| 1. Long Way Down |
| 2. Good Day |
| 3. Numb |
| 4. Electric Chair |
| 5. Life |
| 6. In the Middle There |
| 7. Sunniest of Weekends |
| 8. Bring Her In |
| 9. Here |
| 10. After Tomorrow |
| 11. If I Had The Wind |
| 12. Hidden track (waiting) |
Editorial Reviews
About the Artist
Upon completion of his first album, singer/songwriter TOM LUCE met with the program director of a legendary San Francisco rock station, during that meeting Luce said, "I would feel successful in my career if, one day, I was driving across the Golden Gate Bridge and I heard one of my songs on the radio." "...He got his wish, and then some."
Underestimated in Europe. His concert on 21 May 2007 in Amsterdam was superb!
This CD has two songs on it that are very unusual. I believe both are from Cirque de Soleil, and draw you into the music--warning-- While driving, do not close your eyes!
I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.
The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.
Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.
The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.
The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.
One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.
All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.
Maazel seems to enjoy the feel of the violin under his chin, and generally produces elegant sounds. The orchestration, which he tells us in his notes evolved amidst a hectic schedule of conducting and rehearsing Don Carlo and Don Giovanni, is basic and generally inoffensive. Good thing he tells the listener of his busy schedule, or one would have to be harsher with his sometimes dreary musical arrangements.
Andrea Bocelli is something of a controversial figure in some circles. I am a picky listener, and suffer from the maniacal ailments that afflict the opera buff. Still, I have always enjoyed Bocelli's popular recordings. I like pleasant tunes sung by a full, clear tenor voice. Having said this, I find his operatic recordings lamentable.
Though not opera per se, Bocelli sounds over-taxed by the repertory at hand (mostly lovely 19th century songs). Each track is unworthy of comparison with past performances by operatic greats-- Pavarotti, Carreras, Gigli, Di Stefano, and Schipa come to mind. Bocelli's voice is strained, and he offers nothing resembling the grace required by these three-minute masterpieces.
Those who are in love with Bocelli's voice will no doubt enjoy this recording. Still, I strongly urge exploring this repertory as it is presented by far more capable performers, and far better endowed voices.
First, let's consider a sampling of the cuts on these CDs.
"O Zittre Nicht" is from Mozart's "Magic Flute" and it is a challenge to sopranos, with its series of staccato high notes. Sutherland essays this well. There are some nice trills; she hits the high notes well. The series of (treacherous) high notes toward the end is handled very nicely by Sutherland. In short, she scintillates, with a closing high note well hit.
From Donizetti's "Linda di Chamounix," she sings "O luce di questi'anima." Her voice and technique are well suited for Donizetti (and Bellini). The cantabile is smoothly sung. The cabaletta is rollicking. Her coloratura technique is on target; the ornamentation is compelling. There are trills, runs, high notes and other ornamentation well done. The close is nice (although there may be a bit of a scoop on the final high note).
From "Beatrice di Tenda" (by Bellini), we hear ""Eccomi pronta. . .Deh, se un'urna." The cantabile is sung well. She hits notes clearly. The spirited cabaletta follows. Sutherland exhibits somewhat less ornamentation than usual, but trills are well done and, overall, the piece is nicely sung. The close features clean high notes.
"Home Sweet Home." This kind of illustrates Joan Sutherland's work nicely. I can hardly make out the words (and it is sung in English). But it is an interesting version. She sings the song straight, without overpowering the song with operatic technique (an occasional trill actually works out well).
Elsewhere, I have commented on her 1959 version of the "Mad Scene" from "Lucia di Lammermoor" (from her album "The Greatest Hits").
"Falling in Love with Love" is an interesting cut. This is a classic Rodgers and Hart song. Sutherland sings it pretty well, and one can pick up the words cleanly. However, one might compare this with Anna Moffo's version, which is more musical. Sutherland's version is a bit too operatic for what the song is about.
Finally, "Ah non giunge" from Bellini's "La Sonnambula," a great coloratura tune! This is taken at a sprightly pace. Sutherland exhibits good coloratura technique. There is nice ornamentation. She precisely nails high notes. In the repeat, the florid singing ramps up. This is a compelling version, with series of staccato high notes to close the work out.
Thus, this 2 CD set is a welcome entrée to the body of work of Dame Joan Sutherland. Sometimes (as with "Home Sweet Home") one has a hard time picking out the words. But with Sutherland, the skills and techniques create a compelling oeuvre that is well worth attending to.
Several of the songs on this CD just stick in your head and play like a soundtrack during the day. IMO, the best tracks are Buy a Dog, The Sweetest Smile, Fortunately I, Wanna Be, Outside of it All, With a Kiss, and Acid Rain. All of them fantastic.
Now --some constructive criticism -- The opening track isn't the strongest. This CD could benefit by renumbering the tracks, like Vertical Horizon did when they re-released "Go". (Recommend listening to the CD starting on track 2 and coming back to track 1 later.) Also, as they did with the first CD, Luce buried one of the CD's best tracks, Acid Rain, as a hidden bonus track. Acid Rain could be a huge hit -- it shouldn't be hidden, making it hard to find for airplay, etc. (It isn't even available on iTunes. Who manages this band?)
Anyway, this is a five star CD. Try it, and then tell your friends. Definitely some of the best new music around.
I can't think of anything I'd enjoy more, and this album is one of my most favorite in years! Buy it... and then, relax.
Luce's first self-monikered album received numerous, well-earned kudos. In particular, "Good Day" got lots of adult-FM airplay, and was featured in "How to Lose A Guy in 10 Days." The entire album was a gem from start to end.
I caught up with Luce (performing with Feel) at the Boulder Theatre, and discussed with cousin Tom (all Luces are related) the challenge of topping that initial release, and the importance of not rushing a follow-up album just to do one. Tom did not need to be convinced. Never Ending is the result, Luce's long-awaited sophomore release.
The albums I love most tend to grow on me, as layer upon layer of nuance is revealed. So it is with Never Ending. Not as diverse in its eclecticism of styles as the first album, but much more coherent in overall sound and theme, Never Ending is about relationships.
Luce has always reminded me of the Beatles. In its harmonies, tasteful use of recording and sound effects, the shear joy in performance, and in nice little surprises, such as the unlisted song "Dancing in the Acid Rain" that unexpectedly begins several minutes after "Marie" ends, much like "Her Majesty" does on Abby Road. There is a stretch of Never Ending that flows as seamlessly as side one of Abby Road, with as much lyricism and musicianship. I find one song replacing another as my favorite. First "Buy a Dog." Then "With a Kiss". Next "Interlude One." Then the combination from "Worth the Wait" through "Never Ending." Like good scotch left to breath, the album gets better with each hearing.
