Sinfonia Della Vita

On this CD:

1. Glühende Rästel, for voice & piano, Op. 177
Composed by Maurice Karkoff
Performed by Margareta Hallin, Rolf Lindblom

2. Symphony No. 9 "Dolorus Symphony" Op. 1949
Composed by Maurice Karkoff
Performed by Helsingborg Symphony Orchestra
Conducted by B. Tommy Andersson

3. Oriental Pictures, for piano, Op. 66 Vid gränsen
Composed by Maurice Karkoff
Performed by Maurice Karkoff

4. Chinese Songs (9), for voice & piano, Op. 173 Skuggspel, klara vatten
Composed by Maurice Karkoff
Performed by Roland Pontinen, Christina Hogman

5. Symphony No. 11 "Sinfonia della vita", Op. 202
Composed by Maurice Karkoff
Performed by Helsingborg Symphony Orchestra
Conducted by B. Tommy Andersson

Sinfonia Della Vita, Music, Karkoff, Pontinen, Lindblom, Andersson, Classical, Classical Music, Orchestral & Symphonic
Sonate Al Pizzico
Average customer rating: 5 out of 5 stars
  • Magic gondola ride
 Sonate Al Pizzico

Manufacturer: Atma Classique
ProductGroup: Music
Binding: Audio CD

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  1. Teatro Lirico

ASIN: B000231UD6
Release Date: 2004-05-04

Customer Reviews:

5 out of 5 stars Magic gondola ride.......2005-06-15

This is a delicious collection of pieces from the pens of Cavalieri, Trabaci, Corbetta, Frescobaldi, Castaldi, Kapsberger, Granata and Monteverdi, played on the arpia doppia (double harp) by Maxine Eilander and the chitarrone or the 5-course Spanish baroque guitar by Stephen Stubbs. The blend of the two instruments is delightfully rich and always sounds just right for the repertoire, which conjures up the ancient airs and dances that inspired Respighi to write his famous suites.

The music comes from a time, the early 17th century, when new genres were emerging in Italy, like the opera, oratorio, monodic song and instrumental toccata. It was a time of change and the arpa doppia, the chitarrone and the chitarra spagnola were right in the thick of things. The triple harp flourished in Naples and Florence, especially through the works of Mayone and Trabaci. The designation "arpa doppia" however first appears in Monteverdi's opera "L'Orfeo" of 1607. The Florentine "Intermedi" for the Medici wedding of 1589 include the arpa doppia and the newly developed chitarrone, a large lute with extra bass strings. Kapsberger was one of the first virtuosi to write for the chitarrone (also known as a theorbo). The 5-course Spanish guitar emerged in Spain in the late 16th century, becoming popular in Italy through the virtuoso playing and compositions of Francesco Corbetta.

This charming, elegant music testifies to the magnificence of that era. The confidence and fluency exhibited by Eilander and Stubbs tops off the allurement, and the recording is bright and detailed. Thoroughly enjoyable.
Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Average customer rating: 4.5 out of 5 stars
  • A Classic Set
  • Callas is okay- Price the ONLY VERDI SOPRANO????
  • An excellent "Forza" but not the best all round performance
  • Brilliant Forza and a stupid reviewer
  • Brilliant - But I also love Tebaldi
 Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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  1. Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan
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  3. Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
  4. Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
  5. Verdi: Aida (complete opera) with Maria Callas, Richard Tucker, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B000002RY5
Release Date: 1997-08-19

Tracks:

  1. La forza del destino: Sinfonia
  2. La forza del destino: Act One: Buona notte, mia figlia (Leonora)
  3. La forza del destino: Act One: Temea restasse qui fino a domani! (Leonora)
  4. La forza del destino: Act One: Me pellgrina ed orfana (Leonora)
  5. La forza del destino: Act One: M'aiuti, signorina, piu presto andrem (Leonora)
  6. La forza del destino: Act One: Ah, per sempre, o mio bell'angiol (Alvaro, Leonora)
  7. La forza del destino: Act One: Vil seduttor! Infame figlia! (Leonora, Alvaro)
  8. La forza del destino: Act Two: Scene One: Hola, hola, hola! Ben giungi, o mulattier
  9. La forza del destino: Act Two: Scene One: La cena e pronta (Carlo)
  10. La forza del destino: Act Two: Scene One: Che vedo! Mio fratello! (Leonora, Carlo)
  11. La forza del destino: Act Two: Scene One: Viva la guerra! (All)
  12. La forza del destino: Act Two: Scene One: Al suon del tamburo (All)
  13. La forza del destino: Act Two: Scene One: Padre Eterno Signor (Leonora, Carlo)
  14. La forza del destino: Act Two: Scene One: Viva la buona compagnia! (Carlo, Preziosilla)
  15. La forza del destino: Act Two: Scene One: Poich'e imberbe l'incognito (Carlo)
  16. La forza del destino: Act Two: Scene One: Son Pereda, son ricco d'onore (Carlo)
  17. La forza del destino: Act Two: Scene One: Sta bene (Preziosilla, Carlo)
  18. La forza del destino: Act Two: Scene Two: Sono giunta! Grazie, o Dio! (Leonora)
  19. La forza del destino: Act Two: Scene Two: Madre, pietosa Vergine (Leonora)
  20. La forza del destino: Act Two: Scene Two: Chi siete? (Melitone, Leonora)
  21. La forza del destino: Act Two: Scene Two: Chi mi cerca? (Guardiano, Leonora, Melitone)
  22. La forza del destino: Act Two: Scene Two: Infelice, delusa, rejetta (Leonora, Guardiano)
  23. La forza del destino: Act Two: Scene Two: Il santo nome di Dio Signore sia benedetto (Guardiano)
  24. La forza del destino: Act Two: Scene Two: La Vergine degli Angeli (Guardino, Leonora, All)

Tracks:

  1. La forza del destino: Act Three: Scene One: Attenti al gioco, attenti, attenti al gioco
  2. La forza del destino: Act Three: Scene One: La vita e inferno all'infelice
  3. La forza del destino: Act Three: Scene One: O tu che in seno agli angeli (Alvaro)
  4. La forza del destino: Act Three: Scene One: Al tradimento! (Carlo, Alvaro)
  5. La forza del destino: Act Three: Scene One: All'armi!
  6. La forza del destino: Act Three: Scene Two: Arde la mischia!: Piano...qui posi...approntisi il mio letto (Alvaro, Carlo)
  7. La forza del destino: Act Three: Scene Two: Solenne in quest'ora (Alvaro, Carlo)
  8. La forza del destino: Act Three: Scene Two: Morir! Tremenda cosa!
  9. La forza del destino: Act Three: Scene Two: Urna fetale del mio destino (Carlo)
  10. La forza del destino: Act Three: Scene Two: E s'altra prova rinvenir potessi? (Carlo)
  11. La forza del destino: Act Three: Scene Three: Compagni, sostiamo
  12. La forza del destino: Act Three: Scene Three: Ne gustar m'e dato un'ora di quiete (Alvaro, Carlo)
  13. La forza del destino: Act Three: Scene Three: Lorche pifferi e tamburi par che assordino la terra (Preziosilla)
  14. La forza del destino: Act Three: Scene Three: Qua, vivandiere, un sorso
  15. La forza del destino: Act Three: Scene Three: A buon mercato chi vuol comprare?
  16. La forza del destino: Act Three: Scene Three: Pane, pan per carita!
  17. La forza del destino: Act Three: Scene Three: Nella guerra e la follia (Preziosilla)
  18. La forza del destino: Act Three: Scene Three: Toh! Toh! Poffare il mondo! Che tempone! (Melitone, Preziosilla)
  19. La forza del destino: Act Three: Scene Three: Rataplan, rataplan, della gloria (Preziosilla)

Tracks:

  1. La forza del destino: Act Four: Scene One: Fate la carita, e un'ora che aspettiamo! (Melitone, Guardiano)
  2. La forza del destino: Act Four: Scene One: Giunge qualcuno, aprite (Guardiano, Melitone)
  3. La forza del destino: Act Four: Scene One: Invano Alvaro ti celasti al mondo
  4. La forza del destino: Act Four: Scene One: Le minaccie, i fieri accenti (Alvaro, Carlo)
  5. La forza del destino: Act Four: Scene Two: Pace, pace mio Dio! (Leonora)
  6. La forza del destino: Act Four: Scene Two: Io muoio! Confessione! (Carlo, Alvaro, Leonora)
  7. La forza del destino: Act Four: Scene Two: Non imprecare, umiliati a Lui ch'e guisto e santo (Guardiano, Leonora, Alvaro)

