Ciel D'encre [Import]
Track Listings
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1. Hotel Varlin
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2. Etoile Absinthe
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3. Temps de Pluie
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4. Tout Ca
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5. Ciel d'Encre
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6. Vertige
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7. Chrysantheme
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8. Dernière Danse
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9. Creuset
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10. Saigon
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11. Pince
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12. Journal
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13. Trivandrum
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14. Long Ocean
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Ciel d'Encre,Hurleurs,France,Rock/Pop,World
Ciel D'encre [Import]
Average customer rating:
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The Complete Caruso
Manufacturer: RCA
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Similar Items:
- The Complete Recordings, 1902-1920 (Box Set)
- Rachmaninov: His Complete Recordings
- Sibelius: The 7 Symphonies; Finlandia; Kullervo; etc.
- Beethoven - Fidelio
- Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
ASIN: B0001TSWQO
Release Date: 2004-11-09 |
Average customer rating:
- A nice overview of Caruso's legacy
- Unearthly
- If You Only Buy One Caruso . . .
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Artists Of The Century - Caruso, The Greatest Tenor In The World
Manufacturer: RCA
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- Great Caruso
- The Legendary Enrico Caruso: 21 Favorite Arias
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ASIN: B00000J913
Release Date: 1999-05-25 |
Tracks:
- Act II: Amor Ti Vieta
- Act II: Che Gelinda Manina
- Act III: Salut Demeure Chaste Et Pure
- Act III: Di Quella Pira
- Act IV: Spirto Gentil, Ne' Sogni Miei (Romanza)
- Act III: Solenne In Quest'Ora
- Act IV: Mi Batte Il Cor...O Paradiso!
- Act I: Un Di All'Azzurro Spazio (Improvviso)
- Recitar!... Vesti La Giubba
- Act I: Questa O Quella
- Act IV: La Donna E Mobile
- Act III: Ah Si, Ben Mio
- Act I: Celeste Aida
- Act I: Recondita Armonia
- Act III: E Lucevan Le Stelle
- Act III: Della Natal Sua Terra Il Padre... O Tu Che In Seno Agl' Angeli
- Act II: Magiche Note
- Act II: La Fleur Que Tu M'Avais Jetee
- Act I: Ah, Qual Soave Vision...Bianca Al Par Di Neve
- Act II: Cielo E Mar
- Act II: Nell'Ore Arcane Della Sua Lussuria... Ora E Per Sempre Addio
- Un Ballo In Maschera: Act I: Di' Tu Se Fedele
- Act II: Una Furtiva Lagrima
Tracks:
- Act III: Je Suis Seul... Ah, Uyez, Douce Image
- Act II: Chi Mi Frena In Tal Momento? (Sextett)
- Act I: O Soave Fanciulla
- Act III: Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
- Act I: Donna Non Vidi Mai
- Cujus Animam
- Act II: Oh! Mostruosa Colpa!... Si, Pel Ciel
- Act I: Libiamo, Libiamo (Brindisi)
- Ingemisco
- Act II: Faiblesse De La Race Humaine!... Inspirez-Moi, Race Divine
- Act III: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere!
- Act IV: O Figli, O Figli Miei... Ah, La Paterna Mano
- Act II: Pour Moi Ce Jour Est Tout Mystere
- Act I: A Cette Voix Quel Trouble...Je Crois Entendre Encore
- Act IV: Bella Figlia Dell'Amore (Quartett) - Giuseppe De Luca
- Act II: Chi Mi Frena In Tal Momento? (Sextett) - Amelita Galli-Curci
- Act I: Frondi Tenere E Belle...Ombra Mai Fu (Largo)
- Act I: Studenti! Udite!
- Crucifixus
Customer Reviews:
A nice overview of Caruso's legacy.......2007-01-04
Enrico Caruso was one of the first "media stars," with his recordings selling widely in the early twentieth century; he helped popularize the recording industry. He was one of the leading tenors of his day, and is regarded as one of the tops of the twentieth century (although he began serious singing in the late 19th century).
This CD features some of his "greatest hits," among which are his well reputed version of "Vesti la giubba" (from I Pagliacci, one of his signature operas); arias from Verdi's Rigoletto, including the bold "Questa o quella" and "La donna e mobile"; some of his most popular recordings from Puccini, including "E lucevan le stelle," "Recondita armonia," and "Che gelida manina." Nice additions to the CD are wonderful ensemble pieces, such as the sextet from Lucia di Lammermoor (including the voice of Luisa Tetrazzini) and the quartet from Rigoletto (with Amelita Galli-Curci).
Interesting tidbits include his first recording, from 1902, and his last, from 1920.
All in all, this is a very nice representation of his work. I'm not sure that it compares with the old LP (with him in clown outfit) that includes Rossini's nearly unsingable "La danza," among other items. But it is a terrific introduction to the art of Caruso. Anyone who has not listened to this tenor's works before would be well advised to use this as their entree to his oeuvre.
Unearthly.......2002-12-23
Forget toiling for a BMW, enjoy finer things in life.One of my personal favorites is ''Le pecheurs de perles'', but the offer is overwhelming.
If You Only Buy One Caruso . . ........2001-01-03
let this be it! Wonderful, generous selection of his singles for Victor, most of them solos, but a few duets, quartets, quintets, and a sextet. The accompanying booklet makes a great deal of including his first and last recordings, but by far the most important here is Caruso's 1907 recording of Vesti la giubba, the first classical recording to sell over a million copies in the United States. If you listen to it, you'll know why--it's every bit as melodramatic as the minstrel show singles with which it shared the top of the early twentieth-century charts.
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The Most Relaxing Opera Album in the World...Ever!
Manufacturer: Angel Records
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Bellini, Vincenzo
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ASIN: B000AXWGWM
Release Date: 2005-10-04 |
Tracks:
- La Traviata - Prelude, Act I - Giuseppe Verdi
- Falstaff - Sul fil dun soffio etesio (Nanettas Aria) - Giuseppe Verdi
- Andrea Cher - O pastorelle, addio - Umberto Giordano
- Manon - En fermant les yeux - Jules Massenet
- Les Peurs de Perles - Zurga, quant tous deux Au fond du temple saint - Georges Bizet
- Adriana Lecouvreur - Ecco! Respiro appena Io son lumile ancella - Francesco Cilea
- Cosan tutte - Soave sia il vento - Wolfgang Amadeus Mozart
- La Boh - Smi chiamano Mim Giacomo Puccini
- Don Giovanni - Dalla sua pace - Wolfgang Amadeus Mozart
- Tannher - Wie TodesahnungO du mein holder Abendstern - Richard Wagner
- Guilliaume Tell - Quel jour serein le ciel prge - Gioachino Rossini
- Orfeo ed Euridice - Che farnza Euridice? - Christoph Willibald Gluck
- Cavalleria Rusticana - Intermezzo - Pietro Mascagni
- Norma - Casta Diva Vincenzo Bellini
- Lelisir damore - Una furtiva lagrima - Gaetano Donizetti
- Turandot - Signore, ascolta - Giacomo Puccini
- Don Giovanni - Deh, vieni alla finestra - Wolfgang Amadeus Mozart
- Lakm Viens, MallikaDis (Flower Duet) - Leo Delibes
Tracks:
- Introduction to Khovanshchina - Modest Mussorgsky
- Rusalka - Song to the Moon - AntonDvorak
- Porgy and Bess - Summertime - George Gershwin
- Les Contes dHoffmann - Belle nuit, it damour (Barcarolle)
- Xerxes - Ombra, mai fu - George Frideric Handel
- Le Nozze di Figaro - Porgi amor Wolfgang Amadeus Mozart
- Gianni Schicchi - O mio babbino caro - Giacomo Puccini
- La Traviata - Di Provenza il mar - Giuseppe Verdi
- Nabucco - Va, pensiero - Giuseppe Verdi
- Le Nozze di Figaro - Voi che sapete - Wolfgang Amadeus Mozart
- Die Zauberfl- Dies Bildnis ist bezaubernd sch Wolfgang Amadeus Mozart
- Orfeo ed Euridice - Dance of the Blessed Spirits - Christoph Willibald Gluck
- Don Giovanni - Il mio tesoro - Wolfgang Amadeus Mozart
- Samson et Dalila - Mon cur souvre a voix - Camille Saint-Sa
- La Wally - Ebben?Ne andrntana - Alfredo Catalani
- Les Peurs de Perles - Je crois entendre encore - Georges Bizet
- Le Nozze di Figaro - Deh vieni, non tardar Wolfgang Amadeus Mozart
- Madama Butterfly - Humming Chorus - Giacomo Puccini
Average customer rating:
- Get It While You Can
- Essential edition for opera lovers
|
The Complete Recordings, 1902-1920 (Box Set)
Manufacturer: Naxos
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Similar Items:
- Bach: Cantatas, Vol. 22
- Caruso 2000
- The Complete Caruso
- Wagner: Götterdämmerung
- Classic Puccini Recordings
ASIN: B00030B92K
Release Date: 2004-11-23 |
Album Description
The Complete Caruso: Volumes 1 - 12
The Italian tenor Enrico Caruso holds a unique place in musical history, as the first operatic singer whose recordings sold in millions, and who created an international reputation on the strength of these. Caruso's robust tone and musical sincerity made him both an ideal stage and recording artist, whose voice the primitive acoustic recording technology of the early twentieth century was able to reproduce with startling fidelity. The Naxos Historical Caruso edition constitutes the complete cycle of all Caruso's recordings issued in chronological order. In addition, the transfers have been immaculately undertaken by top sound engineer Ward Marston, unrivalled for his knowledge of the specialized world of acoustic opera recordings, and his rare ability to retrieve all of the music lying in the grooves of the original recordings. Naxos Historical's incredible price (12 CD'S FOR THE PRICE OF 10) puts this unique legacy of great singing within the reach of all music-lovers. This! complete cycle of recordings represents a major document in the history of sound recording, and one which no collector and enthusiast of great singing will wish to be without. "There is no series of vocal records that have a greater documentary value, that meant more to the development of the phonograph record, or that are as consistently capable of providing pleasure to lovers of great singing. ...One of the most significant recording industry events of the decade." Fanfare
Customer Reviews:
Get It While You Can.......2006-10-13
This may not be easy to get in the USA for very long.....don't miss it.