If you haven't discovered Luce yet, you are in for a treat. If you already know Luce from its first release, I think you will agree this album was "Worth the Wait."
I would highly recommend it!
First of all, there's THAT voice. You hear a voice that is uniquely angelic and capable of expressing a wide range of moods. You hear a voice that glitters like a diamond, skips happily and effortlessly (and in impeccable tune) from note to note like it's nobody's business, one that that reminds you of moonbeams and early morning dew on pink rose petals. You've simply got to her it to believe it.
On this CD, the listener is provided with the the works/composers for which she's well known: Handel Opera (E pur cosi / piangero la sorte mia), Mozart Opera (S'altro che lagrime), Bel Canto Opera (Ah, tardai troppo...), French Opera (Depuis le jour), spirituals, and a few popular songs for sopranos such as Gershwin's Summertime and Faure's Pie Jesu
If you're just popping the CD in, try: (1) Ah, tardai troppo, (2) Voices of Spring, (3) Talk about a child, (4) I loves you, Porgy, and (5) Pie Jesu.
I suppose if you are a fan of heavy, dramatic voices, Kathleen Battle may not be to your liking. But I suspect that if you listen to her, you still might be amazed...
Kathleen Battle has long since disappeared from the opera world, singing off and on. Her last singing engagement was for the soundtrack to the Japanese action saga "House of Flying Daggers" in which she sings in a very Japanese/poetic style. Before that she sang in Mythodea opposite Jessie Norman in a massive choral work by Vangelis, and also in Disney's Fantasia 2000. Her constant bitchiness, diva antics and disrespect to conductors and singers became too much and finally Joseph Volpe fired her from the Met. She had stayed there for so long because James Levine took a shine to her. As a singer, she was a perfectionist and in her body of work it shows. But she displayed a nasty diva temperament that does not sit well today. In the 80's, she would come to rehearsals late, would criticize everyone from conductor to costuma makers and even once disrespected the much older and experienced Rosalind Elias, a beloved mezzo at the Met. While I think that Volpe did the right thin in firing Battle, I think that Battle's voice is glorious and would buy her albums, even if she mostly poses as if she were in Vogue cover shots.
The selections are first rate and capture the artistry of Kathleen Battle perfectly, a shimmering, silvery, clean and clear voice which has captivated millions of people worldwide
Record companies who dare to publish CDs with medieval music are often glad if they can manage to sell a few hundred copies; this CD, the second by Anonymous 4, stormed to the top of the Billboard charts when it first appeared in 1993. And not because it compromised or attempted any kind of "crossover", but simply because both the music and the performance (four delightfully pure, unaccompanied, vibrato-less female voices: three sopranos and one alto) are so beautiful that even the uninitiated can catch something of the spirit of joy and peace that this disk captures so eminently well. Yes, there are seven pieces of Gregorian-type chant here, and chant was "in" during the early 90's, but my feeling is that it was probably the polyphonic motets and carols that made this recording an early music hit. The sound is difficult to describe; the only comparison that comes to mind is the swirling, many-voiced and often extremely beautiful, but also highly volatile, effect of "singing in the spirit" or "sung glossalalia" in some well-ordered charismatic and pentecostal churches where one can, on occasion, feel translated into heavenly regions. Much the same can be said of this disk, which, as one might imagine, contains exclusively Christian material from what are generally known as the "Dark Ages" from the 5th to the 15th centuries A. D. Well, judging purely by the music presented here, those ages were, perhaps, not so dark as we moderns sometimes imagine. And the Christmas texts sung here so deliciously by Anonymous 4 are, surprisingly, much less Mary-orientated and much more directed towards Jesus than those on, for example, "An English Ladymass" (the group's first CD), thus being a lot less offensive to my evangelical sensibilities and providing well over an hour of rapt listening, and that not only at Christmas time. Absolute five-star plus rating!
Six (6) of the 23 tracks are in Old or Middle English and may not be much more understandable to our modern ear than the 17 tracks in Latin. While seven (7) of the works are described as `carols', including one entitled `Ave Maria', not one will be known to either your neighborhood Christmas carolers or to the Shubert fans among us. In fact, it would be very interesting to compare this `Ave Maria' with that of Shubert and to determine the history of this particular title through the ages.
This is a great change and relief for our Christmas listening after being drowned in `Silent Night' and `Away in the Manger'.
A generous 68 minutes of a different kind of Christmas music.
These are beautiful pieces, stunning in performance and quite remarkable - compared to modern Christmas carols, these are pieces with depth and richness, certainly devoid of much of the mercantile and later accretions that have overlaid holiday seasons in the Western world.
This is definitely a holiday album with a difference.
-- Liner Notes --
This text accompaniment to this disc is very full, so much so that the booklet is not contained within the jewel case, but rather within a slipcover in which both the CD/jewel case and the booklet reside. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation - all repeated in English, German, and French sections.
-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.
Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'
The group ended a touring career of nearly two decades in 2004.
In Caruso's day, the performer sang into a large horn of the type shown in the old RCA ads, the microphone not being invented till 1925, four years after Caruso died. The sound was recorded on a wax disk, which was then used as a master. All of our attempts to listen to ancient records are, to some degree, artificial...I haven't seen a hand crank Victrola since I was a small child, well over 50 years ago. But this?!?....
I admit that this isn't like painting over an old master...the original recordings still exist. And I've already admitted that this is well done, in a technical sense. And about the voice of The Great Caruso there can, of course, be no question. Maybe I'm a traditionalist; I prefer to watch "It's a Wonderful Life" in black & white, I think pretty girls look prettier in dresses, and I'd rather see baseball played on grass. This isn't even like Richard Harwell abridging the works of Douglas Southall Freeman; that at least allows the reader with limited time and money to learn from the master. The original versions of these recordings are readily available, and take the same time to listen to.
We can play "what if" forever...could a modern doctor have cured George Washington? Of course. What would Bobby Jones do with modern golf equipment?? Sorry, Tiger. The originals of these landmark recordings represent the way listeners of Caruso's day heard him. It was state-of-the-art AT THE TIME.
Look, we live in America; the producer of this recording has an absolute right to make it, and you have an absolute right to buy it, enjoy it, and write a five star review of it, stating that I'm a stupid fool. That's the glory of America. Buy, and like, this record if you wish, but know what you are buying.