Amazon.com

If it were not for Maria Callas, we would all think that La Forza del Destino is essentially a prime exercise and showcase for great soprano voices, with a few goodies thrown in for the rest of the cast and the chorus. In this recording, Callas's voice is not technically great, though it is usually good.She makes most of her points by other means: close attention to the value of words, subtle nuances of tone and phrasing, an uncompromising determination to confront the emotions in the text and convey them honestly and strongly, even when they reach a terrifying intensity. We have here, under the absurdities of plot, a compelling psychological portrait of a woman driven beyond her limits--a woman whose brother wants to kill her lover, who has killed her father. The supporting cast is skilled and Serafin shapes a powerful interpretation. -- Joe McLellan

Customer Reviews:

5 out of 5 stars A Classic Set.......2006-11-09

Despite the few cuts and the mono recording this is still one of the most desirable sets of "La Forza del Destino". The main reason is of course Maria Callas's traversal of the role of Leonora. She was still in pretty good voice at this stage in her career and, though there are moments more comfortably vocalised by some of her rivals ("la vergine degli angeli" for instance), she is the complete Verdi heroine. No other soprano sets before us so well a character torn between conflicting feelings in the first act - on the one hand, love and filial duty, and on the other, love for Don Alvaro. Her very first utterances have a thrill unmatched on other recordings. Later, in the second scene of Act II, she is absolutely superb. Whenever she is before the microphone, we are aware of the greatness of the score as music drama. Here she is helped immeasurably by Serafin's command of the dramatic impulse of the music, and the magisterial, kindly and protective Padre Guardiano of Nicola Rossi-Lemeni. Others may have sung the role with better technique and more beautiful tone, but few, if any, are more interesting in the role. Of the other principals, Richard Tucker is almost their equal. With a voice so splendid and so suitable for the role, it seems a pity that he occasionally feels the need to make up for the fact that he is not Italian, by breaking the line of his singing with unmusical aspirate and sobs. In all other respects he is ideal. Carlo Tagliabue is a little past his best (he was 56 at the time of the recording), but he sings with authority, if without great immagination. Elena Nicolai is, if not the best or most accurate of Peziosillas, at least a spirited and involved performer. Both Plinio Clabassi as Il Marchese di Calatrava and Renato Capecchi as Melitone give strong accounts of their roles.
I have never quite been able to understand why in some of EMI's Callas recordings from this time the mono sound is pretty open and in others quite constricted. This, like the De Sabata "Tosca" is really pretty good. I hardly missed stero at all. And Serafin is superb. He is still, to my mind, a severely underrated conductor. Seen as a singer's conductor, he is somehow thought of as being a little anonymous, but for me, he allows the music and the drama to unfold in a completely natural way, without drawing too much attention to himself, as so many modern conductors tend to do. His "Otello", after all, is considered one of the best conducted versions in the catalogue.
As the previous reviewer noted, this is probably the most expensive way of acquiring this set, but it does come with full notes, libretto and translation. If they are not important to you, you may wish to wait until it is issued at super bargain price, as it inevitably will be, by Naxos, Regis and EMI themselves.

3 out of 5 stars Callas is okay- Price the ONLY VERDI SOPRANO????.......2006-09-06

Callas, not my favorite, could sing Verdi well so could Leontyne Price. Any statements suggesting that these were the only Verdi sopranos - Opera Lover's refusal to acknowledge anyone but Price suggests either very limited listening experience- what about Ponselle, or Milanov or poor hearing.
In this role Tebaldi is as good as I ever heard although she did not sing as much Verdi as the above mentioned divas. CAVEAT!!!! Unfortunately, I did not hear Ponselle either live or in the whole opera or all bets might be off with Tebaldi. Ponselle was a unique vocal and dramatic presence.

4 out of 5 stars An excellent "Forza" but not the best all round performance.......2006-08-24

I'm saddened by the intemperate nature of some of the preceding reviews of this recording, so let's try to keep it objective and fair. First, no-one inflects the text and caresses those glorious melodies as affectingly as Callas although Price in 1964 and Tebaldi in the (pretty raw!) live Mitropoulos recording run her close. The infamous "flap" in Callas' voice is only occasionally in evidence and she more than compensates with heart-wrenching portamenti and thrilling excursions into her lower register. Tucker is very, very good, if occasionally guilty of his besetting fault of being too lachrimose, but the top rings out magnificently. The rest of the cast, with the exception of Capecchi's firm, characterful Melitone, is not up to their standard, though Nicolai is wholly acceptable in the essentially irritating role of Preziosilla, with her silly tub-thumping music. Tagliabue is clearly past his best but does not disgrace himself, despite some rather nasal, laboured sounds. My one real bugbear is Rossi-Lemeni; I have never understood why he was so esteemed. The voice is woolly, unsteady, lacking centre and without the true bass gravitas the role of Padre Guardiano requires - although he certainly sounds old! Serafin's conducting is typically well-judged, in turn both pacy and intense as this gloomily beautiful music demands and you soon forget that the recording is mono, the sound being so clear, clean and brilliant. My favourite "Forza" is still the 1964 Schippers for the all-round excellence of the cast, though the 1947 Marinuzzi (available cheaply on Naxos) is worth having as it's a real period recording with a pulsating sense of live theatre about it (and you can hear Tancredi Pasero sing the role of Padre Guardiano as it should be sung). The above-mentioned live Mitropoulos contains the single most exciting piece of tenor singing I have ever heard in Del Monaco's "O tu che in seno" - the audience go wild and start mooing their appreciation like demented cattle - so you have quite a choice, the Schippers being the safest.

5 out of 5 stars Brilliant Forza and a stupid reviewer.......2004-11-22

What does such drivel give you? Do you have to bash a devoted artist in order to have a life? What a shame this is! This Sills-sycophant accuses Callas' fans of bashing while HE is the one who posts profane, unmusical and tasteless nonsense. I've worked with singers and conductors for over 50 years and am appalled by such awful manners and stupidity. This is a great La Forza del Destino. Even IF one were not to "get" Callas, how [...] he rate the work of a Tullio Serafin who experienced Verdi himself in such a horrenduous way? Go, listen to your Sills and leave the reviewing to those who have taste and musical knowledge!

5 out of 5 stars Brilliant - But I also love Tebaldi.......2004-10-18

The Callas-Forza is brilliant. Wonderful. But Callas was neither a mezzo (Well, with an F in her throat?) nor was her voice ugly IMHO but had a very unique beauty to it, very bittersweet, not all whipped cream like Tebaldi or today Fleming. But hey, I love many flavours. That's why I can heartily recommend both sopranos' Leonoras here.
Verdi: La Forza del Destino
Average customer rating: 4.5 out of 5 stars
  • warning: no libretto
  • Excellent in every way, yet another ignored Verdi Voice!
  • Musical Sheet Lightning
 Verdi: La Forza del Destino

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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  4. Donizetti: Lucrezia Borgia
  5. Verdi: Attila

ASIN: B000BO0GPO
Release Date: 2006-01-10

Tracks:

  1. Overture - Philharmonia Orchestra
  2. Introduzione-Scena: 'Buona Notte, Mia Figlia' - John Tomlinson
  3. Recitativo: 'Temea Restasse Qui Fino A Domani' - Jean Rigby
  4. Romanza: 'Me Pellegrina Ed Orfana' - Rosalind Plowright
  5. Scena: 'M'aiuti, Signoria' - Jean Rigby
  6. Duetto: 'Ah, Per Sempre, O Mio Bell'angiol...Seguirti Fino Agl'ultimi' - Jose Carreras
  7. Scena-Finale I: 'E Tardi...Vil Seduttor' - Various Artists
  8. Coro-Ballabile: 'Hola, Hola, Hola! Ben Giungi, O Multattier' - Mark Curtis
  9. Scena: 'La Cena E Pronta'/Recitativo: 'Viva La Guerra' - Various Artists
  10. Canzone: 'Al Suon Del Tamburo' - Various Artists
  11. Preghiera: 'Padre Eterno Signor...Pieta Di Noi' - Various Artists
  12. Scena: 'Viva La Buona Compagnia'/Recitativo: 'Poich'imberbe E L'incognito' - Various Artists
  13. Ballata: 'Son Pereda, Son Ricco D'onore' - Various Artists
  14. Scena, Coro E Ripresa Della Danza: 'Sta Bene' - Various Artists