Essential edition for opera lovers.......2005-02-01
This set gives you the opportunity to follow the entire recording career of one of the greatest singers in Operatic History. Enrico Caruso was the first superstar of the 20th century -- and this without the benefit of mass media. His person and his records were his greatest publicity.
The set begins with Caruso's Italian made recordings. They show a great raw talent. The artistry is lacking with many sobs, over acting and mistaken cues. The 1902 and 1903 clearly show a tenor with a lot to learn. But learn it he did. His 1904 sessions show a mature artist on par with any heard since. His voice matures before your very ears and by 1910, you wonder if you will ever listen to any other tenor the same way again.
The engineering used for this set is wonderful. There is no attempt at all to use the soundstream process of computer sound enhancement as heard on the RCA issued sets. These are near perfect mint conditioned discs copied by engineer extraordinary Ward Marston. They sound like natural 78s, they way Caruso himself must have heard the playbacks at the (RCA) Victor studios.
Also included are outtakes and extra takes. There is a "Celeste Aida" from 1908, complete with a broken high note, previously released by RCA in a 1973 set commemorating the tenor's centenary birthday. But there are new treasures here as well, including extra takes of two of Caruso's greatest recordings, the Italian song "L'Alba separa dalla l'uce ombra" and an aria from Rubinestine's Nerone. Listening to them, one wonders what Caruso could have possible thought inadquate in those long lost altenative takes.
Finally, there is the simple joy of hearing so many things so well sung. Caruso was the pinnacle of the tenor art. He can be compared to no other single tenor since ... he has the brilliant ring of Bjorling, the passion of Gigli, the beauty of Gedda, the youthful enthusiasm of Lanza, the warm tonal quality of Tucker, the pure strength of Corelli, the charasma of Pavarotti and the artestry of Domingo.
Whether you are an opera fan, a voice fan or just a music lover. This set is worth every penny.
Todd Kosovich
Average customer rating:
- Rare but well-polished Verdi gems.
|
Les Introuvables Du Chant Verdien
Manufacturer: EMI Classics
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Similar Items:
- Les Introuvables du Chant Français
- The Verdi Recordings
- Songs by Mahler, Handel & Peter Lieberson
ASIN: B000051W4C
Release Date: 2001-02-13 |
Tracks:
- Ernani: Act I: Surta E La Notte... Ernani! Ernani, Involami - Frieda Hempel
- Ernani: Act I: Che Mai Vegg'io!... Infelice!... Infin Che Un Brando Vindice - Boris Christoff
- Ernani: Act II: Vieni Meco... - Mattia Battistini/Emillia Cors/Chor Del Teatro Alla Scala
- Ernani: Act III: O De' Verd'anni Miei - Giuseppe Kaschmann/Salvatore Cottone
- Ernani: Act III: Gran Dio!... O De' Verd'anni Miei - Benvenuto Franci
- Ernani: Act III: O Sommo Carlo - Mattia Battistini/Emillia Corsi/Luigi Colazza/Aristodemo Silich/Chor Del Teatro Alla Scala
- Il Trovatore: Act I: Tacea La Notte Placida - Giannina Arangi-Lombardi
- Il Trovatore: Act I: Deserto Sulla Terra - Francesco Tamagno
- Il Trovatore: Act II: Stride La Vampa! - Fedora Barbiera
- Il Trovatore: Act II: Condotta Ell'era In Ceppi - Margarete Klose
- Il Trovatore: Act II: Perigliarti Ancor (Sung In German) - Margarete Matzenauer/Heinrich Knote
- Il Trovatore: Act II: Il Balen Del Suo Sorriso - Giuseppe Pacini
- Il Trovatore: Act III: Ah! Si Ben Mio, Coll'essere - Charles Dalmores
- Il Trovatore: Act III: Di Quella Pira (Sung In French) - Cesar Vezzani
- Il Trovatore: Act III: Di Quella Pira - Jussi Bjorling
- Il Trovatore: Act IV: Timor Di Me?... D'amor Sull'ali Rosee - Emmy Destinn
- Il Trovatore: Act IV: D'amor Sull'ali Rosee (Sung In German) - Frida Leider
- Il Trovatore: Act IV: D'amor Sull'ali Rosee - EVA TURNER
- Il Trovatore: Act IV: Udiste?... Mira, D'acerbe Lagrime... Vivra! - Carlo Galeffi/Giannina Arragi-Lombardi
- Il Trovatore: Act IV: Si M'ami Ancor... Ai Nostri Monti - Beniamino Gigli/Cloe Elmo
Tracks:
- Macbeth: Act II: La Luce Langue (Sung In German) - Martha Modl
- Macbeth: Act IV: O Figli, O Figli Mie!... Ah La Paterna Mano - Enrico Caruso
- Macbeth: Act IV: Una Macchia E Qui Tuttora - Margherita Grandi/Vera Terry/Ernest Frank
- Rigoletto: Act I: Questa O Quella - Alfred Piccaver
- Rigoletto: Act I: Questa O Quella - Dino Borgioli
- Rigoletto: Act I: Pari Siamo! - Tito Gobbi
- Rigoletto: Act I: Gia Tre Lune... Veglia, O Donna (Sung In German) - Claire Dux/Joseph Schwartz
- Rigoletto: Act I: E Il Sol Dell'anima (Sung In French) - Miguel Villabella/Elde Norena
- Rigoletto: Act I: Caro Nome (Sung In Russian) - Lydia Lipowska
- Rigoletto: Act I: Caro Nome (Sung In German) - Maria Ivogun
- Rigoletto: Act II: Cortigiani, Vil Razza Damnata (Sung In German) - Joseph Schwarz
- Rigoletto: Act II: Cortigianni, Vil Razza Damnata - Pasquale Amato
- Rigoletto: Act II: Ciel! Dammi Corraggio! Tutte Le Feste - Olimpia Boronat
- Rigoletto: Act II: Tutte Le Feste... Piangi Fanciulla - Lotte Schone/Herbert Janssen
- Rigoletto: Act II: No, Vecchio, T'inganni... Si Vendetta - Maria Galvany
- Rigoletto: Act III: La Donna E Mobile - Enrico Caruso
- Rigoletto: Act III: La Donna E Mobile - Tino Folgar
- Rigoletto: Act III: Bella Figlia Dell'amore - Beniamino Gigli/Louise Homer/Amelita Galli-Curci/Giuseppe De Luca
- Rigoletto: Act III: O Mia Gilda... Lassu In Ciel - Tito Ruffo/Graziella Pareto
Tracks:
- Simon Boccanegra: Prologuo: A Te L'estremo Addio... Il Lacerto Spirito - Francesco Navarini
- Simon Boccanegra: Prologuo: A te L'estremo Addio... Il Lacertato Spirito - Alexander Kipnis
- La Traviata: Act I: Un Di, Felice - Bjorn Talen/Lola Artot De Padila
- La Traviata: Act I: Ah Fors' e Lui (Sung In Russian) - Antonina Neshdanova/Umberto Mazetti
- La Traviata: Act I: Ah Fors'e Lui - Maria kousnezoff
- La Traviata: Act I: Ah Fors'e Lui... Follie!... Sempre Libera - Luisa Tetrazzini
- La Traviata: Act II: De' Miel Bollenti Spiriti - Fernando De Lucia
- La Traviata: Act II: Lunge Da Lei... De' Miei Bollentti Spiriti - Giuseppe Di Stefano
- La Traviata: Act II: Dite Alla Giovine - Nellie Melba/John Brownlee/Harold Craxton
- La Traviata: Act II: Madamigella Valery?... Pura Siccome Un Angelo... Dite Alla Giovine - Rolando Panerai/Elisabeth Schwarzkopf
- La Traviata: Act II: Che Fai? Nulla Scrivevi? (Sung In German) - Helge Roswaenge/Maria Cebotari
- La Traviata: Act II: Mio Figlio... Di Provenza - Mattia Battistini
- La Traviata: Act II: Alfredo, Alfredo... - Lilli Lehmann
- La Traviata: Act III: Teneste La Promessa... Addio, Del Passato - Claudio Muzio
- La Traviata: Act III: Teneste La Promessa... Addio De Passato - Margherita Carosio
Tracks:
- Nabucco: Act I: Sperate, O Figli - Nazzareno De Angelis
- Nabucco: Act II: Anch'io Dischiuso Un Giorno - Ines De Frate
- Nabucco: Act III: Ah! Prigioniero Io Sono... Dio Di Giuda - Carlo Galeffi
- La Forza Del Destino: Act I: Ma Pellegrina Ed Orfana - Gina Cigna
- La Forza Del Destino: Act II: Madre, Pietosa Vergine - Celestina Boninsegna
- La Forza Del Destino: Act II: Son Giunta!... Madre, Pietosa Vergine - Dusolina Giannini
- La Forza Del Destino: Act II: Chi Puo Legger Nel Futoro (Sung In German) - Ivan Andresen/Meta Seinemeyer
- La Forza Del Destino: Act II: Alzatevi... La Vergine Degli Angeli - Ezio Pinza/Rosa Ponselle/Chor Of The Metropolitan Opr
- La Forza Del Destino: Act III: O Tu Che In Seno Agli Angeli - Francesco Merli
- La Forza Del Destino: Act III: Solene In Quest'ora - Enrico Caruso/Antonio Scotti
- La Forza Del Destino: Act III: Morir!... Urna Fatale... E Salvo (Sung In German) - Heinrich Schlusnus
- La Forza Del Destino: Act IV: Invano, Alvaro - Gino Bechi/Giacomo Lauri-Volpi
- La Forza Del Destino: Act IV: Pace, Pace, Mio Dio - Salomea Kruszelnicka
- La Forza Del Destino: Act IV: Pace, Pace, Mio Dio - Zinka Milanov
- La Forza Del Destino: Act IV: Non Imprecare - Ezio Pinza/Rosa Ponselle/Giovanni Martinelli
Tracks:
- Don Carlo: Act I: E Lui... Dio, Che Nell'alma - Giuseppe De Luca/Giovanni Martinelli
- Don Carlo: Act II: Nell Giardin Del Bello (Sung In German) - Margarete Arndt-Ober
- Don Carlo: Act II: Restate - Boris Christoff/Tito Gobbi
- Don Carlo: Act IV: Ou Suis-je!... Je Dormirai Dans Mon Manteau Royal (Sung In French) - Pol Plancon