On a personal note; it would have been an improvement had they NOT included "Vieni sul mar"; "L'Alba separa dalla luce l'ombra" and "Luna d'estate". "A Dream" would have been nice; also "I' m'arricordo e Napule" or, what I think is one of the best recordings of Caruso - Denza's "Si vous l'aviez compris" [ also Massenet's "Elegie" ], albeit they have piano/violin accompaniment, which would have presented a challenge to the engineers.
A certain fact has to be faced here. Caruso never made an electrical recording. No amount of filtering and doctoring can change that. The only way I can imagine that this barrier could ever be overcome is perhaps by computerized extrapolation of the frequencies his voice produced. A computer might some day be programmed to "figure out" from the original recordings the sound frequencies Caruso's voice produced but that the recording horn was too insensitive to record. Those frequencies could then be dubbed into the existing recording. However, it doesn't appear that technology is that advanced yet; perhaps it never will be. In my opinion, it doesn't need to be. All one really needs is a schooled ear to be deeply moved by the gifts, art, and technique Caruso exhibited on his original acoustical recordings.
Incidentally, I am both amused and appalled by individuals who doubt that he was the greatest male singer in the history of recording, perhaps of all time. Anyone who would suggest Mario Lanza's, John McCormack's, or anyone else's singing as more satisfactory isn't listening. Lanza wanted to be the next Caruso, but he was not Caruso, not even a pale imitation. Even Pavarotti willingly acknowledges that he idolizes Caruso. And McCormack was a completely different kind of singer.
The best way to enjoy Caruso, Italian Songs and even Caruso 2000 is to set them aside as seperate works of art, rather than expect them to be improvements over the original recordings. They're not. Caruso's voice is not reproduced as accurately as it is on original recordings played on the proper equipment in the proper environment, especially on Caruso 2000. But the beauty of his art and technique remains intact. It seems the recording engineers did less manipulation of the voice on this new CD; the voice is more faithful to the originals, but still not the same. It occurs to me that perhaps these recordings are best for those who cannot tolerate surface noise and Victor's almost exclsive use of wind instruments for the orchestra.
That said, the digital accompaniment added unexpected emotion, power, and drama to every piece. I was caught completely off-guard. The music on this disc had me in tears. Music is about emotions, and this disc overpowered mine. If the degree of emotion induced by a performance is the standard for its evaluation, then this disc rates five stars without question. And if this is the way more modern ears than mine must be introduced to the artistry of this great singer, let it be! The instrumentation and arrangements fit every selection, and the synchronization with Caruso's stylizing is nearly always perfect. I highly recommend this disc to budding opera and classical voice lovers as a worthy introduction to Caruso's artistry. And for the seasoned aficionado of classical voice, it is a refreshing, yet emotionally moving collection of great singing in its own right. Neither type of listener would be disappointed.
Upon completion of his first album, singer/songwriter TOM LUCE met with the program director of a legendary San Francisco rock station, during that meeting Luce said, "I would feel successful in my career if, one day, I was driving across the Golden Gate Bridge and I heard one of my songs on the radio." "...He got his wish, and then some."
Tons of airplay and 30,000 CD's later, LUCE has done what very few independent artists have done, survived and thrived. KFOG / San Francisco, WXPN in Philadelphia, KBCO in Denver, KINK in Portland, WXRV in Boston and WRLT in Nashville all recognized the talent in LUCE's song-writing and vocal delivery. With nods to Lennon/McCartney and a musical sound extracted from Bay Area roots, the combination became infectious. Soon, television would be playing "Good Day" (The O.C., Alias, Boomtown) and then film ("How To Lose a Guy in 10 Days and "13 going on 30") the album also won the California Music Award for Outstanding Debut.
Cut to the present. A new collection of songs, new collaborations and renewed spirit have LUCE poised for a big year. NEVER ENDING is the name of the new album and familiar faces return for the making of this sophomore release. Adam Rossi returned as co-producer and keyboardist. Steve Bowman (Counting Crows, August and Everything After) returned as drummer and Larry Riggs is on bass. All three will join LUCE for the 2005 tour. Former TRAIN guitarist, Charlie Colin makes a guest appearance on several tracks and, as with the first album, many Bay Area musicians contributed to the project.
"The album takes you on a ride through the stages of a relationship, from beginning to end, and back to the beginning again" says TOM LUCE. "The strangest thing was realizing the path of this album is the same path I've often taken in my own relationships. I think a bit of self reflection is healthy for all of us at some point in our lives." Radio and live audiences will wholeheartedly agree after hearing NEVER ENDING.
Luce,Luce,Nettwerk Records,Adult Alternative Pop/Rock,Pop,Rock,Rock/Pop
Luce
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Josh Groban
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ASIN: B00005RGNI Release Date: 2001-11-20 |
Tracks:
- Alla Luce Dal Sole
- Gira Con Me
- You're Still You
- Cinema Paradiso (Se)
- To Where You Are
- Alejate
- Canto Alla Vita - featuring The Corrs
- Let Me Fall
- Vincent (Starry, Starry Night)
- Un Amore Per Sempre
- Home To Stay
- Jesu, Joy Of Man's Desiring (w/Lili Haydn)
- The Prayer - featuring Charlotte Church
Amazon.com
There are worse things in life than making your acting debut on the much ballyhooed season finale of Ally McBeal, though teen operatic baritone Josh Groban doesn't seem destined to encounter them anytime soon. As the awkward high school student-client who asks the typically romance-jinxed Ally to his senior prom, Groban performed this debut album's "You're Still You" (adapted from film-composing legend Ennio Morricone's Academy Award-nominated score for Malèna, with lyrics by Linda Thompson) as a heart-tugging, literal showstopper. The young phenom was just 17 when veteran producer-writer David Foster tapped him to fill in for Andrea Bocelli at rehearsals for the 1999 Grammys, where Groban found himself suddenly dueting with Celine Dion.Indeed, such were his fortunes that the young Foster protégé was forced to drop out of Carnegie Mellon when professional commitments--including this record--interfered. And if this collection tends to hew sometimes uncomfortably close to Foster's own MOR sonic instincts, the material offers enough challenges to display Groban's talent and the potential of his warm, mature voice: a lyrical take on another Morricone classic, "Cinema Paradiso"; melancholy readings of Don McLean's "Starry, Starry Night" and Albert Hammond's "Alejate"; masterfully dramatic takes of the Neapolitan "Alla Luca Del Sole" and "Canto Alla Vita," the latter featuring the Corrs. Many of Groban's performances here, including a neo prog-rock-opera take on Bach's "Jesu, Joy of Man's Desiring" (with Lili Haydn), seem both bigger and bolder than their precious musical frameworks, a telling hint that Grand Opera can't be far from his grasp. As said earlier, there are worse things in life. --Jerry McCulley
Customer Reviews:
Sweet.......2007-07-13
superb.......2007-07-05
Underestimated in Europe. His concert on 21 May 2007 in Amsterdam was superb!