Tracks:

  1. Aria: 'Son Giunta! Grazie, O Dio!...Madre, Pietosa Vergine' - Ambrosian Opera Chorus
  2. Scena: 'Chi Siete?' - Juan Pons
  3. Scena E Duetto: 'Chi Mi Cerca?...Infelice, Delusa, Reietta' - Paata Burchuladze
  4. Finale II: 'Il Santo Nome Di Dio Signore...La Vergine Degli Angeli' - Various Artists
  5. Scena: 'Attenti Al Gioco' - Jose Carreras
  6. 'La Vita E Inferno All'infelice' - Jose Carreras
  7. Romanza: 'Oh, Tu Che In Seno Agli Angeli' - Jose Carreras
  8. Scena E Duettino: 'Al Tradimento...Amici In Vita, In Morte' - Jose Carreras
  9. Scena: 'All'armi!'/Battaglia: 'Arde La Mischia!'/Scena: 'Piano...Qui Posi' - Various Artists
  10. Duettino: 'Solenne In Quest'ora' - Renato Bruson
  11. Scena: 'Morrir! Tremenda Cosa!' - Renato Bruson
  12. Aria: 'Urna Fatale Del Mio Destino...Egli E Salvo! Oh Gioia Immensa' - Jose Carreras

Tracks:

  1. Ronda: 'Compagni, Sostiamo' - Abrosian Opera Chorus
  2. Scena E Duetto: 'Ne Gustare M'e Dato Un'ora Di Quiete...Oh Tradimento!' - Renato Bruson
  3. Coro: 'Lorche Pifferi E Tamburi' - Abrosian Opera Chorus
  4. Strofe: 'Venite All'indovina' - Agnes Baltsa
  5. Scena: 'Que, Vivandiere, Un Sorso' - Agnes Baltsa
  6. Arietta: 'A Buon Mercato'/Coro: 'Pane, Pan Per Carita' - Various Artists
  7. 'Che Vergogna!' - Ambrosian Opera Chorus
  8. Coro-Taratella: 'Nella Guerra, E La Follia' - Various Artists
  9. Predica: 'Toh, Toh! Poffare Il Mondo'/(Recitativo): 'Lasciatelo Ch'ei Vada' - Juan Pons
  10. Rataplan: 'Rataplan' - Various Artists
  11. Coro Ed Aria Buffia: 'Fate La Carita...Che? Siete All'osteria?' - Ambrosian Opera Chorus
  12. Scena E Duetto: 'Auf! Pazienza Non V'ha Che Basti...Del Mondo I Disinganni'/Scena: 'Giunge Qualcun..Aprite' - Paata Burchuladze
  13. Scena E Duetto: 'Invano, Alvaro, Ti Celasti Al Mondo...Col Sangue Sol Cancellasi L'infamia' - Renato Bruson
  14. Melodia: 'Pace, Pace, Mio Dio' - Jean Rigby
  15. Scena E Terzetto Finale: 'Io Muoio...Confessione!...Non Imprecare, Umilitati' - Various Artists

Customer Reviews:

4 out of 5 stars warning: no libretto.......2007-02-22

This is a good recording, no doubt about it, but costumers should be aware of the fact that there is no libretto included, but only a detailed synopsis.

5 out of 5 stars Excellent in every way, yet another ignored Verdi Voice!.......2007-01-06

Fortunately, we do not have too many recordings of Forza to choose from. It is hard to cast those roles, so dramatic and long winded and phrases requiring piano and fortissimo and Rosalind Plowright was up to the challenge, but you need more than a big voice to justify Forza, you need TEXTURE too - depth, width, and sheen! No wonder, the opera has vanished from the repertory.

According to what I've heard, she was a Verdi soprano par excellence! Her tendency to cut the top notes short, play with the rhythm at times, and bottle up the tone can't detract from that awesome exciting voice AND that excellent Verdi beat. HOWERVER, Rosalind Plowright seemed to assiduously avoid the typical Verdian soprano sound a la Milanov, Price, Dunn, and Arroyo etc but opted for a brighter sound every bit as huge and crisp as Crespin and as veiled as the Callas of the 1960's. All this makes for an avalanche of a voice that must have raised the roof. She is very very thrilling to hear and this explains why she was a Verdi soprano of choice in Europe during the Milllo and Dunn years. I assume her voice didn't please everyone because it was unwieldy at the top, again like Crespin and also the tone hardened at times; in fact, i must repeat, she sounds exactly like a combination of Callas and Crespin. But make no mistake, those great divas never wrapped their great voices around Verdian phrases like Plowright, especially in .."Son Giunto, grazie o Dio" for in this regard she joins that long line of Verdians going way back to Arangi-Lombardi, Ponselle, and Milanov -- this is Art and anyone who has studied Verdi can identify a Verdian of this caliber. You Verdians out there know what I mean.

Carerras is close to the microphone, and this forcing does not do well in Verdi. Nevertheless, there is an honesty with this man, a passion, an innate truth. I prefer him dead or alive to Domingo, but he is not at the technical level of Domingo or Aragall. Preziosilla is Ms. Baltsa, and how well she sings. I am a FAN of RENATO BRUSON so its not fair to sing his praises!

Giuseppe Sinopoli is intense and he achieves a noble Verdi sound appropriate for Forza, nice and warm sounding but rhythmic indeed. I do like his work in this Forza and I think his work as a Verdian has NOT been bettered, not even by Jimmy Levine who I also really like. However, Trovatore belonged to Zubin Mehta and Humberg (I think I spelled it right - he is on the Naxos Trovatore)

TOP MODERN VERDI -- THAT IS MY ASSESSMENT!

5 out of 5 stars Musical Sheet Lightning.......2006-10-11

Although Verdi's basic style was established early in Nabucco (1842), he keeps getting better down through the 1860s with the spectacular La Forza del Destino and Don Carlo. In listening to his operas after 1870, I am too familiar with Aida and Otello to be deeply impressed with them; and I have never cared for Falstaff. The progress toward "true music drama" climaxing in Otello does not concern me although Boito's brilliant libretto makes that 1887 opera one of Verdi's best. The setting and plot of La Forza del Destino interest me more than any other Verdi opera. The accidental killing of a father, the brother's irrational but deadly vendetta and ,above all, the role played by Italian monasticism capture my imagination. Verdi's supercharged music is convincing at every point. What could be more electric than the brooding overture with its mournful clarinet melody? Leonora prays convincingly to the Virgin and then with a group of monks in Act II. I recall the role played by Italian monasticism in Ann Radcliffe's striking novel The Italian published in the 1790s, the same decade that Cherubini's Medee set the pattern of "grand opera," a basic element in Verdi despite all the talk about "music drama" without arias. Ewen observes, "With its pronounced dramatic content and enriched harmonic and orchestral writing, La Forza del Destino represents a gradual departure from the style of La Traviata toward that of Aida." I prefer to see this brilliant opera as a end in itself apart from any progressive scheme.