- Don Carlo: Act III: Ella Giammai M'amo!... Dormiro Sol - Boris Christoff
- Don Carlo: Act III: O Don Fatale - Frida Leider
- Don Carlo: Act III: O Don Fatale - Clara Butt
- Don Carlo: Act III: I. Convien Qui Dirci Addio... Per Me Giunto/II. O Carlo Ascolta... Lo Morro - Tito Gobbi
- Don Carlo: Act IV: Tu Che Le Vanita - Hertha Stolzenberg
- I Vespri Siciliani: Act II: O Tu Palermo - Boris Christoff
- I Vespri Siciliani: Act III: In Braccia Alle Dovizie - Riccardo Stracciari
- I Vespri Siciliani: Act IV: Giorno Di Pianto (Sung In German) - Helge Roswaenge
- I Vespri Siciliani: Act IV: Arrigo! Ah Parli A Un Core - Ester Mazzoleni
- I Vespri Siciliani: Act IV: Merce, Dilette Amiche - Rosa Raisa
Tracks:
- I Lombardi/Jerusalem: Act II: Je Veux Encore Entendre - Leonce Escalais
- I Lombardi/Jerusalem: Act II: Grace, Mon Dieu!... O Jour Fatal - Paul Payan
- I Lombardi/Jerusalem: Act III: Or Non Piu... Qual Volutta Trascorrere - Elisabeth Rethberg/Beniamino Gigli/Ezio Pinza
- Aida: Act I: Celeste Aida (Sung In French) - Paul Franz
- Aida: Act I: Se Quel Guerrier Io Fossi!... Celeste Aida (Sung In German) - Helge Roswaenge
- Aida: Act I: I Sacri Nomi (Sung In French) - Felia Litvinne
- Aida: Act I: Ritorna Vincitor - Giannina Russ
- Aida: Act I: Ritorna Vincitor - Florence Austral
- Aida: Act III: O Patria Mia (Sung In German) - Emmy Destinn
- Aida: Act III: Qui Radames Verra... O Patria Mia (Sung In Russian) - Natalia Yushina
- Aida: Act III: Pur Ti Riveggo - Giovanni Martinelli/Rosa Ponselle
- Aida: Act III: Fuggiam Gli Ardori Inospiti (Sung In German) - Elsa Bland/Leo Slezak
- Aida: Act III: Lo L'amo Sempre... Gia I Sacerdoti (Sung In German) - Sabine Kalter/Richard Tauber
- Aida: Act III: Ohime!... Morir Mi Sento - Ebe Stignani/Chor Del Teatro Dell'Opr Di Roma
- Aida: Act III: Morir Si Pura E Bella (Sung In German) - Leo Slezak/Sofie Sedlmair
- Aida: Act III: O Terra, Addio - Johanna Gadski/Enrico Caruso
Tracks:
- I Due Foscari: Act I: O Vecchio Cor - Riccardo Stracciari
- I Due Foscari: Act I: Questa Dunque - Pasquale Amato
- Otello: Act I: Esultate - Giacomo Lauri-Volpi
- Otello: Act I: Esultate - John O'Sullivan
- Otello: Act I: Qua, Ragazzi... Inaffia L'ugola! - Apollo Granforte/Nello Palai/Piero Girardi/Chor Del Teatro Alla Scala, Milano
- Otello: Act I: Gia Nella Notte - Tino Pattiera/Meta Seinemeyer
- Otello: Act II: Credo In Un Dio Crudel - Cesare Formichi
- Otello: Act II: Tu! Indietro... Ora E Per Sempre Addio (Sung In French) - Jose Luccioni
- Otello: Act II: Tu! Indietro... Ora E Per Sempre Addio - Mario Del Monaco
- Otello: Act II: Era La Notte - Eugenio Giraldoni
- Otello: Act II: E Qual Certezza... Era La Notte - Lawrence Tibbett
- Otello: Act II: Si Pel Ciel - Giovanni Zenatello/Paquale Amato
- Otello: Act III: Dio! Mi Potevi Scagliar (Sung In German) - Lauritz Melchior
- Otello: Act III: Dio! Mi Potevi Scagliar - Renato Zanelli
- Otello: Act IV: Piangea Cantando (Sung In German) - Lotte Lehmann
- Otello: Act IV: Mia Madre Aveva Una Pavera Ancella - Yvonne Gall
- Otello: Act IV: Ave Maria (Sung In German) - Tiana Lemnitz
- Otello: Act IV: Niun Mi Tema - Francesco Tamagno/Salvatore Cottone
- Otello: Act IV: Niun Mi Tema - Giuseppe Borgatti
Tracks:
- Luisa Miller: Act I: Ah! Tutto M'arride... Il Mio Sangue - Tancredi Pasero
- Luisa Miller: Act II: Oh! Fede Negar Potessi... Quando Le Sere Al Placido - Giuseppe Anselmi
- Luisa Miller: Act II: Quando Le Sere Al Placido - Aureliano Pertile
- Un Ballo In Maschera: Act I: Zitti... L'incanto... Re Dell'abisso - Irene Minghini-Cattaneo
- Un Ballo In Maschera: Act I: E' Scherzo Od E Follia - Aureliano Pertile/Ines Maria Ferraris/Luis Bertana/Antonio Righetti/Cesare Baromeo
- Un Ballo In Maschera: Act II: Ma Dall'arido Stelo - Eugenai Burzio
- Un Ballo In Maschera: Act II: Ma Dall'arido Stelo - Hina Spani
- Un Ballo In Maschera: Act III: Morro, Ma Prima In Grazia (Sung In German) - Melanie Kurt
- Un Ballo In Maschera: Act III: Morro, Ma Prima In Grazia - Elisabeth Rethberg
- Un Ballo In Maschera: Act III: Eri Tu - Giuseppe De Luca
- Un Ballo In Maschera: Act III: Saper Vorreste - Selma Kurz
- Un Ballo In Maschera: Act III: Forse La Soglia Attinse... Ma Se M'e Forza Perderti - Antonio Cortis
- Falstaff: Act I: L'onore! - Mariano Stabile
- Falstaff: Act II: Alfin, T'ho Colto... Quand'ero Paggio - Antonio Magini-Coletti/Elisa Petri
- Falstaff: Act II: Quand'ero Paggio - Victor Maurel
- Falstaff: Act III: Ehi! Taverniere - Mariano Stabile
- Falstaff: Act III: Da Labbro Il Canto - Tito Schipa
- Falstaff: Act III: Sul Fil D'un Soffio Etesio - Toti Dal Monte/Chor Del Teatro Alla Scal, Milano
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This collection, whose French title might be translated "Verdi Vocal Rarities," is a unique contribution to the Verdi centennial year. Its 136 selections on eight compact discs offer an in-depth survey of singers who recorded notable Verdi performances during the era of 78-rpm recording. Coincidentally, this period covers, within a few years, the half- century after the composer's death, in 1901. Some of the singers in the earliest cuts--tenor Francesco Tamagno and bass Victor Maurel, for example--had known Verdi and sung for him. Many of the singers will be familiar to connoisseurs of Verdi discography--Enrico Caruso, Boris Christoff, Fedora Barbieri, Ezio Pinza, Elisabeth Schwarzkopf, Tito Gobbi, Beniamino Gigli, and Jussi Bjoerling, to name a few. Others, such as Frieda Hempel, Emmy Destinn, Martha Modl, Joseph Schwarz, Gino Cigna, and Mattia Battistini, are names you come across in books about opera, but you have heard their voices only if you spend a lot of time with historic recordings. And a lot of performances, including some of the best, are likely to be the work of singers encountered for the first time.
Most of the big moments from Verdi's operas are included--grouped by opera, not by chronological order of recording. There are a few strange omissions; for example, the "Miserere" scene from Il trovatore. But other selections, such as "Ah fors' e lui" and "La donna e mobile," are given in two or three performances--sometimes in French, German, or Russian as well as Italian. Some of the performances are classics; many are mind-boggling.
Some favorite Verdi singers--Maria Callas, Joan Sutherland, Placido Domingo, and Luciano Pavarotti, among them--are absent because they began recording after the collection's cutoff date. Other problems are mostly related to the dates of the original recordings. The sound is all pre-high-fidelity and sometimes quite primitive, though some remarkable work has been done to optimize the earliest items. The annotations are minimal--mostly the date, venue, and performers in each cut, with pictures of the biggest stars. This decision was probably made to keep the price low, and those who already know most of the arias and ensembles will likely find the tradeoff acceptable. --Joe McLellan
Customer Reviews:
Rare but well-polished Verdi gems........2001-10-21
Classical music enthusiasts will have become aware that EMI have been marketing several boxed sets with a French title containing the word "introuvables". The word suggests that when you open the box you'll find items that are so rare as to be almost unobtainable. It suggests also that their rarity is not due only to age or production limitations, it is also due to the incomparability of their quality.
Few would quibble about the quality of what is to be found in this splendid collection of Verdi "introuvables". You will hear how Emmy Destinn portrayed Aida yearning for her homeland in 1908, and how Elisabeth Schwarzkopf portrayed Violetta intereacting with her lover's father in 1953. You will hear several items duplicated. Francesco Navarini, recorded in 1907 with a piano, makes a stunning Fiesco in the "Simon Boccanegra" prologue, as is not up-staged by the more familiar Alexander Kipnis version which follows.
You might regret that your favourite Verdi record is not here. You'll have opportunities to make comparisons, however. I could never believe that anyone could equal Giuseppe de Luca'a 1930 "O sommo Carlo" from "Ernani, but here I have a chance to hear for the first time how the famous baritone Mattia Battistini did it in 1906.