Oh my Gosh, Josh!.......2007-07-03
This CD has two songs on it that are very unusual. I believe both are from Cirque de Soleil, and draw you into the music--warning-- While driving, do not close your eyes!
a true star.......2007-06-24
Floodgates of the Heart.......2007-06-05
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Art of Beverly
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ASIN: B000075A7K Release Date: 2002-11-12 |
Tracks:
- Mignon: Oui, Pour Ce Soir Je Suis Reine Des Fees...Je Suis Titania La Blonde
- Manon: Allons! Il Le Faut-Adieu, Notre Petite Table
- Manon: Je Marche Sur Tous Les Chemins-Obeissons Quand Leur Voix Appelle
- Louise: Depuis Le Jour
- Linda Di Chamounix: Ah! Tardai Troppo...O Luce Di Quest'Anima
- Lucia Di Lammermoor: Regnava Nel Silenzio...Quando Rapito In Estasi
- I Puritani: Fini...Me Lassa!
- I Puritani: Vieni, Vieni Fra Queste Braccia
- Roberto Devereux: L'amor Suo Mi Fe' Beata
- Maria Stuarda: O Nube
- Anna Bolena: Cielo A' Miei Lunghi Spasimi-Coppia Iniqua
Tracks:
- Les Contes D'Hoffman: Les Oiseau Dans La Charmille
- Les Contes D'Hoffman: Elle A Fui, La Tourterelle
- Zaide: Ruhe Sanft, Mein Holdes Leben
- Der Opernball: Im Chambre Separee
- Die Lustige Witwe: Es Lebt' Eine Vilja
- The Ballad Of Baby Doe: Gold Is A Fine Thing
- Die Tote Stadt: Cluck, Das Mir Verblieb
- Daphen: Was Blendet So...Ich Komme...Ich Komme
- Sechs Lieder Op.19 No.2: Breit' uber Mein haupt Dein Schwarzes Haar
Customer Reviews:
WHAT CAN I SAY?.......2007-07-05
Rest in Peace Dear Bubbles (1929-July 2, 2007).......2007-07-03
I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.
two beautiful discs!.......2007-02-18
Good example of the "Art of Beverly Sills".......2007-01-27
The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.
Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.
The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.
The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.
One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.
All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.
Claws.......2003-11-16
![Sentimento: Andrea Bocelli with Lorin Maazel and the London Symphony Orchestra [Limited Edition w/ Bonus Track]](http://ec1.images-amazon.com/images/I/21N4T1YC5AL.jpg)
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Sentimento: Andrea Bocelli with Lorin Maazel and the London Symphony Orchestra [Limited Edition w/ Bonus Track]
Jacques Offenbach , Francesco Paolo Tosti , Gioachino Rossini , Johann Paul Aegidius Martini , Stanislao Gastaldon , Luigi Denza , Stefano Donaudy , and Lorin Maazel Manufacturer: Polygram Int'l ProductGroup: Music Binding: Audio CD All Works by Offenbach
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ASIN: B00006IX20 Release Date: 2005-10-04 |
Tracks:
- En Aranjuez Con Tu Amor (Rodrigo)
- Mattinata (Leoncavallo)
- Barcarolle (Offenbach)
- L'Alba Separa Della Luce I'ombra (Tosti)
- Sogno d'Amore (Liszt)
- La Serenata (Tosti)
- L'Ultima Canzone (Tosti)
- Malia (Tosti)
- La Danza (Rossini)
- Ideale (Tosti)
- Sogno (Tosti)
- Plaisir d'Amour (Martini)
- Musica Proibita (S. Gastaldon)
- Occhi Di Fata (Denza)
- A Vuchella (Tosti)
- Vorrei Morire (Tosti)
- Vaghissima Sembianza (S. Donaudy)
Amazon.com
The international crossover success of tenor Andrea Bocelli has spawned any number of imitators on both sides of the Atlantic. But this collection of romantic arias and duets with violinist-conductor Lorin Maazel (who also arranges and helms the London Symphony Orchestra here) proves once again that the classical canon still offers ample room for compelling reinvention without nettlesome pop affectations. In reviving a genre (violin and vocal) largely dormant since the days of Caruso, Bocelli has taken some rewarding liberties with Rodrigo's "En Aranjuez can ta amor" and forged Liszt's familiar Liebestraume No. 3 into "Sogno D'Amore" with new, self-penned lyrics. Maazel's warm, evocative violin obligatos and sensitive, sympathetic arrangements infuse this tenor's showcase not only with unabashed romance, but as their lively romp through Tosti's "Malia" demonstrates, a sense of joyous fun. An album for romantics of all ages and persuasions--and one that gratifyingly demonstrates that crossing over is hardly the same as selling out. Enhanced CD includes a mini-documentary with comments by Bocelli and Maazel, as well as links to a more comprehensive interview with the tenor. --Jerry McCulleyAlbum Details
A Sensational Album featuring Truly Beautiful Songs and Arias that Evoke Feelings of Passion and Romance. The UK Special Edition of the Album Includes the Bonus Track "Non T'amo Pui" by Tosti.Customer Reviews:
Fine idea, weak execution.......2007-04-26
Maazel seems to enjoy the feel of the violin under his chin, and generally produces elegant sounds. The orchestration, which he tells us in his notes evolved amidst a hectic schedule of conducting and rehearsing Don Carlo and Don Giovanni, is basic and generally inoffensive. Good thing he tells the listener of his busy schedule, or one would have to be harsher with his sometimes dreary musical arrangements.
Andrea Bocelli is something of a controversial figure in some circles. I am a picky listener, and suffer from the maniacal ailments that afflict the opera buff. Still, I have always enjoyed Bocelli's popular recordings. I like pleasant tunes sung by a full, clear tenor voice. Having said this, I find his operatic recordings lamentable.
Though not opera per se, Bocelli sounds over-taxed by the repertory at hand (mostly lovely 19th century songs). Each track is unworthy of comparison with past performances by operatic greats-- Pavarotti, Carreras, Gigli, Di Stefano, and Schipa come to mind. Bocelli's voice is strained, and he offers nothing resembling the grace required by these three-minute masterpieces.