I appreciate most the interaction of keen drama with religion in a form preferable to the rather morbid religious-secular dualism of Wagner's Tannhauser. Although Verdi's monks may sing quietly, the religious element blends with the plot more convincingly than in Wagner's schematically opposed Pilgrim's Chorus and Venusberg music. Even more striking is the contrast between Verdi's opera and Tchaikovsky's frantic Eugen Onegin where the protagonist's stupid egotism results in a tragic duel. In Act IV of La Forza del Destino the noble lover Alvaro tries to convince the vengeful Carlo that "God alone can bring retribution." Although Carlo murders his sister and Alvaro is weak enough to curse his "destiny" (secular language for the overruling sovereignty of God), the last word goes to Padre Guadiano in "Non imprecare, umiliati." In addition to all these features the performance gives us Agnes Baltsa as an entertaining gypsy Preziosilla. Verdi measures out just the right amount of this change of pace rather than making us wallow in it as does Bizet's Carmen. In his great tragic opera, Verdi proves once for all that one of the best forms of opera is high-tension theater. His work forms a perfect complement to the operas of Meyerbeer.
Rossini - Il barbiere di Siviglia / Nucci, Bartoli, Matteuzzi, Fissore, Bruchuladze, Patanè
Average customer rating: 4 out of 5 stars
  • Bartoli as Rosina...the beginning
  • The Previous Review is wrong
  • I like more Callas and De Los Angeles!
  • At last-a coloratura mezzo!
 Rossini - Il barbiere di Siviglia / Nucci, Bartoli, Matteuzzi, Fissore, Bruchuladze, Patanè
Gioachino Rossini , Leo Nucci , Cecilia Bartoli , Giuseppe Patanè , Orchestra e Coro del teatro comunale di Bologna , William Matteuzzi , Enrico Fissore , Paata Burchuladze , Gloria Banditelli , and Michele Pertusi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041W2
Release Date: 1989-09-26

Tracks:

  1. Sinf - Orch Del Teatro Comunale Di Bologna/Giuseppe Patane
  2. Act One, Scene 1: Pno, Pianissimo - Michele Pertusi
  3. Act One, Scene 1: Ecco, Ridente In Cielo - William Matteuzzi
  4. Act One, Scene 1: Gente Indiscreta - William Matteuzzi
  5. Act One, Scene 1: Largo Al Factotum - Leo Nucci
  6. Act One, Scene 1: Ah, Ah! Che Bella Vita! - Leo Nucci
  7. Act One, Scene 1: All'Idea Di Quel Metallo - Leo Nucci
  8. Act One, Scene 2: Una Voce Poco Fa - Cecilia Bartoli

Tracks:

  1. Act One, Scene 2: Si, Si, La Vincero - Cecilia Bartoli
  2. Act One, Scene 2: La Calunnia E Un Venticello - Paata Burchuladze
  3. Act One, Scene 2: Ah! Che Ne Dite? - Paata Burchuladze
  4. Act One, Scene 2: Dunque Io Son...Tu Non M'Inganni? - Cecilia Bartoli/Leo Nucci
  5. Act One, Scene 2: Ora Mi Sento Meglio - Cecilia Bartoli
  6. Act One, Scene 2: A Un Dottor Della Mia Sorte - Enrico Fissore
  7. Act One, Scene 2: Ehi, Di Casa!...Buona Gente! - Willaim Matteuzzi
  8. Act One, Scene 2: Che Cosa Accadde - Leo Nucci
  9. Act One, Scene 2: Questa Bestia Di Soldato - Enrico Fissore
  10. Act One, Scene 2: Fredda Ed Immobile - Cecilia Bartoli
  11. Act One, Scene 2: Mi Par D'Essere Con La Testa - Gloria Banditelli/Cecilia Bartoli/William Matteuzzi/Leo Nucci/Paata Burchuladze/Enrico Fissore...

Tracks:

  1. Act Two: Ma Vedi Il Mio Destino! - Enrico Fissore
  2. Act Two: Insomma, Mio Signore - Enrico Fissore
  3. Act Two: Contro Un Cor Che Accende Amore - Cecilia Bartoli
  4. Act Two: Bella Voce! Bravissima! - William Matteuzzi
  5. Act Two: Bravo, Signor Barbiere - Enrico Fissore
  6. Act Two: Don Basilio! - Cecilia Bartoli
  7. Act Two: Ah! Disgraziato Me! - Enrico Fissore
  8. Act Two: Dunque Voi Don Alonso - Enrico Fissore
  9. Act Two: Temporale - Orch Del Teatro Comunale Di Bologna/Giuseppe Patane
  10. Act Two: Alfine, Eccoci Qua - Leo Nucci
  11. Act Two: Ah! Qual Colpo Inaspettato! - Cecilia Bartoli
  12. Act Two: Ah! Disgraziati Noi! - Leo Nucci
  13. Act Two: Di Si Felice Innesto - Leo Nucci

Customer Reviews:

4 out of 5 stars Bartoli as Rosina...the beginning.......2007-02-05

We must not be to quick to judge Ms. Bartoli's instrument based soley on this recording. She was only twenty three at the time and shows remarkable skill for someone whose voice is, in essence, only about 10 years old. Here she sounds much more like a true mezzo-soprano than she does today, her tone is dark and full--quite different from the light, ringing, bell-like sound that we attribute to her today. She sounds a trifle strained at the top of her register, near B and C, but this is not where the meat of Rosina lies. Her sound is consistant in the troubling middle range and even does a fair job with the low Gs that litter the score. Her natural charm comes through in the scenes of the opera rather than in her solo line. She plays wonderfully with Leo Nucci, the great Italian "working-man" baritone of the 80s, here heard in his prime before he started taking on the heavier Verdi repertoire. The rest of the cast is exemplary and the wonderful nuances of the Italian language are brought to the fore by native speakers. This is a wonderful recording of a truly wonderful opera. I was most pleased to add it to my collection.

5 out of 5 stars The Previous Review is wrong.......2005-09-24

The previous review that said Bartoli has no high notes is completely out of his mind. Not only does Bartoli have the high notes her role requires, but she also has everything else. SHe is one of the few exemplary Rosina's on record and far surpasses Callas or any other coloratura for that matter( Sill's being an exception just on sheer characterization). IN addition to this the rest of the cast is wonderful, although some may prefer Sherill Milnes. This recording is wonderful and should be a staple in any opera lover's library.

2 out of 5 stars I like more Callas and De Los Angeles!.......2005-09-06

I' dont like this version, because Cecilia Bartoli is very good for sing dificult ornaments, but not very efficient in the high notes -in a lot of moments she shout and gasp-, and I think that her vibrato is, sometimes, excesive. I recomended Callas or Victoria De Los Angeles.

5 out of 5 stars At last-a coloratura mezzo!.......2003-08-24

Let me confess, first of all, that I have never been convinced that Cecilia Bartoli deserves quite all the adulation she receives. Second, I have always had difficulty completely enjoying "The Barber of Seville" - and other Rossini operas - because of his passion for coloratura mezzos, common enough in his time but an almost extinct breed today. If a modern mezzo manages to get through the difficult coloratura passages without totally disgracing herself, she still sounds old enough to be Rosina's mother. Bartoli not only sails easily and delightfully through the hard stuff; she manages to sound like a young woman in the process. The rest of the cast is excellent, and, being almost completely Italian, puts a liitle more zing into the acting than non-italians can achieve. Hearing this has not only put it on my wishlist; it has made me reevaluate Bartoli.
Rossini - Tancredi / Kasarova, Mei, Vargas, Peeters, Cangemi, Paulsen, Münchner Rundfunkorchester, R. Abbado
Average customer rating: 4.5 out of 5 stars
  • Masterpiece performance!
  • Simply lovely
  • A good recording, but not for me
 Rossini - Tancredi / Kasarova, Mei, Vargas, Peeters, Cangemi, Paulsen, Münchner Rundfunkorchester, R. Abbado
Gioachino Rossini , Roberto Abbado , Vesselina Kasarova , Eva Mei , Münchner Rundfunkorchester , Ramón Vargas , Harry Peeters , Verónica Cangemi , Melinda Paulsen , and Chor des Bayerischen Rundfunks
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FZL
Release Date: 1996-09-17

Tracks:

  1. Tancredi: Act I: Overture
  2. Tancredi: Act I: No1.. Introduction - Pace - honore - fede - amore (Coro, Isaura, Argirio, Orbazzano)
  3. Tancredi: Act I: Recitativo secco - Ed ecco, o prodi Cavalier, L'Eroe (Argirio, Orbazzano, Isaura)
  4. Tancredi: Act I: No. 2 Coro e Cavatina - Piu dolci e placide spirano L'aure (Coro, Amenaide)
  5. Tancredi: Act I: Recitativo secco - E gia deciso, o figlia (Argirio, Amenaide, Isaura, Orbazzano)
  6. Tancredi: Act I: No. 3 Recitativo e Cavatina - Oh patria! - dolce, e ingrata patria! (Tancredi)
  7. Tancredi: Act I: Recitativo secco - D'Amenaide ecco il soggiorno (Tancredi, Roggiero, Argirio, Amenaide)
  8. Tancredi: Act I: No. 4 Recitativo accompagnato - La morte!; Della patria ogni nemico (Amenaide, Argirio)
  9. Tancredi: Aria - Pensa che sei mia figlia (Argirio)
  10. Tancredi: Recitativo secco - Che feci! - Incauta! (Amenaide, Tancredi)
  11. Tancredi: No. 5 Recitativo e Duetto - O qual scegliesti terribil ora! (Amenaide, Tancredi)
  12. Tancredi: Recitativo secco - Che intesi! oh tradimento! (Roggiero)
  13. Tancredi: No. 6 Coro - Amori - scendete
  14. Tancredi: Recitativo secco - Oh canti! - oh voti! (Tancredi, Roggiero, Argirio, Amenaide, Isaura, Orbazzano)
  15. Tancredi: No. 7 Recitativo istrumentale - Da chi? - perche...Orbazzan! (Tancredi, Amenaide, Argirio, Isaura, Orbazzano)
  16. Tancredi: Finale Primo - Ciel - che intesi! oh tradimento! (Argirio, Orbazzano, Tancredi, Amenaide, Isaure, Roggiero, Coro)

Tracks:

  1. Tancredi: Act II: Recitativo secco - Vedesti?...Vidi...(Orbazzano, Isaura, Argirio)
  2. Tancredi: Act II: No. 8 Recitativo e Aria - Oh Dio! - Crudel! - Qual nome caro e fatal (Argirio, Coro)
  3. Tancredi: Act II: Recitativo secco - Trionfa, esulta, barbaro! (Isaura, Orbazzano)
  4. Tancredi: Act II: No. 9 Aria - Tu che i miseri conforti (Isaura)
  5. Tancredi: Act II: No. 10 Scena e Cavatina - Di mia vita infelice eccomi dunque al fin! (Amenaide)
  6. Tancredi: Act II: Recitativo secco - Di gia l'ora e trascorsa (Orbazzano, Amenaide, Argirio, Tancredi)
  7. Tancredi: Act II: No.11 Recitativo e Duetto - M'abbraccia, Argirio (Tancredi, Argirio)
  8. Tancredi: Act II: Recitativo secco - Ov'e?...Dov'e? lasciatemi - l'amica (Isaura, Amenaide, Argirio)
  9. Tancredi: Act II: No 12. Recitativo e Aria; Recitativo secco - Gran Dio! Deh, tu proteggi; Quante vicende omai (Amenaide, Coro, Isaura)
  10. Tancredi: Act II: No.12 Coro - Plaudite, o popoli (Coro, Tancredi)
  11. Tancredi: Recitativo secco - Le insegne mie raccogli, fido Roggier (Tancredi, Roggiero, Amenaide)
  12. Tancredi: No.14 Recitiativo e Duetto - (Fiero incontro!) E che vuoi? (Tancredi, Amenaide)
  13. Tancredi: Recitativo secco - Infelice Tancredi (Roggiero, Isaura)
  14. Tancredi: Act II: No. 15 Aria - Torni alfin ridente (Roggiero)

Tracks:

  1. Tancredi: Ferrara Finale: No.16-IA Scene e Cavatina - Dove son io? - Fra quali orror (Tancredi)
  2. Tancredi: Ferrara Finale: No.16-IIA Coro di Cavalieri - Regna il terror nella Citta
  3. Tancredi: Ferrara Finale: No.16-IIIA: Recitativo - Ecco amici Tancredi (Amenaide, Argirio, Tancredi)
  4. Tancredi: Ferrara Finale: Rondo - Perche turbar la calma di questo cor (Tancredi, Coro)
  5. Tancredi: Ferrara Finale: Recitiativo secco - Ah! ch'ei si perde! (Amenaide, Argirio, Isaura)
  6. Tancredi: Ferrara Finale: No.17-A Coro - Muore il prode, il vincitor
  7. Tancredi: Ferrara Finale: Recitativo secco - Barbari! Evano ogni rimorso (Amenaide, Tancredi, Argirio)
  8. Tancredi: Ferrara Finale: No.18-A Recitiativo e Cavatina Finale - Oh dio... lasciarti io deggio (Tancredi)
  9. Tancredi: Venezia Finale: No.16-I Scene e Cavatina - Dove son io? - Fra quali orror (Tancredi)
  10. Tancredi: Venezia Finale: No.16-II Coro di Saraceni - Regna il terror nella Citta (Coro)
  11. Tancredi: Venezia Finale: No.16-III Recitativo secco - Fra Saraceni io dunque son? (Tancredi, Amenaide, Argirio)
  12. Tancredi: Venezia Finale: No16-IV Marcia e Aria - Qual suon? - che miro!...(Tancredi, Coro)
  13. Tancredi: Venezia Finale: Recitativo secco - Ah! ch'ei si perde (Amenaide, Argirio, Isaura, Tancredi)
  14. Tancredi: Venezia Finale: No.17 Finale Secondo - Fra quei soavi palpiti (Amenaide, Argirio, tancredi, Tutti)
  15. Tancredi: Appendix: No.10-A Cavatina - Ah, se pur morir degg'io (Amenaide)
  16. Tancredi: Appendix: No.3-A Recitativo e Cavatina - O sospirato lido! o cara albergo (Tancredi)

Amazon.com

Granted, the plot is silly and slow-moving, the characters are strictly cardboard, and the role of the male romantic lead was written for a female mezzo-soprano. But the splendidly florid music, and amazing opportunities for bel canto vocalism make up for it. This recording, using the critical edition, is outstanding on the vocal front. The stunning Bulgarian mezzo-soprano Vesselina Kasarova has a rich, full tone and clean, accurate runs. She is well partnered by Eva Mei, whose bright but effective soprano carries a good characterization of a dramatically rather thankless role. Tenor Ramon Vargas nails his coloratura and possesses a ringing tone. They are well supported by the secondary principals, Muenchen Rundfunkorchester and the men of the Chor des Bayerischen Rundfunks, all superbly conducted by Roberto Abbado. As an added bonus, the listener can choose between the original happy ending and the dramatically more viable tragic conclusion with which Rossini later revised the opera. --Sarah Bryan Miller

Customer Reviews:

5 out of 5 stars Masterpiece performance!.......2006-04-21

This is one of the 3 best recordings of Tancredi around (the others being the Naxos set with Ewa Podles/Sumi Jo and the set with Marilyn Horne/Cuberli in the leads).

Roberto Abbado's conducting is wonderful. The intro into Tancredi's first aria, 'Oh, patria!'; for example, is not too fast like it is usually done. In all other recordings, this orchestral intro is so fast they sound like a ship-wreck in the making. In this recording; however, Roberto Abbado's expansive reading sets a mood that vividly describes Tancredi's arrival by sea to Syracuse. The tempo is consistent with the ship sailing into port with the short spurts of violin phrases sounding like sea swallows flying by over the vessel. The final passage of the intro even eases off gently as the ship has beached and we hear the waves washing gently over the sand as Tancredi steps onto the shore he had longed for for years to return to before launching into his aria. This subtlety and clear painting quality is sustained through out this performance. A masterful reading that should do Rossini proud.

Vesselina Kasarova's Tancredi is quite unlike Horne's or Podles' established and sure of himself warrior, but more of a sensitive yet tough young knight who has been through a lot for his age. Youthful, introspective... and very passionately hot-blooded Italian. Kasarova's low notes may not sound as natural as those of Podles (but then she is a mezzo and not a contralto!), but they are mesmerizing nonetheless with a drop dead gorgeous middle range. And her acuti high notes are so free and ringing. And what agile coloratura with that plump a voice! The fioritura are fabulously musical, agile and accurate, and best of all is they add to the story telling rather than done to show off her considerable virtuosity. Totally committed to the role and a heck of an exciting singer.

The Italian Eva Mei is a fine Amenaide, too. Her coloratura is speedy and accurate, and she copes nicely with the difficult music, but doesn't always project her feeling into her singing (this makes quite a contrast with the very dramatically involved Kasarova during their duets). The voice also sounds thin and occasionally shrill at the top, tho it meshes with Kasarova's so beautifully in their duets.