Keith Hardwick compiled and transferred this collection originally in the late 1980s. He has augmented and transferred that issue onto 8 CDs, and provided the annotations. Full recording details are provided, there are many singer photographs but no singer biographies.
The recording dates range from 1903 to 1953. Sadly, almost all the singers - Dame Elisabeth Schwarzkopf being a notable exception - are all dead by now. Those of us who have opportunities to hear and collect their work, however, can be grateful that the older we get the better it sounds. Indeed, I have never heard any of the items included here in better transfers. Elsewhere I have given this issue a five star rating. Subsequent hearings have made me aware of a technical matter which may bother some listeners. This set has been transferred from the long playing records on which it was originally issued. Their pristine sound quality has been preserved but also some of the ghostly "swish" that accompanied each revolution.
Average customer rating:
- Bizet: Les Pêcheurs De Perles
- My review
- middle of the road performance
- Opera to love
- Wonderful piece of work
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Bizet: Les Pêcheurs des perles; Ivan IV
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Purcell: Dido and Aeneas / James, Lewis, Baker, Herincx
ASIN: B000002SFC
Release Date: 1990-10-25 |
Tracks:
- Les Pechuers De Perles: Prld - Comic Opr Nat Theatre Orch/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.1. Choeur: Sur la greve en feu - Ernest Blanc/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.1. Scene et choeur: Amis, interrompez vos danses - Ernest Blanc/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.1. Recit et reprise du choeur danse: Demeure parmi nous, Nadir - Ernest Blanc/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.2. Recit: Cest toi qu'enfin je revois - Ernest Blanc/Nicolai Gedda
- Les Pechuers De Perles: Act I, No.2. Duo: Au fond du temple saint - Ernest Blanc/Nicolai Gedda
- Les Pechuers De Perles: Act I, No.3. Recit: Que vois-je? - Ernest Blanc/Nicolai Gedda
- Les Pechuers De Perles: Act I, No.3. Choeur: Elle vient... Sois la bienvenue - Ernest Blanc/Janine Micheau/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.3. Scene et choeur: Seule au milieu de nous - Ernest Blanc/Janine Micheau/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.4. Recit: A cette voix - Nicolai Gedda
- Les Pechuers De Perles: Act I, No.4. Romance: Je crois encore entendre - Nicolai Gedda
- Les Pechuers De Perles: Act I, No.5. Scene et choeur:Le ciel est bleu - Nicolai Gedda/Jacques Mars/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act I, No.5. Air et choeur: O Dieu Brahma! - Janine Micheau/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act II, No.6. Entracte, scene et choeur: L'ombre descend des cieux - Janine Micheau/Nicolai Gedda/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act II, No.7. Recit et cavatine: Me voila seule dans la nuit - Janine Micheau
- Les Pechuers De Perles: Act II, No.8. Chanson: De mon amie - Janine Micheau/Nicolai Gedda
- Les Pechuers De Perles: Act II, No.9. Duo: Leila! Dieu puissant - Janine Micheau/Nicolai Gedda
- Les Pechuers De Perles: Act II, No.10. Final: Ah! Revenez a la raison - Janine Micheau/Nicolai Gedda/Jacques Mars
Tracks:
- Les Pechuers De Perles: Act III, No.10. Final: Arretez! C'est a moi d'ordonner - Ernest Blanc/Janine Micheau/Nicolai Gedda/Jacques Mars/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Les Pechuers De Perles: Act III, No.11. Entracte, recit et air L'orages'est calme...o Nadir - Ernest Blanc
- Les Pechuers De Perles: Act III, No.12. Recit: Qu'ai-je vu? - Ernest Blanc/Janine Micheau
- Les Pechuers De Perles: Act III, No.12. Duo: Jefremis, je chancelle - Janine Micheau/Ernest Blanc
- Les Pechuers De Perles: Act III, No.12. Scene:Entends au loin... - Jaques Mars/Janine Micheau/Ernest Blanc
- Les Pechuers De Perles: Act III, No.13. Choeur danse:Des que le soleil - Comic Opr Nat Theatre Orch/Pierre Dervaux
- Les Pechuers De Perles: Act III, No.14. Scene et choeur: Sombres divinites - Jaques Mars/Comic Opr Nat Theatre Chor/Pierre Dervaux/Ernest Blanc
- Les Pechuers De Perles: Act III, No.15. Trio: O lumiere sainte - Janine Micheau/Nicolai Gedda/Ernest Blanc
- Les Pechuers De Perles: Act III, No.16. Final: Cesont eux, les voici - Ernest Blanc/Nicolai Gedda/Janine Micheau/Jacques Mars/Comic Opr Nat Theatre Chor/Pierre Dervaux
- Ivan IV: Act I, Duo: Puisses-tu voir longtemps encore - Janine Micheau/Michel Senechal
- Ivan IV: Act I, Final du premier tableau: Victoire! Victorie! Chantez! - Pierre Savignol/Henre Legay/Nat Chor de la R.T.F./Georges Tzipine
- Ivan IV: Act I, Serenade: Ouvre ton coeur a l'amour qui m'enflamme - Michel Senechal
- Ivan IV: Act I, Recit et chand du Cosak: Et c'est un chant de femmes... - Michel Roux/Louis Noguera/Nat Chor de la R.T.F./Georges Tzipine
- Ivan IV: Act II, Choeur danse: Sous nos pas resonnent... - Nat Orch de la R.T.F./Georges Tzipine
- Ivan IV: Act III, Air de Mare: II me semble parfois que mavie est un songe - Janine Micheau
- Ivan IV: Act III, Recit et air d'Igor: La vengeance va donc etre enfin satisfaite...Pourquoi me verr - Henri Legay
- Ivan IV: Act III, Duo: Marie ! Igor! - Henri Legay/Janine Micheau
- Ivan IV: Act III, Final: Voyez! Ah! Mon epouse... - Janine Micheau/Henri Legay/Michel Senechal/Michel Roux/Pierre Savignol/Louis Noguera...
- Ivan IV: Act IV, Final: A mort! A mort! - Janine Micheau/Henri Legay/Michel Senechal/Michel Roux/Pierre Savignol/Louis Noguera...
Customer Reviews:
Bizet: Les Pêcheurs De Perles.......2004-02-03
Advice for the San Diego gentleman: listen to the recording first before sending in your comments. It's laughable to blindly defend Nicolai Gedda's singing in Nadir's role without even listening to the recording!
While I gave this recording five stars for its glorious sound and very good performance from all stars including Mr. Nicolai Gedda, he does indeed sound a bit strained in the romance "Je crois encore entendre". This is not surprising since Bizet wrote this passage in extremely high notes!
I highly recommend this recording to all Bizet fans.
My review.......2003-02-17
Nicolai Gedda is my favorite tenor in the non-Italian repertory. He excelled in French, German, and operetta roles, both French and Viennese. Even though I have not listened to this recording yet, I am sure that he does a good job in this recording of Bizet's second most popular opera after the ubiquitous "Carmen". He was a great Don José, the best non-French one who ever recorded the role (no offense to Corelli, Domingo, and Vickers). It is fair to assume that he does a good job with the demanding role of Nadir. To say that he sometimes sounds a bit strained in this role is blasphemous. He excelled in roles that had high tessituras. He had great success in "Le Postillon de Lonjumeau", "Oberon", and "Benvenuto Cellini". This recording was made in October 1960. Gedda was only at the beginning of his glorious prime. Do not believe the person who said he sounds strained in this role. He is biased against Gedda, who happens to be one of his fellow countrymen. Gedda also was very committed dramatically to each and every role that he sung. To say that he sings Nadir's aria without any emotions is false exaggeration in the greatest sense. Gedda was a superb interpreter of French roles and it can be assumed, on my part that is, that he gives an above-average performance in this opera. Remember, I have not listened to this recording yet.
middle of the road performance.......2001-11-06
This is a perfect example of studio recordings with opera stars that ought to be very good, but somehow fails. There is nothing obviously 'wrong' with this recording, but it surely doesn't engage either.
The voices are generally good - Gedda's Nadir is smooth and beautiful, idiomatic in style, if sometimes a little strained under pressure - and that's not strange - Nadir's writing is very high. The romance 'je crois entendre encore' is however a wonder of precision and smoothness, technically perfect indeed, but it's rather hard to imagine that he sings a romance when there's no trace of feelings there. Janine Micheau on the other side is as always rather dry in tone, but perfectly french in style, and her vibrato is not as wide as it sometimes could be - and her performance is, I think, the most 'felt' of the three main roles. Ernest Blanc as Zurga is also rather unengaged, although with a firm and effective voice. The conducting is also rather uninspired, and perhaps that's the main problem, cause an uninspired conductor can damage a whole performance.
There are at least three better recordings according to my taste, and one of them stand clearly ahead of the other: the live recording from 1959 with Vanzo/Micheau/Baquier and Rosenthal as conductor, available here on Amazon.com. A typically french performance with all the positive effects of a live recording captured in good sound and hardly none of the negative ones, combined with wonderful singers in their prime. Vanzo, as Nadir, is alone worth the purchase (it's also budget priced!). Thereafter I think the two mono recordings from Philips (Simoneau/Alarie/Bianco/Fournet) and EMI (Legay/Angelici/Dens/Cluytens) are good. There are studio recording with more modern sound, but they all let you down in one way or the other - you might as well go for this one in comparission to them.
Compared to other more modern stereo versions, this one has the great advantage of giving us highlights from the very rare Bizet opera 'Ivan IV' with an other conductor and different cast. For the real Bizet fans this alone might be worth the purchase, but if you just want a good version of this lovely opera, go for one of the three I've mentioned above.
Opera to love.......2000-04-19
Bizet wrote some of the most beautiful melodies in classical music, and this opera abounds with some of his best. Filled with breathtaking arias, the exotic setting of Ceylon and glorious poetry, The Pearl Fishers is more lush and visceral than Carmen. James Michener's The Drifters was my introduction to this opera; in the Winona Ryder version of Little Women, Gabriel Byrne as Professor Baehr takes Jo to a production of Les Pecheurs de Perles. This is a wonderful recording of a very accessible piece of music.
