacinto Prandelli.......2005-08-23

Buy this recording for Prandelli and perhaps for one of my favorite Hilde Gueden. Tebaldi is wonderful too, but I prefer her later recording of Boheme, which captures her in more passionate and warm voice. Gueden is one of the best singers of Musetta, not only is the voice lovely of timbre and texture, but the charm of her delivery is captivating. Her top is full sheen! Brava!

But Prandelli is the star to me. I have come to know his artistry from the Fedora with Caniglia, which is utterly ravishing, an Adrianna with the text centered and dramatic Carla Gavazzi, and now this Boheme. I have never cared for the emotionalism of a tenor. It all sounds the same and somehow "tenorized", and for some reason the depth is usually lacking with tenor emotions. There are, however, some exceptions... especially among the dramatic tenors, McCracken comes to mind first. But with Prandelli one is treated to good old fashioned tears, the kind that pass the heart and enters the soul. He can turn that light, fantastical, thread of a voice into a virile expression of a man's most profound inward state. Listen to the venom in "Mimi e una civetta", then the reflection in "Mimi e tanta malata" What a match for La Callas he would have been. Such a talent is common among sopranos and mezzos, but ever so rare among tenors. Prandelli is my new favorite and treasure to those who thought that Rodolfo, Alfredo, and the like were cookie cutter creatures (granted Alfredo is a hard job), but Prandelli is tenor with no equals in my opinion, humble as it may be.

Bravo Prandelli!!!!!

Erede is not my favorite, but he keeps Tebaldi well within the tempi, which she, with that luxurious voice of hers occasionally extends. An experience to treasure!!!!

One of the Great La Bohemes!.......2000-12-16

This is Renata Tebaldi's alternative, first recording of the role of Mimi. There is no doubt that she is the best Mimi you'll find so I will not say how moving her performance is etc but I'll just compare this edition with her later, the one with Carlo Bergonzi as Rodolfo.

This recording is in Mono sound. Even though the quality is very good it still is mono and this diminishes it's actual value. The orchestra is conducted by A. Erede, also the conductor of Tebaldi's first Butterfly. I don't know much about conducting but T. Serafin's result touches me more. As I said before Tebaldi is alternatively wonderful here so she gives us a more powerful voice for Mimi. Her later, gentler performance, however, suits the role of Mimi more, and I'd say ideally. Prandelli is not a star Rodolfo (like Bergonzi) but sings wonderfully allthough I prefer the uniquely warm voice of Carlo Bergonzi. Last but not least the Musetta and Marcello excel in comic act so the result is overally ravishing. Especially the Musetta Gueden has given us is vocally more suitable than D'Angelo's (on the 1959 decca set)

Concluding this is a fine edition, among the best of La Boheme but if I really had to choose between the two recordings of Renata Tebaldi, I'd choose the 1959 version. I fortunately don't, so I own them both!

Simply Superb.......2000-10-16

I have always found this Boheme to be one of the most moving sets on record. The young Tebaldi was a perfect Mimi, rich in voice but able to deliver youth, fragilty, and intimacy as well. I also am completely won over by Prandelli's gentle Rodolfo. Unlike other, more "stellar" tenors, Prandelli actually sings and banters like the sweet Parisian poet he portrays. He makes other tenors, Bjoerling and Gigli aside, sound like boors. Gueden is a little tart, but then so is Musetta. Erede was never a profound conductor, but his artless quality goes to the core of Boheme. The sound is monophonic, but very very clean. I have many Bohemes and have affection for all of them. But this Boheme is special. Considering the ridiculously small sum this Decca Double set goes for, why deny yourself any longer?

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Tebaldi in all her glory (mostly)

Renata Tebaldi sings Arias & Duets

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Voice of the Century
Ernest Ansermet: Decca Recordings 1953-1967
Verdi: Un Ballo in Maschera
La Nilsson: My Life in Opera
Start-Up at the New Met: The Metropolitan Opera Broadcasts, 1966-1976

ASIN: B000JU7N7O
Release Date: 2007-02-13

Customer Reviews:

Tebaldi in all her glory (mostly).......2007-03-14

These 5 budget CDs won't be of much interest to Tebaldi fans, who will already own the widely known operas, almost all in stereo, that have never left the Decca catalog. But anyone, like me, who has a deep fondness for the great soprano but neve really collected her records will find a treasury of great singing. She was gifted with the most feminine, full, powerful voice in Italian opera between 1950 and the mid-Sixties. Not a long career, and overshadowed by the supreme greatness of Callas, who lasted alamost exactly as long. But at the Met, where she was the reigning diva, Tebaldi was the last word in Puccini and almost the last in Verdi.

Amazon doesn't list the contents of this box set, so let me give a thumbnail sketch. The best Verdi excerpts come from Otello, La Forza del Destino, and Aida, often with her favorite tenor, Mario del Monaco. He's the featured player in the majority of the duets here. Lesser Verdi from Tebaldi includes the excerpts from La Traviata (she wasn't enough of a coloratura for Violetta), and Un ballo in maschera (she was caught too old, but the Act II duet with the young Pavarotti finds him in thrilling voice--incomparable, in fact).