Ramon Vargas makes a marvelous Argirio. He sounds rather young for the role, but what a beautiful lyric tenor voice! And absolutely even through the whole range. He copes effortlessly with the role's obnoxiously difficult score. It really is too bad that Argirio is such a thankless role to sing. This portrayal is one of the best on record.

All in all, this is a wonderful musical performance of Rossini's masterpiece melodrama. It is melodramatic to the ears. And that's not something I can say about most other recording of the piece.

A nice bonus with the set is it comes with both Ferrara tragic and Venezia happy endings...in full (hence 3 CDs). The booklet has nice info on the history of the opera and full libretto in 4 languages (Italian, English, German, French).

5 out of 5 stars Simply lovely.......1999-11-04

This, the opera that first brought Rossini fame, is a rather dramatically run-of-the-mill affair. Hero believes heroine unfaithful, fights for her honor anyway, and realizes the entire time that she has been true to him. But the music is quite wonderful, and sung with brilliance and conviction by the entire cast. The Bulgarian mezzo, Kasarova, is marvelous, her dark tone and rock-solid florid technique ensure that one does not forget she is playing a man. Eva Mei floats lovely pianissimos and sings her coloratura with assurance, while managing to put some character to this one-dimensional role. Ramon Vargas proves himself a Rossini tenor par excellence, and the rest of the cast is strong. RCA provides both finales Rossini wrote for the opera, one with a "happy" ending (Tancredi lives) and one with a tragic ending (Tancredi dies). There are also two arias for the hero and heroine in an appendix. Very full, complete recording. A must for Rossini and bel canto enthusiasts.

4 out of 5 stars A good recording, but not for me.......1999-03-07

I tried hard to like this recording, yet I was bored. This is not the performers' fault, all of whom do a marvelous job. Rather, my dissatisfaction with the recording comes from my confusion about how the music of Rossini's early period should be performed. This music falls somewhere between a baroque opera seria and a bel canto opera, and I just can't decide whether one should sing it the way one would sing Vivaldi or the way one would sing Verdi. While I was trying to do justice to Kasarova I was simultaneously wishing for a counter-tenor to sing her role. While thinking of what the performance might have been I ruined my enjoyment of the performance that was.
Rossini - Il barbiere di Siviglia / Hagegard · Larmore · Giménez · Corbelli · Ramey · Frittoli · Lausanne OC · López-Cobos
Average customer rating: 4 out of 5 stars
  • Rossini would be laughing!
  • Try Another one
  • ¡ WHAT A PERFORMANCE !
  • Best Digital version
  • marvelous
 Rossini - Il barbiere di Siviglia / Hagegard · Larmore · Giménez · Corbelli · Ramey · Frittoli · Lausanne OC · López-Cobos
Gioachino Rossini , Jesus Lopez-Cobos , Jennifer Larmore , Hakan Hagegard , Orchestre de Chambre de Lausanne , Samuel Ramey , Raúl Giménez , Alessandro Corbelli , Barbara Frittoli , and Leonard Graus
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B000000SGB
Release Date: 1993-09-07

Tracks:

  1. Il Barbiere di Siviglia: Sinfonia
  2. Il Barbiere di Siviglia: Atto Primo - No. 1 Introduzione
  3. Il Barbiere di Siviglia: Atto Primo - Cavatina
  4. Il Barbiere di Siviglia: Atto Primo - Ehi, Fiorello
  5. Il Barbiere di Siviglia: Atto Primo - Recitativo
  6. Il Barbiere di Siviglia: Atto Primo - No. 2 Cavatina
  7. Il Barbiere di Siviglia: Atto Primo - Recitativo
  8. Il Barbiere di Siviglia: Atto Primo - No. 3 Canzone
  9. Il Barbiere di Siviglia: Atto Primo - Recitavo
  10. Il Barbiere di Siviglia: Atto Primo - No. 4 Duetto
  11. Il Barbiere di Siviglia: Atto Primo - No. 5 Cavatina
  12. Il Barbiere di Siviglia: Atto Primo - Recitativo
  13. Il Barbiere di Siviglia: Atto Primo - No. 6 Aria
  14. Il Barbiere di Siviglia: Atto Primo - Recitativo
  15. Il Barbiere di Siviglia: Atto Primo - No. 7 Duetto
  16. Il Barbiere di Siviglia: Atto Primo - No. 8 Aria
  17. Il Barbiere di Siviglia: Atto Primo - No. 8 Aria
  18. Il Barbiere di Siviglia: Atto Primo Rectativo
  19. Il Barbiere di Siviglia: Atto Primo - No. 9 Finale 1

Tracks:

  1. Il Barbiere di Siviglia: Ecoo qua!... sempre un'istoria
  2. Il Barbiere di Siviglia: Atto Secondo - Recitatio
  3. Il Barbiere di Siviglia: Atto Secondo - No. 10 Duetto
  4. Il Barbiere di Siviglia: Atto Secondo - Recitativo
  5. Il Barbiere di Siviglia: Atto Secondo - No. 11 Aria
  6. Il Barbiere di Siviglia: Atto Secondo - Recitativo
  7. Il Barbiere di Siviglia: Atto Secondo - No. 12 Aretta
  8. Il Barbiere di Siviglia: Atto Secondo - Recitativo
  9. Il Barbiere di Siviglia: Atto Secondo - No. 13 Quintetto
  10. Il Barbiere di Siviglia: Atto Secondo - Recitativo
  11. Il Barbiere di Siviglia: Atto Secondo - No. 14 Aria
  12. Il Barbiere di Siviglia: Atto Secondo - Recitativo
  13. Il Barbiere di Siviglia: Atto Secondo - Temporate
  14. Il Barbiere di Siviglia: Atto Secondo - Recitativo
  15. Il Barbiere di Siviglia: Atto Secondo - No. 16 Terzetto
  16. Il Barbiere di Siviglia: Atto Secondo - Zitti, zitti
  17. Il Barbiere di Siviglia: Atto Secondo - Recitativo
  18. Il Barbiere di Siviglia: Atto Secondo - No. 17 Recitativo strumentato
  19. Il Barbiere di Siviglia: Atto Secondo - No. 18 Aria
  20. Il Barbiere di Siviglia: Atto Secondo - Recitativo
  21. Il Barbiere di Siviglia: Atto Secondo - No. 19 Finaletto II

Amazon.com

This is one of the best recordings of Barber currently available and definitely the winning newer version, the result of fine singing and outstanding ensemble work by the delightful mezzo- soprano Jennifer Larmore as a youthful Rosina, tenor Raul Gimenez as an Almaviva who can even handle the Count's long, difficult (and usually cut) final aria, "Cessa di piu resistere," and Hakan Hagegard as a delightful Figaro in good voice. Bass Samuel Ramey sings Basilio's aria with droll wickedness, while Alessandro Corbelli's Dr. Bartolo is a comic delight. Jesus Lopez-Cobos conducts with style and élan. --Sarah Bryan Miller

Customer Reviews:

5 out of 5 stars Rossini would be laughing!.......2003-05-27

A reviewer for American Record Guide said that this recording is unfunny (I believe "dreary" was the word he used). I haven't the slightest idea what he means. On the contrary, this performance of Rossini's comic masterpiece, IL BARBIERE DI SIVIGLIA, is delightful, simply because the singers are not TRYING to be funny. Instead, they and the orchestra under Lopez-Cobos carefully observe Rossini's dynamic and expression marks, and in doing so bring out the humor that Rossini wrote into the score. Consequently, this performance sounds the way that I believe Rossini himself, master of comic opera that he was, would have wanted it to sound. The singers are consistently outstanding. Haken Hagegard may not be an Italianate Figaro, but he is very likeable, displaying great personality in "Largo al factotum" and in the recitatives. Raul Gimenez, one of the finest Rossini tenors today, sings beautifully as Count Almaviva, exquisitely shading his voice in his two arias in the first scene and efortlessly handling "Cessa di piu resistere," his long aria at the end. Jennifer Larmore's Rosina is technically flawless, and she sings with a wonderfully light touch; her voice is always beautifully focused. Alessandro Corbelli isn't mentioned enough: he is simply one of the finest and subtlest "bassi-buffi" singing today. He really SINGS Bartolo (rather than "mugging"). And listen to his patter in "A un dottor della mia sorte"! Flawless! Expert Rossinian Samuel Ramey rounds out the cast as a superb Don Basilio, singing his aria, as the editorial reviewer pointed out, "with droll wickedness." To sum up, this is an outstanding modern recording of IL BARBIERE, with a cast and conductor who get the most out of this comic music. Rossini would be laughing!