Wonderful piece of work.......1998-12-07
This wonderful piece of work by Bizet is not as popular as Carmen, and this is a pity, for the melodies and voice registers used by the composers are really talking to the soul. This version, although not recent, is the best I know by the quality of performers and sound recording. Definitely worth buying.
Average customer rating:
- Lapsing Faith and Lost Beauty
- Stylish Thais Set
- AN UNDER-APPRECIATED GEM
- A fad
- Lovely but too late
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Massenet: Thaïs / Sills, Milnes, Gedda; Maazel
Jules Massenet , Lorin Maazel , Beverly Sills , Nicolai Gedda , New Philharmonia Orchestra , John Alldis Choir , Sherrill Milnes , and Norma Burrowes
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Massenet: La Navarraise / Horne, Domingo, Milnes, Bacquier, Zaccaria, Davies, LSO, Lewis
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- Massenet: Manon
- Bellini - I Puritani / Sutherland
ASIN: B000002S67
Release Date: 1995-09-26 |
Tracks:
- Thais: Act I - Scene I : Voici le pain...Et le sel (Cenobites, Palemon)
- Thais: Act I - Scene I : Le voici! Le voici! (Cenobites, Athanael, Palemon)
- Thais: Act I - Scene I : Helas! enfant encore (Athanael)
- Thais: Act I - Scene I : Ne nous melons jamais, mon fils (Palemon, Cenobites, Athanael)
- Thais: Act I - Scene I : Vision (Orchestre)
- Thais: Act I - Scene I : Toi, qui mis la pitie dans nos ames (Athanael)
- Thais: Act I - Scene I : Mon fils, ne nous melons jamais (Palemon, Athanael, Cenobites)
- Thais: Act I - Scene II : Prelude (Orchestre)
- Thais: Act I - Scene II : Va, mendiant chercher ailleurs ta vie! (Serviteur, Athanael)
- Thais: Act I - Scene II : Voila donc la terrible cite (Athanael)
- Thais: Act I - Scene II : Ah! Ah! Ah!...Athanael, c'est toi!
- Thais: Act I - Scene II : Ah! Ah! Ah!...Je vais donc te revoir (Crobyle, Myrtal, Nicias, Athanael)
- Thais: Act I - Scene II : Gorde-toi bien! Voici ta terrible ennemie! (Nicias, Choeur)
- Thais: Act I - Scene II : C'est Thais, I'idole fragile (Thais, Nicias)
- Thais: Act I - Scene II : Quel est cet etranger (Thais, Nicias, Athanael)
- Thais: Act I - Scene II : Qui te fait si severe (Thais, Nicias, Choeur)
- Thais: Act I - Scene II : Non! Non! je hais vos fausses ivresses (Athanael, Thais, Nicias, Choeur)
- Thais: Act II - Scene I : Ah! je suis seule, seule enfin!
- Thais: Act II - Scene I : Dis-moi que je suis belle (Thais)
- Thais: Act II - Scene I : Etranger, te voila comme tu l'avais dit
- Thais: Act II - Scene I : Eh bien, fais-moi connaitre tout cet amour
- Thais: Act II - Scene I : Je suis Athanael, moine d'Antinoe! (Thais, Athanael, Nicias)
- Thais: Act II - Scene I : Je n'ai pas plus choisi mon sort que ma nature (Thais, Athanael, Nicias)
- Thais: Act II - Scene I : Meditation Religieuse - Symphonie (Orchestre)
Tracks:
- Thais: Act II - Scene II : Pere, Dieu m'a parle par ta voix,
- Thais: Act II - Scene II : Non loin d'ici, vers I'occident
- Thais: Act II - Scene II : Considere, o mon pere (Thais, Athanael)
- Thais: Act II - Scene II : Suivez-moi tous, amis! (Nicias, Choeur, Crobyle, Myrtal)
- Thais: Act II - Scene II : Divertissement (i) (Orchestre)
- Thais: Act II - Scene II : Voila I' Incomparable! (Nicias)
- Thais: Act II - Scene II : Celle qu vient est plus belle (Crobyle, Myrtal)
- Thais: Act II - Scene II : Divertissement (ii) (Orchestre)
- Thais: Act II - Scene II : Eh! c'est lui!...Athanael! (Nicias, Choeur, Athanael)
- Thais: Act II - Scene II : II dit vrai! (Thais, Nicias, Athanael, Choeur)
- Thais: Act III - Scene I : L'ardent soleil m'ecrase
- Thais: Act III - Scene I : Ah! des gouttes de sang coulent de ses pieds (Thais, Athanael)
- Thais: Act III - Scene I : O messager de Dieu, si bon dans ta rudesse (Thais)
- Thais: Act III - Scene I : Baigne d'eau mes mains et mes levres (Thais, Athanael, Choeur)
- Thais: Act III - Scene I : La paix du Seigneur soit avec toi (Athanael, Albine)
- Thais: Act III - Scene I: Mon oeuvre est accomplie! (Athanael, Thais, Albine, Choeur)
- Thais: Act III - Scene II : Que le ciel est pesant! (Cenobites, Palemon, Athanael)
- Thais: Act III - Scene II : C'est lui qui vient! (Athanael, Palemon)
- Thais: Act III - Scene II : Qui te fait si severe (Thais, Athanael, Choeur)
- Thais: Act III - Scene II : Thais va mourir! (Athanael)
- Thais: Act III - Scene III : Seigneur, ayez pitie de moi (Choeur, Albine)
- Thais: Act III - Scene III : Sois le bienvenu dans nos tabernacles (Albine, Athanael, Choeur)
- Thais: Act III - Scene III : C'est toi, mon pere! (Thais, Athanael)
Amazon.com
This set is primarily for devoted fans of Beverly Sills, for fans of Sherrill Milnes in his prime, and for those who must have the uncut version where it's available. The estimable Ms. Sills was in less than ideal voice for the making of this recording, which is unfortunate, but the artistry still shines through. Mr. Milnes sings with rich tone. But Lorin Maazel's conducting is leaden and out of empathy with the score. --Sarah Bryan Miller
Customer Reviews:
Lapsing Faith and Lost Beauty.......2006-09-23
The reason I assign the recording four stars rather than five is that the pathos of the opera strikes me as too extreme. The same combination of exquisite beauty and suffocating pathos turns up in Barbra Streisand's song "The Way we Were." Beverly Sills sings the pathetic part of Thais to the hilt; and Massenet's familiar "religious meditation" does the rest. All of these intensely pathetic operas including Pagliacci and Tosca derive from the epoch-making example of Wagner's Tristan und Isolde with its unrelieved love-and-death sorrow. As a Christian I associate this powerful tradition with lapsing faith in Europe after 1865. Massenet's opera treats the early Christian monks of Egypt as caught up in tragic error. Thais is a supremely beautiful woman won from a life of immorality to Christianity by a well-intentioned monk who knew her in his earlier days. As the converted Thais lives and dies for the abstract reward of heaven, the monk grieves over the beauty he has destroyed. The real spiritual solution to the dilemma posed by the opera lies in the correlation between future resurrection, universal vitality and intense beauty; but theologians have generally missed he point and shown more interest in heaven than in concrete resurrection. In any case there was no way out for Massenet and his source.
Stylish Thais Set.......2005-10-16
This 1976 recording of Thais is my favorite of the two recordings I have - the other being the Fleming/Hampson. Sills' vibrato is a little more pronounced here than it was a few years earlier, but it doesn't bother me. She still has a gorgeous voice and brings this conflicted character vividly to life. Having studied with the likes of Mary Garden as a young singer, Sills has an innate understanding of the French style, and uses her voice with much imagination and flair. Also, the character of Thais is not supposed to be a young girl - an aging courtesan of 30ish or so... Sherrill Milnes, in a departure from his usual Italian repertoire, sings a most impassiaoned Athaneal - the voice full and resonant, the character's obessiveness wonderfully realized. I think he never did anything better on disc. Nicolai Gedda is a little past his best here, but like Sills understands the French style and delivers the vocal goods as required. Maazel conducts an exciting performance (even playing the solo violin in the Meditation himself) and the sound is excellent. The Fleming/Hampson set is beautifully sung, but I feel the drama of the story is not fully realized somehow - hard to put my finger on what's missing there. This Thais is one of my favorite French opera recordings - recommended highly.
AN UNDER-APPRECIATED GEM.......2004-12-03
Late 19th-century French opera is often disparaged these days, which isn't really fair. Delibes had some beautiful melodies, and Massenet was a much better composer than many give him credit for. And although "Manon" and "Werther" may be more famous, to me, his late opera "Thais" is his masterpiece. There are three major recordings of this opera, one with Anna Moffo, Gabriel Bacquier and Jose Carreras, a recent one with Renee Fleming, Thomas Hampson and Giuseppe Sabattini, and this 1976 recording with Beverly Sills, Sherill Milnes, and Nicolai Gedda. All three versions have their strengths and weaknesses. The Moffo/Bacquier vesion, although excellent and showing Carreras in his prime, is unavailable. (I'm not sure it was ever issued in CD.) The Fleming/Hampson recording is also excellent--Fleming has a gorgeous and luscious voice, and Hampson a silky smooth baritone--but I find myself reaching for the Sills/Milnes version most often.
Sills was past her prime when she recorded this, and her high notes are a little thin and sometimes wobbly. Nevertheless, her artistry is so great that she infuses the role of the courtesan with the tremendous drama the role requires. Thais' radical change of character, from the insouciant hedonist to the redeemed penitent, is gloriously demonstrated in Sills' portrayal.
And this opera is as much about Athanael as it is Thais. Milnes, at the height of his career when he recorded this in 1976, brings tremendous power and vitality to the role of the priest, whose reverse progression from moralistic religious surety to tortured doubt parallels that of Thais, the object of his forbidden love. Nicolai Gedda's singing is, as always, stylish and graceful, and Loren Maazel's reading of the score is well paced and forceful. This recording belongs in all opera collections.
A fad.......2004-05-21
This Thais is ruined by Sills. Buy Renee Fleming's Thais instead. She has the big voice, the looks and the talent. Sills didn't, all she can do is make my ears bleed. Shame on that shrieker!