Those who are in love with Bocelli's voice will no doubt enjoy this recording. Still, I strongly urge exploring this repertory as it is presented by far more capable performers, and far better endowed voices.
He's magnificent.......2007-03-12
Romantic sounds!.......2007-01-12
Simply beautiful!.......2006-07-09
Average Bocelli at best.......2005-01-20
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La Stupenda ~ The Supreme Voice of Joan Sutherland
Gaetano Donizetti , Jules Massenet , Giuseppe Verdi , Richard Bonynge , and Joan Sutherland Manufacturer: Decca ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B00005OC0E Release Date: 2001-10-09 |
Tracks:
- Attila: Santo Di Patria... Allor Che I Forti Corrono - Joan Sutherland
- Lakme: Viens, Mallika... Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
- Les Contes D'Hoffmann: Les Oiseaux Dans La Charmille - Joan Sutherland
- Die Zauberflote: O Zittre Nicht, Mein Lieber Sohn... Zum Leiden Bin Ich Auserkoren - Joan Sutherland
- Linda Di Chamounix: Ah! Tardai Troppo... O Luce Di Quest'anima - Joan Sutherland
- Semiramide: Serbami Ognor Si Fido - Joan Sutherland/Marilyn Horne
- Beatrice Di Tenda Bellini: Eccomi Pronta... Deh, Se Un'urna - Joan Sutherland/Ambrosian Singers
- La Fille Du Regiment Donizetti: Pour Ce Contrat Fatal... Ah! Salut A La France - Joan Sutherland/Chor Of The ROHCG
- La Traviata: Un Di Felice - Joan Sutherland/Carlo Bergonzi
- The Bohemian Girl: I Dreamt I Dwelt In Marble Halls - Joan Sutherland
- Home Sweet Home - Joan Sutherland
- Casanova: Nuns' Chorus - Joan Sutherland/Ambrosian Light Opr Chor
- Lucia Di Lammermoor: (O Giusto Cielo!)... Il Dolce Suono Mi Colpi Di Sua Voce!... Ardon Gl'incensi.. - Joan Sutherland/Chor De L'Opera De Paris/Rene Duclos
Tracks:
- Norma: Sediziose Voci... Casta Diva - Joan Sutherland/Chor Of The ROHCG/Douglas Robinson
- Alcina: Tornami A Vagheggiar - Joan Sutherland
- Con For Coloratura Soprano, Op.82: Andante - Joan Sutherland
- Con For Coloratura Soprano, Op.82: Allegro - Joan Sutherland
- Lucia Di Lammermoor: Sulla Tomba... Ah! Verranno A Te Sull'aure - Joan Sutherland/Luciano Pavarotti
- Rigoletto: Gualtier Malde... Caro Nome - Joan Sutherland/Riccardo Cassinelli/Christian Du Plessis/John Gibbs/Ambrosian Opr Chor
- Esclarmonde Massenet: Esprits De L'air! Esprits De L'onde! ... Roland! Roland! Roland! - Joan Sutherland/Huguette Tourangeau/John Alldis Chor
- Operette: Where Are The Songs We Sung? - Joan Sutherland
- The Boys From Syracuse: Falling In Love With Love - Joan Sutherland/Ambrosian Light Opr Chor
- I Puritani: Son Vergin Vezzosa - Joan Sutherland/Margreta Elkins/Pierre Duval/Ezio Flagello
- Turandot: In Questa Reggia - Joan Sutherland/Luciano Pavarotti/John Alldis Choir/Wandsworth School Boys' Choir/Russell Burgess
- Tristan Und Isolde: Mild Und Leise Wie Er Lachelt - Joan Sutherland
- Adriana Lecouvreur: Poveri Fiori - Joan Sutherland
- La Sonnambula: Ah! Non Giunge Uman Pensiero - Joan Sutherland/London Opr Chor/Terry Edwards
Customer Reviews:
La Stupenda at her best.......2007-05-06
First, let's consider a sampling of the cuts on these CDs.
"O Zittre Nicht" is from Mozart's "Magic Flute" and it is a challenge to sopranos, with its series of staccato high notes. Sutherland essays this well. There are some nice trills; she hits the high notes well. The series of (treacherous) high notes toward the end is handled very nicely by Sutherland. In short, she scintillates, with a closing high note well hit.
From Donizetti's "Linda di Chamounix," she sings "O luce di questi'anima." Her voice and technique are well suited for Donizetti (and Bellini). The cantabile is smoothly sung. The cabaletta is rollicking. Her coloratura technique is on target; the ornamentation is compelling. There are trills, runs, high notes and other ornamentation well done. The close is nice (although there may be a bit of a scoop on the final high note).
From "Beatrice di Tenda" (by Bellini), we hear ""Eccomi pronta. . .Deh, se un'urna." The cantabile is sung well. She hits notes clearly. The spirited cabaletta follows. Sutherland exhibits somewhat less ornamentation than usual, but trills are well done and, overall, the piece is nicely sung. The close features clean high notes.
"Home Sweet Home." This kind of illustrates Joan Sutherland's work nicely. I can hardly make out the words (and it is sung in English). But it is an interesting version. She sings the song straight, without overpowering the song with operatic technique (an occasional trill actually works out well).
Elsewhere, I have commented on her 1959 version of the "Mad Scene" from "Lucia di Lammermoor" (from her album "The Greatest Hits").
"Falling in Love with Love" is an interesting cut. This is a classic Rodgers and Hart song. Sutherland sings it pretty well, and one can pick up the words cleanly. However, one might compare this with Anna Moffo's version, which is more musical. Sutherland's version is a bit too operatic for what the song is about.
Finally, "Ah non giunge" from Bellini's "La Sonnambula," a great coloratura tune! This is taken at a sprightly pace. Sutherland exhibits good coloratura technique. There is nice ornamentation. She precisely nails high notes. In the repeat, the florid singing ramps up. This is a compelling version, with series of staccato high notes to close the work out.