1 out of 5 stars Try Another one.......2001-02-04

I really didn't like this recording. I was expecting a great show, and it is not 10% of it. this recording has no attractives.

5 out of 5 stars ¡ WHAT A PERFORMANCE !.......2000-08-04

I recomend this recording to those who like hearing an exelent sound made by the singers and the orquestra, directed by the great Lopez-Cobos. I like very much Larmore's interpretation, she is one of the best bel canto mezzo sopranos, and her singing is better with Raul Gimenez by her side. Larmore's "una voce poco fa", it's outstanding. Enjoy this opera, interpretated by these fabulous artists.

5 out of 5 stars Best Digital version.......1999-09-11

Outstanding set. Larmore never fails to amaze. Try "Una voce poco fa". True, she does show off a bit, but who cares? It is a stunning vocal display. Whenever I want to introduce someone to opera, I play this aria sung by Larmore because it is so amazing. Gimenez is one of the best Rossini tenors in the world today and he lives up to it on this record. Hagegard is also top notch. "Largo al factotum" jumps out of the speakers and he comes the closest to actually singing all the notes of anyone recently. The one caveat for this recording is the orchestra. I feel they don't support the cast strongly enough, or perhaps the sound engineers placed them too far back. Not enough orchestral bite. Otherwise outstanding.

5 out of 5 stars marvelous.......1999-07-14

This recording was a revelation.The ensemble singing was superb and the conductor had some new readings of some of the best known music in the world.I found the most outstanding element of this recording to be the singing of Raul Gimenez.Especially in the last act.The difficult final section of the opera was delivered with sublime ease!Get this opera,and enjoy!
Monteverdi: Vespro della beata vergine SV206; L' Incoronazione di Poppea SV308
Average customer rating: Not rated
    		Monteverdi: Vespro della beata vergine SV206; L' Incoronazione di Poppea SV308

    Manufacturer: Harmonia Mundi
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B00004UJLT
    Release Date: 1993-03-29
    Verdi: La Forza del Destino/Die Macht Des Schicksals/La Force Du Destin
    Average customer rating: 3.5 out of 5 stars
    • A most enjoyable forza
    • Wonderful conducting, but problematic leads
    • Lively conducting and fine Bruson, Pons and Baltsa!
    • very mixed
    • A+
    		 Verdi: La Forza del Destino/Die Macht Des Schicksals/La Force Du Destin

    Manufacturer: Umvd Import
    ProductGroup: Music
    Binding: Audio CD

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    Similar Items:
    1. Verdi: Attila

    ASIN: B000001G7F
    Release Date: 1990-10-25

    Tracks:

    1. Ov - Philharmonia Orchestra/Sinopoli
    2. Act One: Intro - Scena: ' Buona notte, mia figlia' - Tomlinson/Plowright
    3. Act One: Recitativo: 'Temea restasse qui fino a domani' - Rigby/Plowright
    4. Act One: Romanza: 'Me pellegrina ed orfana' - Plowright
    5. Act One: Scena: 'M'aiuti, signorina' - Rigby/Plowright
    6. Act One: Duetto: 'Ah, per sempre, o mio bell'angiol... Seguirti fino... - Carreras/Rigby/Plowright
    7. Act One: Scena - Finale I: 'E tardi... Vil seduttor' - Carreras/Rigby/Plowright/Tomlinson
    8. Act Two, Scene One: Coro - Ballabile: 'Hola, hola, hola! Ben giungi... - Ambrosian Opera Chorus
    9. Act Two, Scene One: Scena: 'La cena e pronta' Recitativo: 'Viva la... - Allan/Chorus/Plowright/Bruson/Curtis/Baltsa
    10. Act Two, Scene One: Canzone: 'Al suon del tamburo' - Baltsa/Bruson/Allan/Chorus
    11. Act Two, Scene One: Preghiera: 'Padre Eterno Signor... Pieta di noi' - Chorus/Bruson/Allan/Plowright/Baltsa/Curtis
    12. Act Two, Scene One: Scena: 'Viva la buona compagnia' Recitativo: 'Poich... - Bruson/Baltsa/Allan/Chorus/Curtis
    13. Act Two, Scene One: Ballata: 'Son Pereda, son ricco d'onore' - Bruson/Chorus
    14. Act Two, Scene One: Scena, Coro e Ripresa della Danza: 'Sta bene' - Allan/Baltsa/Bruson/Chorus

    Tracks:

    1. Act Two, Scene Two: Aria: 'Son giunta! grazie, o Dio!...Madre, pietosa Vergine - Plowright/Chorus
    2. Act Two, Scene Two: Scena: 'Chi siete?' - Pons/Plowright
    3. Act Two, Scene Two: Scena e Duetto: 'Chi mi cerca?...Infelice, delusa, reietta - Burchuladze/Plowright/Pons
    4. Act Two, Scene Two: Finale II: 'Il santo nome di Dio Signore... - Burchuladze/Pon/Plowright/Chorus
    5. Act Three, Scene One: Scena: 'Attenti al gioco' - Chorus
    6. Act Three, Scene One: 'La vita e inferno all'infelice' - Carreras
    7. Act Three, Scene One: Romanza: 'Oh, tu che in seno agli angeli' - Carreras
    8. Act Three: Scene One: Scena e Duettino: 'Al tradimento... - Bruson/Carreras
    9. Act Three, Scene One: Scena: 'All'armi!' - Chorus/Bruson/Carreras/Salomaa
    10. Act Three, Scene Two: Battaglia: 'Arde la mischia!' Scena: 'Piano... qui posi' - Bruson/Carreras
    11. Act Three, Scene Two: Scena: 'Morir! Tremenda cosa!' - Bruson
    12. Act Three, Scene Two: Aria: 'Urna fatale del mio destino... Egli e salvo!... - Bruson/Salomaa

    Tracks:

    1. Act Three, Scene Three: Ronda: 'Compagni, sostiamo' - Chorus
    2. Act Three, Scene Three: Scena E Duetto: 'Ne gustare m'e dato un'ora di... - Bruson/Carreras/Chorus
    3. Act Three, Scene Three: Coro: 'Lorche pifferi e tamburi' - Chorus
    4. Act Three, Scene Three: Strofe: 'Venite all'indovina' - Baltsa/Chorus
    5. Act Three, Scene Three: Scena: 'Qua, vivandiere, un sorso' - Chorus/Baltsa
    6. Act Three, Scene Three: Arietta: 'A buon mercato' Coro: 'Pane, pan per... - Curtis/Chorus
    7. Act Three, Scene Three: 'Che vergogna!' - Baltsa/Chorus
    8. Act Three, Scene Three: Coro - Tarantella: 'Nella guerra, e la follia' - Pons/Chorus
    9. Act Three, Scene Three: Predica: 'Toh, toh! Poffare il mondo!' Recitativo:... - Pons/Chorus/Baltsa
    10. Act Three, Scene Three: Rataplan: 'Rataplan' - Baltsa/Chorus
    11. Act Four, Scene One: Coro Ed Aria Buffa: 'Fate la carita...Che? Siete... - Chorus/Pons/Burchuladze
    12. Act Four, Scene One: Scena E Duetto: 'Auf! Pazienza non v'ha che basti... - Pons/Burchuladze/Bruson
    13. Act Four, Scene One: Scena E Duetto: 'Invano, Alvaro, ti celasti al mondo... - Bruson/Allan
    14. Act Four, Scene Two: Melodia: 'Pace, pace, mio Dio' - Plowright
    15. Act Four, Scene Two: Scena E Terzetto Finale: 'Io muoio...Confessione!... - Bruson/Carreras/Plowright/Burchuladze

    Customer Reviews:

    5 out of 5 stars A most enjoyable forza.......2005-10-12

    I have to say this opera has worked its way upwards in my esteem the past couple of months or so. The first time I listened to it I thought the choice of soprano for this recording was a terrible one, but as time goes by I find that I get more and more used to her way of singing. I wouldn't take it as far as saying that Rosalind Plowright is a perfect Leonora; but even so her performance is good enough and she gets better towards the end of the opera.