Lovely but too late.......2004-02-24
I have a live-recording with Sills which is MUCH better. Sills was always at her best live on stage. For studio-recordings get the Fleming-set or the sadly cut recording with the divine Renee Doria. (My favourite Thais)
Average customer rating:
- Not a flawless version, but one to be REALLY loved
- The best of a mediocre-to-bad lot
- Hoffman contines to elude the recording world
- Excellent but not definitive
- O Dieu, de quelle ivresse embrasse-tu mon âme?
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Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano
Jacques Offenbach , Roberto Alagna , Natalie Dessay , Kent Nagano , Choeur et Orchestre de l'Opéra National de Lyon , Leontina Vaduva , Sumi Jo , José van Dam , Catherine Dubosc , Gilles Ragon , Gabriel Bacquier , Doris Lamprecht , and Juanita Lascarro
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Donizetti: Lucie de Lammermoor; Natalie Dessay, Roberto Alagna
- Russian Album
ASIN: B000005E4D
Release Date: 1996-10-29 |
Tracks:
- Les Contes D' Hoffmann: Prelude - Kent Nagano
- Les Contes D' Hoffmann: Act 1, Scene 1: Glou! Glou! - Kent Nagano
- Les Contes D' Hoffmann: Couplets de la muse: La verite, dit-on, sortait d'un puits - Kent Nagano
- Les Contes D' Hoffmann: Elle est sur la scene, un peuple l'acclame - La Muse - Kent Nagano
- Les Contes D' Hoffmann: Scene 2: Le conseiller Lindorf, morbleu! - Lindorf, Andres - Kent Nagano
- Les Contes D' Hoffmann: Scene 3: Vayons? Pour Hoffmann! - Kent Nagano
- Les Contes D' Hoffmann: Couplets: Dans les roles d'amoureux - Kent Nagano
- Les Contes D' Hoffmann: Deux heures devant moi - Scene 4: Vite, vite, qu'on se remue! - Lindorf, Luther - Kent Nagano
- Les Contes D' Hoffmann: Scene 5: Choeur des Etudiants - Drig, drig - Kent Nagano
- Les Contes D' Hoffmann: Vrai Dieu! Mes amis - Kent Nagano
- Les Contes D' Hoffmann: Eh! Luther! Ma grosse tonne - Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
- Les Contes D' Hoffmann: Scene 6: Bonjour, amis! - Kent Nagano
- Les Contes D' Hoffmann: Couplets and Andante: Va pour Kleinzach! - Kent Nagano
- Les Contes D' Hoffmann: Peuh! Cette biere est detestable! - Kent Nagano
- Les Contes D' Hoffmann: Duo: Et par ou votre Diablerie - Kent Nagano
- Les Contes D' Hoffmann: Simple echange de politesse - Kent Nagano
- Les Contes D' Hoffmann: Je vous dis, moi - Kent Nagano
- Les Contes D' Hoffmann: Ma maitresse? - Kent Nagano
- Les Contes D' Hoffmann: Final: Messieurs, on va lever le rideau! - Hoffmann, Nicklausse, Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
- Les Contes D' Hoffmann: Act 2: Entracte - Kent Nagano
- Les Contes D' Hoffmann: Scene 1: La! Dors en paix - Spalanzani - Scene 2: Ah! Bonjour! Enchacte! - Spalanzani, Hoffmann - Scene 3: Fais allumer partout! - Spalanzani, Cochenille - Kent Nagano
- Les Contes D' Hoffmann: Scene 4: Allons! Courage et confiance! - Kent Nagano
- Les Contes D' Hoffmann: Pardieu! J'etais bien sur - Kent Nagano
- Les Contes D' Hoffmann: Couplets: Une poupee aux yeux d'email - Nicklausse, Hoffmann - Kent Nagano
- Les Contes D' Hoffmann: Scene 5: C'est moi, Coppelius! - Kent Nagano
- Les Contes D' Hoffmann: Je me nomme Coppelius - Kent Nagano
- Les Contes D' Hoffmann: J'ai deux jeux, de beaux yeux - Kent Nagano
- Les Contes D' Hoffmann: Serviteur - Kent Nagano
- Les Contes D' Hoffmann: Ah! Ange du ciel, est-ce bien toi? - Nicklausse, Hoffmann, Coppelius - Kent Nagano
- Les Contes D' Hoffmann: Scene 6: Hein! Vous! - Hoffmann, Coppelius, Spalanzani - Kent Nagano
- Les Contes D' Hoffmann: Scene 7: Choeur des Invites: Non aucun hote vraiment - Kent Nagano
- Les Contes D' Hoffmann: Vous serez satisfaits, messieurs - Hoffmann, Spalanzani, Nicklausse - Kent Nagano
- Les Contes D' Hoffmann: Scene 8: Mesdames et Messieurs - Kent Nagano
- Les Contes D' Hoffmann: Mesdames et Meisseurs, fiere de vos bravos - Kent Nagano
- Les Contes D' Hoffmann: Air: Les oiseaux dans la charmille - Kent Nagano
- Les Contes D' Hoffmann: Ah! Mon ami! Quel accent! - Hoffmann, Spalanzani, Nicklausse, Olympia, Cochenille - Kent Nagano
- Les Contes D' Hoffmann: Scene 9: Ils se sont eloignes! Enfin! - Kent Nagano
- Les Contes D' Hoffmann: Ah! Vivre deux! - Kent Nagano
- Les Contes D' Hoffmann: Tu me fuis? - Hoffmann, Olympia - Scene 10: Eh! morbleu! modere ton zele! - Hoffmann, Nicklausse - Kent Nagano
- Les Contes D' Hoffmann: Scene 11: Voleur! Brigand! Quelle deroute! - Coppelius - Kent Nagano
- Les Contes D' Hoffmann: Scene 12: En place les danseurs - Kent Nagano
- Les Contes D' Hoffmann: Voila! Assez, assez, ma fille - Kent Nagano
- Les Contes D' Hoffmann: Ah! Quoi? L'homme aux lunettes, la! - Spalanzani, Cochenille, Hoffmann, Olympia, Nicklausse, Coppelius - Kent Nagano
Tracks:
- Les Contes d'Hoffmann: Act 3: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Elle a fui, la tourterelle - Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Malheureuse enfant! - Crespel, Antonia - Scene 3: Desespoir! Tout a l'heure, encore! - Crespel - Scene 4: Frantz! n'ouvre a personne! - Crespel, Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 5: Jour et nuit je me mets en quatre - Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 6: Frantz, c'est ici! - Hoffmann, Frantz - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 7: Enfin je vais savoir pourquoi - Jacques Offenbach
- Les Contes d'Hoffmann: Romance: Vois sous l'archet fremissant - Jacques Offenbach
- Les Contes d'Hoffmann: C'est une chanson d'amour - Hoffmann, Antonia, Nicklausse - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 8: Ah! Je le savais bien - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! J'ai le bonheur dans l'ame - Jacques Offenbach
- Les Contes d'Hoffmann: Pourtant, o ma fiancee - Jacques Offenbach
- Les Contes d'Hoffmann: Viens la comme autrefois - Jacques Offenbach
- Les Contes d'Hoffmann: Qu'as-tu donc? - Antonia, Hoffmann - Scene 9: Rien! J'ai cru qu'Hoffmann etait ici! - Hoffmann, Crespel, Frantz, Miracle - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 10: Pour conjurer la danger - Jacques Offenbach
- Les Contes d'Hoffmann: Allons, parle! et sois bref! - Jacques Offenbach
- Les Contes d'Hoffmann: J'ai la certains flacons - Miracle, Crespel, Hoffmann, Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 11: Ne plus chanter - Hoffmann, Antonia - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 12: Tu ne chanteras plus? - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! Quelle est cette voix? - Jacques Offenbach
- Les Contes d'Hoffmann: Ta mere, oses-tu l'interroger? - Jacques Offenbach
- Les Contes d'Hoffmann: Non! Assez! - Jacques Offenbach
- Les Contes d'Hoffmann: Ja cede au transport qui m'enivre! - Miracle, Antonia, La Voix - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 13: Mon enfant, ma fille! - Crespel, Antonia, Hoffmann, Nicklausse, Miracle - Jacques Offenbach
Tracks:
- Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
- Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
- Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Je vois qu'on est en fete! - Schlemil, Giulietta, Pitchinaccio, Hoffmann - Scene 3: Au premier reve je t'enleve - Nicklausse, Hoffmann - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
- Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
- Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
- Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
- Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
- Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
- Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
- Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
- Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
- Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
- Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
- Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
- Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
- Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
- Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
- Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
- Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
- Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
- Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
- Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
- Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
- Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
- Les Contes d'Hoffmann: Adieu! Je t'abandonne - Andres, Hoffmann, Nicklausse, Stella, La Muse, Lindorf - Jacques Offenbach
Amazon.com
Of all the revisionist Hoffmanns, this one is the best, using the latest (and one trusts) last version of Michael Kaye's edition, based on sketches recently discovered for the unfinished opera. Most of the changes are in the Giulietta act; it now tracks better dramatically, and unlike some restoration attempts, its length is sensible. In the title role, Roberto Alagna is full of imaginative touches of characterization, singing the famous Kleinzach song with an intentional vocal roughness in a worthy effort to convey the Hoffmann's debauched state. As the mechanical doll Olympia, Natalie Dessay proves she's not only a phenomenal singer but a great comedienne. Kent Nagano deploys his Lyon Opera forces with great stylistic authority. --David Patrick Stearns
Customer Reviews:
Not a flawless version, but one to be REALLY loved.......2006-05-09
This is a recording with significant highs and lows. But in overall it is an excellent account of this wonderfully tuneful and beloved opera.
First, about the edition. The Kaye edition restores a lot of music including recitatives written by Offenbach and a number of musical numbers. It also goes for the Guiraud recitatives which some versions totally omit and replace by the dialogues which Offenbach likely might have intended. Compared to, say, the historical Sutherland/Domingo/Bonynge version, this version is significantly longer and more substantial, musically speaking. With more than 30 minutes of music compared to the Bonynge edition, it is understandable why the Kaye version needs up to 3 CDs to bear the substantial amount of music.