Thus, this 2 CD set is a welcome entrée to the body of work of Dame Joan Sutherland. Sometimes (as with "Home Sweet Home") one has a hard time picking out the words. But with Sutherland, the skills and techniques create a compelling oeuvre that is well worth attending to.
this is the one to buy.......2007-04-18
La Stupenda lives up to her name.......2006-11-12
La Stupenda, Amore, amore, amore.......2006-01-28
La Stupenda - well deserved title for Joan.......2006-01-12
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Sentimento
Andrea Bocelli Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Leoncavallo
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ASIN: B000071X4U Release Date: 2002-11-05 |
Tracks:
- En Aranjuez Con Tu Amor
- Mattinata
- Barcarolle
- Alba Separa Dalla Luce l'Ombra
- Sogno d'Amore (Liebestraum)
- Serenata
- Ultima Canzone
- Malia
- Danza
- Ideale
- Soyno - Andrea Bocelli, The London Symphony Orchestra, Lorin Maazel
- Plaisir d'Amour - Andrea Bocelli, The London Symphony Orchestra, Lorin Maazel
- Musica Proibita
- Occhi Di Fata
- Vucchella
- Vorrei Morire!
Customer Reviews:
Sentimento--Average at Best.......2005-01-20
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Never Ending
Luce Manufacturer: Joe's Music ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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ASIN: B00081U67S Release Date: 2005-04-19 |
Tracks:
- From the world of the lonely
- Buy A Dog
- Amsterdam
- Sweetest Smile
- Fortunately, I
- Worth the Wait
- Wanna be
- Interlude one
- Never ending
- Outside of it all
- With a kiss
- Diamond lights
- Interlude two
- Maria
Customer Reviews:
Luce needs a major label -- they are truly outstanding........2006-11-08
Several of the songs on this CD just stick in your head and play like a soundtrack during the day. IMO, the best tracks are Buy a Dog, The Sweetest Smile, Fortunately I, Wanna Be, Outside of it All, With a Kiss, and Acid Rain. All of them fantastic.
Now --some constructive criticism -- The opening track isn't the strongest. This CD could benefit by renumbering the tracks, like Vertical Horizon did when they re-released "Go". (Recommend listening to the CD starting on track 2 and coming back to track 1 later.) Also, as they did with the first CD, Luce buried one of the CD's best tracks, Acid Rain, as a hidden bonus track. Acid Rain could be a huge hit -- it shouldn't be hidden, making it hard to find for airplay, etc. (It isn't even available on iTunes. Who manages this band?)
Anyway, this is a five star CD. Try it, and then tell your friends. Definitely some of the best new music around.
Never Ending Enjoyment.......2006-05-22
I can't think of anything I'd enjoy more, and this album is one of my most favorite in years! Buy it... and then, relax.
Excellent!!.......2006-05-17
Best new album from a new band I've heard in a long time.......2005-12-02
Luce is Tight.......2005-05-21
Luce's first self-monikered album received numerous, well-earned kudos. In particular, "Good Day" got lots of adult-FM airplay, and was featured in "How to Lose A Guy in 10 Days." The entire album was a gem from start to end.
I caught up with Luce (performing with Feel) at the Boulder Theatre, and discussed with cousin Tom (all Luces are related) the challenge of topping that initial release, and the importance of not rushing a follow-up album just to do one. Tom did not need to be convinced. Never Ending is the result, Luce's long-awaited sophomore release.
The albums I love most tend to grow on me, as layer upon layer of nuance is revealed. So it is with Never Ending. Not as diverse in its eclecticism of styles as the first album, but much more coherent in overall sound and theme, Never Ending is about relationships.
Luce has always reminded me of the Beatles. In its harmonies, tasteful use of recording and sound effects, the shear joy in performance, and in nice little surprises, such as the unlisted song "Dancing in the Acid Rain" that unexpectedly begins several minutes after "Marie" ends, much like "Her Majesty" does on Abby Road. There is a stretch of Never Ending that flows as seamlessly as side one of Abby Road, with as much lyricism and musicianship. I find one song replacing another as my favorite. First "Buy a Dog." Then "With a Kiss". Next "Interlude One." Then the combination from "Worth the Wait" through "Never Ending." Like good scotch left to breath, the album gets better with each hearing.
If you haven't discovered Luce yet, you are in for a treat. If you already know Luce from its first release, I think you will agree this album was "Worth the Wait."
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Josh Groban (with Bonus Track)
Josh Groban Manufacturer: Wea Japan ProductGroup: Music Binding: Audio CD Cantatas
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ASIN: B000065EMI Release Date: 2002-05-22 |
Tracks:
- Alla Luce del Sole
- Gira Con Me Questa Notte
- You're Still You
- Cinema Paradiso (Se)
- To Where You Are
- Alejate
- Canto Alla Vita - The Corrs, Josh Groban
- Let Me Fall [From "Cirque du Soleil"]
- Vincent (Starry, Starry Night)
- Amore Per Sempre
- Home to Stay
- Jesu, Joy of Man's Desiring - Josh Groban, Lili Haydn
- Prayer - Charlotte Church, Josh Groban
- Mia Per Sempre (Bonus Track)
Album Description
Japanese edition of the pop & classical vocalist's hit 2001 debut album includes the exclusive bonus track 'Mia Per Sempre'. 14 track in total. Warner.Album Details
Japanese Version featuring a Bonus Track: "Mia Per Sempre".Customer Reviews:
Great debut album.......2007-05-18
My All-Time Favorite Album Just Got Better.......2005-08-12
I would highly recommend it!
Simply exquisite!.......2005-03-25
definetly worth the money.......2005-03-23
Fantastico!.......2003-06-23
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The Best of Kathleen Battle
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Waltzes
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ASIN: B00068CVF8 Release Date: 2004-11-09 |
Tracks:
- Summertime
- I loves you, Porgy
- Porgi amor
- Welche Wonne, welche Lust
- S'altro che lagrime
- Una donna a quindici anni
- Depuis le jour
- E pur cosi / Piangeri la sorte mia
- Oui! pour ce soir... Je suis Titania
- Ah! tardai troppo... O luce di quest'anima
- 4. Pie Jesu (Sopran)
- Voices of Spring, Op.410 (Frohlingsstimmen) - vocal version
- Swing Low, Sweet Chariot / Ride Up in the Chariot
- Witness "Oh, Lord, what manner of man is dis?"
- Talk About a Child
- He's got the whole world in His hands
Customer Reviews:
Kathy Rocks Ever!.......2006-01-01
A wide presentation of the work of an amazing artist.......2005-12-23
First of all, there's THAT voice. You hear a voice that is uniquely angelic and capable of expressing a wide range of moods. You hear a voice that glitters like a diamond, skips happily and effortlessly (and in impeccable tune) from note to note like it's nobody's business, one that that reminds you of moonbeams and early morning dew on pink rose petals. You've simply got to her it to believe it.