    The one that puts in an excellent performance here is my favourite mezzo soprano Baltsa who sings the part of Preziosilla. As always she's throwing herself heart and soul into the singing and she's adding that little extra to her performance that makes it a joy listening to her.

    Renato Bruson who has a beautiful baritone is singing the part of Don Carlo di Vargas. In the duet "solenne in quest'ora" with Carreras he sounds wonderful. And his aria "urna fatale" is pure delight.

    The one I have reservations about is Mark Curtis who sings the part of Trabucco. As always it's a matter of taste, but I find his voice to be unpleasant listening to.

    José Carreras sings the part of Don Alvaro and to my ears he sounds wonderful even if this was recorded in 1985 and many claim that his voice was way past his sell by date. I read a review from BelCanto regarding his "Forza" video performance in 1978 and they states that "In the aria Solenne in quest'ora he sings the phrase "vi stringo al cor mio" in one breath, a feat not even managed by Franco "big breath" Corelli". This made me curious to check whether he could still do the same in this recording 7 years later, so I sat down and listened closely to this particular aria. And guess what - HE DID IT!!!! And it sounds heavenly; absolutely heavenly. Carreras is like always a committed singer from beginning to end of this opera and gives it all in every aria. And when the result is as good as this; what more can one possibly want? To me, the most important thing isn't how loud a singer can be; what I'm looking for is a singer who can stir my emotions and in this respect Carreras is unsurpassed.

    The rest of the supporting cast is adequate and makes this "Forza" an enjoyable experience.

    3 out of 5 stars Wonderful conducting, but problematic leads.......2005-09-27

    Sinopoli was a very imaginative Verdi conductor and deserved better here. In ruth there was no Verdi dramatic soprano at the time who could sing Leonora to a high standard, and with Domingo already tired to the Levine set on RCA, and Pavarotti not having this role in his repertory (Don Alvaro is almost as heavy as Rhadames, which also was a strain for Pavarotti), Carreras was the logical choice, He does as good a job as you could want, and Rosalind Plowright has the notes for the part, despite having a peculiarly covered voice with curdled high notes.

    I owuld still defend this La Forza for the atmospheric sound and Sinopoli's wonderful conducting, but of course that's not enough to make a successful opera overall.

    3 out of 5 stars Lively conducting and fine Bruson, Pons and Baltsa!.......2004-05-16

    Sinopoli's usually bombastic conducting is more controlled in this Forza than on some of his other Verdi recordings. The problems lie in his cast.

    By the time this recording was made, Carreras' voice had lost most of the qualities that made him one of the greatest Verdi tenors ever! Granted, the sense of drama and understanding of Verdi's music is still legendary but, alas, the wear and wobble in the voice are unbearable especially if you have in mind the prime Carreras. He was in pristine shape for his La Scala Forza with Caballe in 1978.

    It was a good idea to finally hear a new soprano in a studio recording but casting Plowright wasn't the wisest choice. She has a some fine moments but her high notes are pinched and her Leonora on the whole forgettable. I wonder why DG didn't consider Millo or Barstow. Newcomers and both wonderful Verdi sopranos. Millo especially would have made a great Leonora di Vargas.

    Bruson, Pons and Baltsa are this set's strengths. Bruson remains one of the best Verdi baritones of any time! His big, handsome voice is exactly what this role needs. Burchuladze is adequate. The less famous Juan Pons impressed me since I first heard him during the Barcelona Olympic Games. His warm, firm bass is terrific though he could sing more excitingly. The also underrated Agnes Baltsa gives a superb performance of Preziosilla's thankless role. It's such a pity that her scenes are this opera's less memorable moments.

    In general, this is neither the worst nor the ultimate Forza del Destino. Mitropoulos' live '53 Firenze reading with the unequalled Mario Del Monaco and Renata Tebaldi remains the golden standard.

    2 out of 5 stars very mixed.......2000-04-02

    This recording is typical of the thrown together casts which got classical record companies into trouble. The vagaries of style and diction between the Padre Guardiano and Leonora in their dialogue - for example - makes you wonder if they are indeed supposed to be singing the same language. Carreras copes heroically with his dimishing resources and Bruson handles his under-sized voice very capably. Sinopoli's conducting, hasty, ill tempered and poorly organized, is particularly sad when compared to Serafin, Marinuzzi or Schippers on other (more or less) complete recordings. Overall, Levine's RCA cast pulls together for the best Forza in stereo.

    5 out of 5 stars A+.......1999-04-10

    This is, of course, a matter of preference, but this La Forza has been my favorite for the last five years. From it's most dramatic thunderous rendition of the famous overture to "Salita a Dio", it simply has no flaws. It has a great combination of principals - Carreras, Bruson and Plowright, all singing with utmost sincerity and power. The supporting roles are just as nicely cast. We can enjoy a real "gitana" portrayal by Agnes Baltsa as Preziosilla, unmatched on record, an imposing patriarchal image of Padre Guardino conveyed with ease by Paata Burchuladze, and interesting and amusing choice of Juan Pons for Fra Melitone. All these singers are well versed in Verdian repertoire, having performed numerous roles many times on stage and on record. Fantastic "Solemne in quest'ora" is reminiscent of well-known Del Monaco/Bastianini duet. Carreras's "La vita e inferno all'infelice" narrative is unique on record. It's not pitiful whining, as so many tenors sang it before, but it's a challenge to the cruel destiny! Grim determination of Bruson's Don Carlo makes him a perfect weapon in the hands of fate. Rosalind Plowright has a lovely voice and fine breath control; her romanza "Me Pellegrina ed orfana" is a real treat. (The only very minor nuisance is Mark Curtis' Trabuco; his weak and practically cracking voice is quite irritating, so I was glad Trabuco has only 3-plus minutes of "fame".) Sinopoli's intense rendition, sometimes maybe too loud for some ears, is appropriate since it provides good background for action. It's more similar to Gergiev's great vehement attempt at the original St. Petersburg 1863 version than to Muti's carefully polished presentation of familiar 1869 revision used for this recording as well. Overall, any serious Verdi fan cannot call his/her collection complete without this set, even if you have the celebrated Gardelli or Levine sets already. Not to mention the fact that DG provides great digital recording and comprehensive informative booklet.
    Spontini: Fernando Cortez
    Average customer rating: Not rated
      		Spontini: Fernando Cortez

      Manufacturer: Hardy Classic
      ProductGroup: Music
      Binding: Audio CD

      General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
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      ASIN: B000050JDK
      Release Date: 1999-01-01
      Les Lumières du Baroque: Une Encyclopédie Musicale (Box Set)
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        RequiemsRequiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
        Te DeumTe Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music
        Vocal Works by J.S. BachVocal Works by J.S. Bach | Bach, Johann Sebastian | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music
        GeneralGeneral | Soundtracks | Styles | Music
        ASIN: B00005REQH
        Release Date: 2002-02-12

        Music Review:

        1. Solo - Leroy Jenkins
        2. Solo Violin Sonatas
        3. Sonatas for 2 Violins
        4. Sound Paintings
        5. Tchaikovsky: Symphony No6, Op74; Strauss: Salome
        6. Telemann: Overture No3; Concerto for trumpets No2
        7. The Ahrend Organ of Monash University, Melbourne
        8. The Complete Mozart Piano Concertos, Vol. 4
        9. The Selfish Giant: Music by Graeme Koehne
        10. The Strauss Family: Favorite Melodies

        Music Review

        music review

        Music Review

        Move It Like This [Enhanced] [Import] [CD-single]

        Suk: String Quartet 2 / Martinu: String Quartet 7

        Swan Lake Suite / Le Cid Suite

        When You Wish Upon a Star Live 1940-1942 [Live]

        The Punisher [Soundtrack]

        Si Quieres Llorar, Llorar

        Un Nuevo Despertar

        The Salt Of Your Skin

        Thiago Espirito Santo [Import]

        Strauss - Salome / Inge Nielsen · Hale · Goldberg · Silja · Schønwandt

        Today's Swing N' Jive Hits [Original recording remastered]

        Smoking Reggaeton Hits {CD+DVD]

        Total Recall [Explicit Lyrics]

        Cakewalk: The Music of Louis Moreau Gottschalk

        The Evolution of Robin Thicke