While fans of Contes d'Hoffmann would likely be grateful at the ressurrection of so much musical material, I personally find this version sometimes just too painfully long. The Guiraud recitatives sometimes simply are bland and cause the opera to just drag along. Yes, Guiraud obviously has a lot of skills and bright ideas in these recitatives, mostly shown by the quoting of music by Offenbach in these recitatives to give the opera a better sense of unison. But compared to the simpler recitatives that Offenbach himself wrote, the Guiraud sometimes just seems aloof. Unless you really have a lot of time, you might want to stick to the more important musical numbers. Also, the new ending, with Hoffmann facing the Muse in the apotheose is a wonderful ensemble, with sounds from the church organ that gives the scene its necessary "holy" feel.
Now to the singers. Alagna has a masculine voice and is dramatically very effective. He also has a perfect French diction-crisp, idiomatic and a real joy to listen to. His instrument naturally is not very beautiful; and I personally find his Hoffmann a bit beefy and hysterical; but his good understanding of the role still helps him come across as a better Hoffmann. The best Hoffmann is in my opinion either Domingo or Schicoff.
The ladies are provided with quite a luxury cast. Natalie Dessay's Olympia is perhaps second only to Sutherland and Sills. To everyone who honors La Stupenda's E flats, listen: Dessay presents the role of the mechanical doll with FOUR Gs, yes 4 full-voiced, stunning, jaw-dropping Gs!!! Musically speaking, Dessay is not as comedic as Sutherland; her tone is a little thin and nasal but her coloratura and lovely portrayal of the role is simply untterly convincing.
Vaduva's Antonia is excellent: excellent diction, girly tone and very successfully portrays the youngsinger's vulnerability and sensibility. She however lacks power in the trio and that C sharp falls flat. Her "Elle a fui la tourterelle" is however wonderfully touching and moving. The best Antonia, in my opinion, is Victoria de Los Angeles. To one of the reviewers here, Vaduva is not a Slavic singer. She is a French singer of Romanian origin. A totally Latin singer!
Sumi Jo portrays a very convincing Giulietta with very believable spinto qualities, which she provides effectively with chaning in tone. The rediscovered coloratura, with a couple of E flats and spellbinding runs, well, brings the wonderful Korean coloratura soprano to her prime best. Her French is surprisingly idiomatic.
Lascarro's got a small role as Stella. I personally don't like her tone; but she is good enough in the beautiful apotheose ensemble.
Jose Van Dam's quartet villain almost matches Bacquier's famous portrayal. His voice is not as dark or evil-sounding as Bacquier's but still gives a top-notch interpretation. His doctor Miracle might have been the best on record if he took some of those melodramatic laughs in the Trio. His reluctance, combined with Vaduva's small voice, creates a flat Trio. This being said, the French bass's quartet of villains stills ranks among the undisputed best. My favorite villain quartet, Gabriel Bacquier has a cameo role here as Crespel, which he does a great job.
Gilles Ragon's a good tenor and his stuttering in the portrayal of Cochenille is very convincing. I however find him a bit too serious and heavy for these tenore buffo roles. The same can be said for Senechal's Spalanzani. Compared to Charon's Spalanzani on the Bonynge recording, he is very unfunny. The "brigand! Bandit!" quarrel after the destruction of the doll is bland and lifeless.
Catherine's Dubosc has a lovely voice and does great job as Nicklausse. There is nothing to criticize about her singing qualities. My only objection is that the casting of this trouser role for a soprano harms the overall balance of the opera: 5 soprano roles and 1 mezzo role (the voice of the mother): this is not a good balance. The Barcarolle duet, in particular, suffers from both a misbalance and a ridiculous fast tempo.
Kent Nagano's conducting does not have the solid tempos of Bonynge and sometimes overwhelms the singers: most notably in that C sharp of the Trio. But he has really interesting ideas and provides invaluable support.
With the exception of a bland Spalanzani, some strange tempos and the unusual length of the edition, this is a very good Hoffmann. Together with the Bonynge version, this is another very good all-around recording. The set is a tad expensive, but given the substantial amount of music and a very informative booklet, this is a recording to really consider. It will provide a lot of listening pleasures. You will not be disappointed.
The best of a mediocre-to-bad lot.......2003-10-30
I have heard six recordings of "Hoffmann," an opera that is particularly dear to me for sentimental reasons. None of them are perfect, all have flaws, but on balance this is the best of the lot.
Now that musicologists have finished playing with the Mahler 10th Symphony (which ended rather well) and the Beethoven 10th (which ended rather badly), they have been taking a whack at "Hoffmann," rushing to revise music the composer never sanctioned and adding music found in buckets and boxes long after his death. My personal feeling was, if it ain't broke, don't fix it: you're not Offenbach, and to speak for him requires a tremendous amount of chutzpah. And a lot of the revisions, to my ear, simply do not work well, such as turning Giulietta into a coloratura soprano, spinning out an aria that ends much like Olympia's doll song as on this recording.
I'm also not fond of switching the Antonia and Giulietta acts from their traditional positions for both dramatic and musical reasons. To begin with, having the "tales" end with Antonia gives Hoffmann's character a certain sense of redemption that simply isn't there the other way. Also, the Giulietta act is musically the weakest: as primiarily an operetta composer, Offenbach simply had a hard time creating music for this act which is darker and more tensely dramatic than anything else in the work. The superp trio that climaxes the Antonia act, on the other hand, is one of the most brilliant and transcendent things he wrote.
That being said, there is much to admire in this set. Kent Nagano conducts briskly, which is his wont, thereby tying together the music in a cohesive and satisfying way where others (particularly Cluytens and Cambreling) sound slow and rambling. On the other hand, his chorus of the spirits, though light and brisk, just misses the rapt, enchanting sound achieved by Bonynge; and though it was probably Offenbach's intent to have only a few strings play the violin motif in the Antonia trio, they sound too thin, not sweeping or driven enough, for the dramatic situation. Nagano also conducts the famed "Barcarolle" at a shade-too-fast tempo, thus robbing the music of its mysterious charm (even Arthur Fiedler made a better recording of the instrumental version). These moments point to a lack of "theatricality" in Nagano's conducting style that Bonynge, Rudel and even Beecham managed to capture.
Alagna is not as suavely beautiful or haunting in the role as Robert Rounseville or Stuart Burrows were. This is something of an abrupt, nervous reading, though if one knows something about E.T.A. Hoffmann and his tales it is perfectly in keeping with his character. (I have yet, however, to see ANY tenor perform the role made up to LOOK like Hoffmann, a scrawny little man with a square jaw, popping eyes and a shock of unruly, frizzy hair. I guess no tenor really wants to look like that!)
This is unquestionably the finest performance Dessay has ever recorded: her voice is brilliant, in focus, on pitch and wonderfully secure. Only Bond in the Beecham performance and Sutherland come close, though I personally feel that Sutherland was funnier in the role. She had a real flair for comedy, whereas she did not possess enough personal warmth for Antonia or Giulietta.
The Sutherland recording also had the best "villains" in Gabriel Bacquier in his prime, but to my ears Van Dam is an excellent second. (Treigle, in the Sills set, was good but not great, his somewhat gruff voice rather overwhelimg the roles with too much histrionics.)
Vaduva has a pretty tone but your typical "Slavic wobble," more noticeable in the early and late parts of her act. For some reason, the voice is better focused in the middle sections, but she does not efface memories of de los Angeles who was the best Antonia ever.
Jo is surprisingly good as Giulietta: though her voice is even smaller than Dessay's, it had a fuller lyric sound in the mid-range which captured well on records. (I have beel told that her "live" career is just about over on stage as the voice is too small to carry in most modern theaters.) I liked Margherita Grandi in the old Beecham film, but a chesty, spinto Giulietta is apparently persona non grata in the new Michael Kaye edition of the work.
Dubosc is a good Nicklausse, though I preferred Tourangeau and the singer (I forget her name) from the Beecham film. Bacquier, with far less voice, is still predictably good as Crespel; the timeless Senechal is a classic Spalanzani; Ragon is an excellent Cochenille, not so memorable as Franz. (I miss Andrea Velis, the old Met comp, who was brilliant in these roles but was never recorded in them.) The other small roles range from excellent (Tezier as Schlemil) to poor (Juanita Lascarre as Stella).
An ideal modern "Hoffmann" would have Elisabeth Vidal as Olympia, Hong as Antonia, Fleming as Giulietta, Alvarez as Hoffmann, Rene Pape as the three villains, and someone like Pappano or Plasson conducting.....but we can dream all we want. The era of complete opera recordings, according to many inside sources, is over as we know it--even the Bobby & Angela act is being shelved--so we must pick from what we have, and this is simply the finest over all "Hoffmann" on record, with Bonynge's being a good second choice, though I do not like Domingo's hard-voiced, beefy Hoffmann.
Hoffman contines to elude the recording world.......2001-10-03
This is a very good Hoffman, with the new edition of the score and a lot more music than in earlier editions. There is MUCH here to be admired and enjoyed as there is in the classic Domingo/Sutherland recording.
I prefer Domingo's more passionate Hoffman to Alagna's workmanlike effort, which is still quite fine.
On the other hand, having different female vocalists, as this recording does is preferable to my ear than having the same throughout as the Domingo/Sutherland recording does. The three female leads here range from good (Dessay) to excellent (Jo). Having heard Sumi Jo sing Olympia on record and in person, I find it hard to enjoy Dessay's quite as much. Jo is here as Antonia however.
No single recording of Hoffman is clearly preferable and listening to each is recommended. In the meanwhile, there is still an opening here for a more fully satisying Hoffman.
Excellent but not definitive.......2001-04-20
This recording has given me many hours of listening pleasure. Pretty much every artist featured in it gives an excellent performance, and the greatness of Offenbach's opera is conveyed more fully than can be done by other performances that contain less of what he composed for "Hoffmann" before his untimely death. However, the recording has several specific faults that result in my giving it only 4 stars, even though it is among my favorite operatic recordings.
First, the good points. Listening to this recording one definitely thinks of the opera's characters rather than the artists portraying them.... I find Alagna's voice quite beautiful on this recording and feel that he portrays the character of Hoffmann with spectacular success....