On this CD, the listener is provided with the the works/composers for which she's well known: Handel Opera (E pur cosi / piangero la sorte mia), Mozart Opera (S'altro che lagrime), Bel Canto Opera (Ah, tardai troppo...), French Opera (Depuis le jour), spirituals, and a few popular songs for sopranos such as Gershwin's Summertime and Faure's Pie Jesu
If you're just popping the CD in, try: (1) Ah, tardai troppo, (2) Voices of Spring, (3) Talk about a child, (4) I loves you, Porgy, and (5) Pie Jesu.
I suppose if you are a fan of heavy, dramatic voices, Kathleen Battle may not be to your liking. But I suspect that if you listen to her, you still might be amazed...
A Great Coloratura Soprano .......2005-04-03
Kathleen Battle has long since disappeared from the opera world, singing off and on. Her last singing engagement was for the soundtrack to the Japanese action saga "House of Flying Daggers" in which she sings in a very Japanese/poetic style. Before that she sang in Mythodea opposite Jessie Norman in a massive choral work by Vangelis, and also in Disney's Fantasia 2000. Her constant bitchiness, diva antics and disrespect to conductors and singers became too much and finally Joseph Volpe fired her from the Met. She had stayed there for so long because James Levine took a shine to her. As a singer, she was a perfectionist and in her body of work it shows. But she displayed a nasty diva temperament that does not sit well today. In the 80's, she would come to rehearsals late, would criticize everyone from conductor to costuma makers and even once disrespected the much older and experienced Rosalind Elias, a beloved mezzo at the Met. While I think that Volpe did the right thin in firing Battle, I think that Battle's voice is glorious and would buy her albums, even if she mostly poses as if she were in Vogue cover shots.
Great compilation of Kathleen Battle's work.......2005-03-26
The selections are first rate and capture the artistry of Kathleen Battle perfectly, a shimmering, silvery, clean and clear voice which has captivated millions of people worldwide
Beautiful Voice.......2005-02-24
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On Yoolis Night: Medieval Carols & Motets - Anonymous 4
Anonymous 4 , Marsha Genensky , Susan Hellauer , and Johanna Rose Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD General
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ASIN: B0000007DY Release Date: 1993-09-01 |
Tracks:
- Antiphon: Hodie Christus natus est
- Motet: O nobilis nativitas / O mira dei / O decus virgineum / Apparuit
- Antiphon: Lux de luce
- Carol: Alleluya: A nywe werke
- Hymn: Verbum supernum prodiens
- Motet: Balaam de quo vaticinans
- Carol: Ave Maria
- Song: Gabriel, fram heven-king
- Carol: Lullay: I saw a swete semly syght
- Motet: Prollis eterne genitor / Psallat mater gracie
- Hymn: Vox clara, ecce, intonat
- Rondellus: De supernis sedibus
- Antiphon: Omnes de Saba
- Motet: Puellare gremium / Purissima mater
- Carol: Lullay, lullay: Ais I lay on Yoolis night
- Responsory: Tria sunt munera
- Motet: Orto sole serene / Origo viri / Virga Iesse
- Song: Peperit virgo
- Carol: Ecce quod natura
- Hymn: A solis ortus cardine
- Carol: Ther is no rose of swych vertu
- Antiphon: Videntes stellam
- Carol: Nowell: Owt of your slepe aryse
Amazon.com essential recording
This follow-up to Anonymous 4's debut "hit," An English Ladymass, is even better. From the choice of repertoire to the proficiency of the singing to the recorded sound, this is a standard-setting production. The 23 works--plainchants, carols, songs, and motets--invoke various aspects of the Christmas story: the visitation of the angel Gabriel, tributes to the Virgin Mary, gifts of the Magi, and hymns of praise for the birth of Christ. The sound is stunning: resonant yet intimate, warm yet vibrant. And while you can hear the individual character of each voice, together these four women make a sound of uncommon purity and beauty. The technical facility is evident with each closing phrase, each perfect unison. Critics are advised to jealously reserve such words as outstanding, excellent, and superior. But this is one of those recordings that deserve all those descriptions. --David VernierCustomer Reviews:
Simply Remarkable.......2007-03-24
The Spirit of Joy and Peace.......2006-04-29
Record companies who dare to publish CDs with medieval music are often glad if they can manage to sell a few hundred copies; this CD, the second by Anonymous 4, stormed to the top of the Billboard charts when it first appeared in 1993. And not because it compromised or attempted any kind of "crossover", but simply because both the music and the performance (four delightfully pure, unaccompanied, vibrato-less female voices: three sopranos and one alto) are so beautiful that even the uninitiated can catch something of the spirit of joy and peace that this disk captures so eminently well. Yes, there are seven pieces of Gregorian-type chant here, and chant was "in" during the early 90's, but my feeling is that it was probably the polyphonic motets and carols that made this recording an early music hit. The sound is difficult to describe; the only comparison that comes to mind is the swirling, many-voiced and often extremely beautiful, but also highly volatile, effect of "singing in the spirit" or "sung glossalalia" in some well-ordered charismatic and pentecostal churches where one can, on occasion, feel translated into heavenly regions. Much the same can be said of this disk, which, as one might imagine, contains exclusively Christian material from what are generally known as the "Dark Ages" from the 5th to the 15th centuries A. D. Well, judging purely by the music presented here, those ages were, perhaps, not so dark as we moderns sometimes imagine. And the Christmas texts sung here so deliciously by Anonymous 4 are, surprisingly, much less Mary-orientated and much more directed towards Jesus than those on, for example, "An English Ladymass" (the group's first CD), thus being a lot less offensive to my evangelical sensibilities and providing well over an hour of rapt listening, and that not only at Christmas time. Absolute five-star plus rating!
beautiful voices great cd.......2006-02-27
Great alternatives to 'Silent Night'! Buy It!.......2005-11-06
Six (6) of the 23 tracks are in Old or Middle English and may not be much more understandable to our modern ear than the 17 tracks in Latin. While seven (7) of the works are described as `carols', including one entitled `Ave Maria', not one will be known to either your neighborhood Christmas carolers or to the Shubert fans among us. In fact, it would be very interesting to compare this `Ave Maria' with that of Shubert and to determine the history of this particular title through the ages.
This is a great change and relief for our Christmas listening after being drowned in `Silent Night' and `Away in the Manger'.
A generous 68 minutes of a different kind of Christmas music.
A little holy night's music.......2005-10-11
These are beautiful pieces, stunning in performance and quite remarkable - compared to modern Christmas carols, these are pieces with depth and richness, certainly devoid of much of the mercantile and later accretions that have overlaid holiday seasons in the Western world.