The set includes a batch of verismo arias that to tell the truth are probably the best items--Tebaldi had just the right intensity and pathos for Adriana Lecouvreur, La Wally, La Gioconda, and Andrea Chenier. But as her reputation would attest, she was meltingly beautiful in Puccini roles, and it's a shame that her stereo versions found her a bit mature for the girlish parts, not to mention that her chosen conductor was the aging, slack Tulio Serafin. No matter. She sounds great in arias form all the major Puccini operas but especially Manon Lescaut and Suor Angelica, where her deep religiosity adds an especially touching note.

Less necessary--if not totally dispensable--are arias from French operas that Tebaldi sings in Italian (Carmen?), the greatest oddity being Elsa's Act I aria from Lohengrin, which sounds extremely odd in Italian. We also get a hodge podge fifth CD with some popular Italian songs, Christmas carols, and such, at which she is sometimes very charming, sometimes a bit too strained. But that's a minor quibble. I enjoyed this whole collection immensely, especially when it brought back memories of my own youth just learning about opera and the divas who rule them.

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Tebaldi/Di Stefano Shine

Giordano: Fedora

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

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Verdi: Otello

ASIN: B000055X2I
Release Date: 2001-02-06

Tracks:

Act One: Quattro! Sei! - Mariano Caruso/Gennaro Ciocca/Luigi Padillo/Renata Tebaldi/Vittorio Buccini
Act One: Rigida E Assai La Sera...O Grandi Occhi Lucenti - Renata Tebaldi/Mariano Caruso
Act One: La Camera Del Conte! - Giovanni Amedeo/Mariano Caruso/Renata Tebaldi/Mario Cioffi/Mario Sereni/Enrico Campi
Act One: Egli Mi Disse: 'Andiamo Al Tiro!' - Enrico Campi
Act One: Quelle Macchie Vermiglie - Mario Sereni/Giovanni Amedeo/Mariano Caruso/Renata Tebaldi
Act One: Continuate...Dite, Coraggio - Renata Tebaldi/Giovanni Amedeo/Mariano Caruso/Vittorio Buccini
Act One: Altra Volta Quell'uomo Vedesti? - Giovanni Amedeo/Vittorio Buccini/Renata Tebaldi/Mariano Caruso/Teatro San Carlo Chor, Naples
Act Two: Signori, Vi Presento Lazinski - Sofia Mizzetti/Mariano Caruso/Mario Frosini/Renata Tebaldi/Giuseppe Di Stefano/Mario Sereni
Act Two: Vi Presento Lazinski - Sofia Mizzetti/Renata Tebaldi/Mario Sereni/Mariano Caruso/Mario Frosini
Act Two: La Donna Russa E Femmina Due Volte - Mario Sereni
Act Two: Amor Ti Vieta - Giuseppe Di Stefano/Mario Frosini/Renata Tebaldi/Sofia Mizzetti
Act Two: Dimmi, Dunque Che Fu? - Renata Tebaldi/Giuseppe Di Stefano
Act Two: Portentoso! - Sofia Mizzetti/Mariano Caruso/Mario Sereni/Renata Tebaldi

Tracks:

Act Two: Intermezzo - Teatro San Carlo Orch, Naples/Arturo Basile
Act Two: Grech! I Vostri Uomini? - Renata Tebaldi/Giovanni Amedeo
Act Two: Silenzio!...E Lui! - Renata Tebaldi/Mariano Caruso
Act Two: Mia Madre, La Mia Vecchia Madre - Giuseppe Di Stefano/Renata Tebaldi
Act Two: Vedi, Io Piango - Giuseppe Di Stefano/Renata Tebaldi
Act Three: Dice La Capinera - Teatro San Carlo Chor, Naples
Act Three: Quanto Sei Bella! - Giuseppe Di Stefano/Renata Tebaldi/Sofia Mizzetti
Act Three: Chi Vedo! De Siriex! - Sofia Mizzetti/Renata Tebaldi/Mario Sereni
Act Three: Testolina Sventata! - Renata Tebaldi/Mario Sereni/Sofia Mizzetti
Act Three: Dio Di Giustizia - Renata Tebaldi/Giuseppe Di Stefano
Act Three: Muta E Mia Madre - Giuseppe Di Stefano/Renata Tebaldi
Act Three: Loris, Mio Loris! - Renata Tebaldi/Giuseppe Di Stefano
Act Three: Boroff? - Giuseppe Di Stefano/Renata Tebaldi
Act Three: E Vano! La Morte E Qui - Renata Tebaldi/Giuseppe Di Stefano

Customer Reviews:

Tebaldi/Di Stefano Shine.......2001-02-18

This is probably one of the MOST pirated recordings by Renata Tebaldi. First of all, because she NEVER recorded the role, second because of the tremendous work by Di Stefano.THIS time, the performance is remastered from the ORIGINAL tapes, not from an LP. FORGET those other CD editions of this, GRAB this one!! Basile's conducting is superb, and this opera has many fascinating musical moments, it's no wonder so many wish Renata had recorded this role. This is the ONLY extant recording of Tebaldi in this role, at least until, or if, the Chicago performances with Bjorling ever surface. Do yourself a favor, get this.

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