This is definitely a holiday album with a difference.
-- Liner Notes --
This text accompaniment to this disc is very full, so much so that the booklet is not contained within the jewel case, but rather within a slipcover in which both the CD/jewel case and the booklet reside. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation - all repeated in English, German, and French sections.
-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.
Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'
The group ended a touring career of nearly two decades in 2004.
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Italian Songs: The Digital Recordings
Manufacturer: RCA ProductGroup: Music Binding: Audio CD General
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ASIN: B00005MO14 Release Date: 2002-06-25 |
Tracks:
- Vieni sul mar
- 'O sole mio
- Tu can nun chiagne
- Santa Lucia
- Pecche?
- L'Alba separa dalla luce l'ombra
- Fenesta che lucive
- Mamma mia che vo' sape
- Musica proibita
- Core 'ngrato
- Luna d'estate
- Ideale
- 'A vucchella
- Vaghissima sembianza
- Tarantella sincera
- Senza nisciuno
- L'addio a Napoli
Amazon.com
As a follow-up to its Caruso 2000 release, RCA here offers us a remastered, implemented selection of Neapolitan songs recorded by Enrico Caruso between 1906 and 1920. The gimmick is again that the old recordings have been digitally stripped of their oompah, blaring instruments. In their place, the Vienna Radio Symphony Orchestra has provided modern accompaniment. It's still anachronistic--the voice remains in another acoustical era from the orchestra--but this time, the balance is a little better, and conductor Gottfried Rabl is amazingly sensitive to Caruso's style and phrasing. Moreover, of course, the pops and clicks of the old pre-electrical shellacs are gone. The voice retains its timbre and quality, thank goodness, and one can still marvel at the way the sound grew over the 14 years recorded here. It's always magnificent, but it became more baritonal and muscular with age, without losing any of its thrills. The "Ideale" from 1906 remains an exquisitely tender piece of singing; elsewhere, the sheer visceral excitement of the voice dazzles. Purists may not approve. Those unfamiliar with the Caruso phenomenon should hear him under any circumstances, and this is as good a chance as any. --Robert LevineCustomer Reviews:
An interesting abomination................2007-07-22
In Caruso's day, the performer sang into a large horn of the type shown in the old RCA ads, the microphone not being invented till 1925, four years after Caruso died. The sound was recorded on a wax disk, which was then used as a master. All of our attempts to listen to ancient records are, to some degree, artificial...I haven't seen a hand crank Victrola since I was a small child, well over 50 years ago. But this?!?....
I admit that this isn't like painting over an old master...the original recordings still exist. And I've already admitted that this is well done, in a technical sense. And about the voice of The Great Caruso there can, of course, be no question. Maybe I'm a traditionalist; I prefer to watch "It's a Wonderful Life" in black & white, I think pretty girls look prettier in dresses, and I'd rather see baseball played on grass. This isn't even like Richard Harwell abridging the works of Douglas Southall Freeman; that at least allows the reader with limited time and money to learn from the master. The original versions of these recordings are readily available, and take the same time to listen to.
We can play "what if" forever...could a modern doctor have cured George Washington? Of course. What would Bobby Jones do with modern golf equipment?? Sorry, Tiger. The originals of these landmark recordings represent the way listeners of Caruso's day heard him. It was state-of-the-art AT THE TIME.
Look, we live in America; the producer of this recording has an absolute right to make it, and you have an absolute right to buy it, enjoy it, and write a five star review of it, stating that I'm a stupid fool. That's the glory of America. Buy, and like, this record if you wish, but know what you are buying.
Caruso....re-emerged...or....re-submerged.......2007-02-15
On a personal note; it would have been an improvement had they NOT included "Vieni sul mar"; "L'Alba separa dalla luce l'ombra" and "Luna d'estate". "A Dream" would have been nice; also "I' m'arricordo e Napule" or, what I think is one of the best recordings of Caruso - Denza's "Si vous l'aviez compris" [ also Massenet's "Elegie" ], albeit they have piano/violin accompaniment, which would have presented a challenge to the engineers.
amazing technology.......2005-05-20
An Unexpected Pleasure.......2004-12-19
A certain fact has to be faced here. Caruso never made an electrical recording. No amount of filtering and doctoring can change that. The only way I can imagine that this barrier could ever be overcome is perhaps by computerized extrapolation of the frequencies his voice produced. A computer might some day be programmed to "figure out" from the original recordings the sound frequencies Caruso's voice produced but that the recording horn was too insensitive to record. Those frequencies could then be dubbed into the existing recording. However, it doesn't appear that technology is that advanced yet; perhaps it never will be. In my opinion, it doesn't need to be. All one really needs is a schooled ear to be deeply moved by the gifts, art, and technique Caruso exhibited on his original acoustical recordings.
Incidentally, I am both amused and appalled by individuals who doubt that he was the greatest male singer in the history of recording, perhaps of all time. Anyone who would suggest Mario Lanza's, John McCormack's, or anyone else's singing as more satisfactory isn't listening. Lanza wanted to be the next Caruso, but he was not Caruso, not even a pale imitation. Even Pavarotti willingly acknowledges that he idolizes Caruso. And McCormack was a completely different kind of singer.
The best way to enjoy Caruso, Italian Songs and even Caruso 2000 is to set them aside as seperate works of art, rather than expect them to be improvements over the original recordings. They're not. Caruso's voice is not reproduced as accurately as it is on original recordings played on the proper equipment in the proper environment, especially on Caruso 2000. But the beauty of his art and technique remains intact. It seems the recording engineers did less manipulation of the voice on this new CD; the voice is more faithful to the originals, but still not the same. It occurs to me that perhaps these recordings are best for those who cannot tolerate surface noise and Victor's almost exclsive use of wind instruments for the orchestra.
That said, the digital accompaniment added unexpected emotion, power, and drama to every piece. I was caught completely off-guard. The music on this disc had me in tears. Music is about emotions, and this disc overpowered mine. If the degree of emotion induced by a performance is the standard for its evaluation, then this disc rates five stars without question. And if this is the way more modern ears than mine must be introduced to the artistry of this great singer, let it be! The instrumentation and arrangements fit every selection, and the synchronization with Caruso's stylizing is nearly always perfect. I highly recommend this disc to budding opera and classical voice lovers as a worthy introduction to Caruso's artistry. And for the seasoned aficionado of classical voice, it is a refreshing, yet emotionally moving collection of great singing in its own right. Neither type of listener would be disappointed.
I was floored.......2004-02-14
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