Van Dam is one of the recording's great assets as the villains. The three main heroines are each memorable(.).......(Jo's) interpretation of Giulietta's long-lost coloratura aria is spectacular and features a spine-chilling moment in her climactic cadenza ...she sings a rising series of notes almost identical to one sung by Dessay as Olympia in Act II, emphasizing the connection of the heroines. ...Lascarro does a very good job in the small role of Stella (....Dubosc is excellent as the Muse and Nicklausse, giving a truly memorable performance of nearly the entire role. Unfortunately, Nicklausse's Antonia-act aria, arguably the artistic and emotional heart of the entire opera ...,seems somehow disappointing on this recording. Dubosc's voice does not cut through the orchestra as it should when she sings in her lower register, and as a result the aria fails to have the cathartic impact on me that it has when I have heard it in Metropolitan Opera broadcasts. .... Ragon gives an excellent, highly memorable performance in the four "grotesque" roles.
Now I may turn to the disappointing features of this recording. ....(T)his recording contains no extra-musical sound effects whatsoever. To a certain extent this is a valid approach to recording an opera. The problem is that "Hoffmann" contains an unusually high number of passages which were composed with the extra-musical sounds that would be heard from the stage in mind and which lack some of their intended impact without sound effects. The effectiveness of the students' drinking song is reduced when we don't hear them banging their glasses together and on the tables, and without the winding-up sound the pauses in Olympia's song when she runs down make less sense. We also should hear Coppelius smashing Olympia, Hoffmann and Schlemil moving around heavily as they duel, the death-gasp of another character who dies in the new ending of the Giulietta act (I won't spoil the unfamiliar twists of plot here), and various other sound effects which would add to the drama of the story. Moreover, Van Dam's villains never laugh except when their laughter is notated in the score, even though the libretto specifies some additional evil laughs, notably the one as Dr. Miracle disappears and Antonia falls dying at the end of the trio for Miracle, Antonia and the voice of Antonia's mother.
One of the main problems with the recording is that Van Dam, Ragon and Dubosc are the only performers to play multiple roles. Not only are the heroines played by four different sopranos, but none of the artists who play Luther and the students reappear in other roles in the acts devoted to Hoffmann's three stories. All of this goes against what are presumed to be Offenbach's wishes for his opera, despite the fact that this is a recording of Kaye's critical edition (in its "grand opera" version). Moreover, this recording was, unfortunately, made before Offenbach's own finished finale for the Giulietta act, written very shortly before his death, became available for inclusion in Kaye's edition. ....
Finally, it seems bizarre that the aria "Scintille, diamant," which has been one of the most popular numbers in the opera for a long time, is not included on this recording. ....
Despite these flaws, this recording is recommended. It is extremely enjoyable and represents the totality of Offenbach's intentions for "Hoffmann" more fully than any other recording currently available. One hopes that a new recording of Kaye's edition, with the definitive ending for the Giulietta act and with a single soprano playing all four heroines, will be made in the not-too-distant future.
O Dieu, de quelle ivresse embrasse-tu mon âme?.......1999-11-21
Comme un concert divin ta voix m'a pénétré!....
This recording is undoubtedly one of the two benchmark recordings of this opera, the other one being the classic Sutherland/Domingo/Bonynge set. It is the most complete set with the "newly-discovered" Giuletta ending, and even includes the terrific but apocryphal sextet that is missing in the Bonynge recording. Alagna is the true star here, reflecting the spirit of Hoffmann throughout the opera, and singing in a very ideomatic French (unlike Domingo). The four heroines are marvellous, even though I prefer a single soprano singing all the four roles. Van Dam is great as the four villians, but he could have been more sinister in the trio in the Antonia act. Nagano is fine, but has some problems with the tempi at times.
Average customer rating:
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ASIN: B00002456O
Release Date: 2005-09-13 |
Tracks:
- Prelude
- No.1: Introduction: Choeur: 'Sur La Greve En Feu'
- No.1: Introduction: Scene Et Choeur: 'Amis, Interrompez Vos Danses'
- No.1: Introduction: Recit et Reprise Du Choeur Danse: 'Demeure Parmi Nous, Nadir'
- No.2: Recit Et Duo: Recit: 'C'Est Toi, Toi Qu'Enfin Je Revois!'
- No.2: Recit Et Duo: Duo: 'Au Fond Du Temple Saint'
- No.3 Recit, Choeur Et Scene: Recit: 'Que Vois-Je?'
- No.3 Recit, Choeur Et Scene: Choeur: 'Sois La Bienvenue'
- No.3 Recit, Choeur Et Scene: Scene Et Choeur: 'Seule Au Milieu De Nous'
- No.4: Recit Et Romance: Recit: 'A Cette Voix'
- No.4: Recit Et Romance: Romance: 'Je Crois Entendre Encore'
- No.5: Finale: Scene Et Choeur: 'Le Ciel Est Bleu'
- No.5: Finale: Air Et Choeur: 'O Dieu Brahma'
Tracks:
- No.6 Entr'Acte, Choeur Et Scene: 'L'Ombre Descend Des Cieux'
- No.7: Recit Et Cavatine: 'Me Voila Seule Dans La Nuit'
- No.8: Chanson: 'De Mon Amie, Fleur Endormie'
- No.9: Duo: 'Leila! Leila!'/'Dieu Puissant'
- No.10: Finale: 'Ah, Revenez A La Raison!'
- No.11: Entr'Acte, Recit Et Air: 'L'Orage S'Est Calme'
- No.12: Scene Et Duo: Recit: 'Qu Ai-Je Vu?'
- No.12: Scene Et Duo: Duo: 'Je Fremis, Je Chancelle'
- No.12: Scene Et Duo: Scene: 'Entends Au Looin Ce Bruit De Fete'
- No.13: Choeur Danse: 'Des Que Le Soleil'
- No.14: Scene Et Choeur: 'Sombres Divinites'
- No.15: Trio: 'O Lumiere Sainte'
- No.16: Finale: 'Ce Sont Eaux, Les Voici!'
Average customer rating:
- Delightful...
- You want a French Coloratura? Buy Lily Pons instead
- Dessay Sparkles in Familiar and Rare French Opera Arias
- Highly Enjoyable
- I can't say enough!
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Natalie Dessay - French Opera Arias
Ambroise Thomas , Giacomo Meyerbeer , Jacques Offenbach , Emmanuel Bondeville , Emmanuel Chabrier , Darius Milhaud , Maurice Ravel , Francis Poulenc , Charles Gounod , Henri Sauguet , Patrick Fournillier , Orchestre Philharmonique de Monte-Carlo , Natalie Dessay , and Charles Burles
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD
All Works by Chabrier
| Chabrier, Alexis Emanuel
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General
| Delibes, Léo
| ( D )
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All Works by Gounod
| Gounod, Charles
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All Works by Meyerbeer
| Meyerbeer, Giacomo
| ( M )
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| Milhaud, Darius
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| Offenbach, Jacques
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| Poulenc, Francis
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Ravel, Maurice
| ( R )
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All Works by Thomas
| Thomas, Ambroise
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General
| Classical
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Romances
| Classical (c.1770-1830)
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| Opera & Vocal
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General
| Opera & Vocal
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French
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Similar Items:
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- The Very Best of Mady Mesplé
ASIN: B000002RWM
Release Date: 1997-02-18 |
Tracks:
- Lakme - Acte II: Air des clochettes : (Ou va la jeune indoue)
- Le Rol malgre lul - Acte II: Chanson tzigane : 'Il est un vieux chant de Boheme'
- L'eole des maris: Air du Feu : 'Arriere ! Je rechauffe les bons'
- Le Pardan de Ploermel: Air : 'Ombre legere'
- L'Ecole des maris - Acte II: 'O ciel, pardonne encore... De tout temps la gent masculine'
- Hamlet - Acte IV: Scene de la folie : 'A vos jeux mes amis'
- Medee: Premier Tableau - Air : 'Chers Corinthiens' - Creuse
- Les Contes d'Hoffmann - Acte II: Chanson : 'Les oiseaux dans la charmille' - Olympia
- Les Mamelles de Tlreslas - Acte I: Scene : 'Non, Monsieur mon mari' Therese
- Mirillle - Acte I: Valse-ariette : 'O, legere hirondelle' - Mireille
- Les Caprices de Marlanne - Acte I: Air : 'O, amour, mysterieux armour' - Marianne
Customer Reviews:
Delightful..........2006-06-08
The repertoire on this CD is amazing; it's not easy to find a CD with some of this arias, that are rarely found in recordings (like "O legere hirondelle"). Also, her singing is fantastic: her voice is light and clear, pure high notes and amazing runs. She's a great coloratura! And I believe that this is a great CD to have.
You want a French Coloratura? Buy Lily Pons instead.......2005-12-26
Natalie Dessay, while a true coloratura and nothing else but a coloratura, has incredible high notes (but not as incredible as Mady Mesple or Pons, those will stop your heart cold, they are so amazing) but lacks in middle range and her interpertation is rather non exsistent. I heard that is is a gifted actress but none of it reads in her recordings. Her tone is often grating and usually seems slightly forced. I prefer before my time singers such as Maria Callas, Joan Sutherland, Medy Mesple (if you have not heard her, buy a cd NOW!) and of course, Lily Pons whose high notes are so effortless and breathtaking they don't even seem human. Natalie Dessay, sadly, does not impress me at all and frankly I don't understand why everyone is so enraptured with her. She's fine and yes, talented, but I'm just not feeling her singing. It just doesn't work for me. Wish she'd stop singing all the french, I get it, you're french but putting out like three french albums in a relatively short timeframe is kind of overkill.
Dessay Sparkles in Familiar and Rare French Opera Arias.......2004-05-15
Natalie Dessay is, without a doubt, one of the most impressive coloratura sopranos of this century. And there is no better way to experience her voice and artistry than to hear her singing in her native tongue. This CD presents Dessay in a refreshing presentation of arias from both the nineteenth and twentieth centuries, combining both well known music with some more modern rarities. The recital begins by presenting the soprano in music that fits her like a glove, "Où va la jeune indoue", the Bell Song from Delibes 'Lakmé'. It is a joy to hear Dessay creating a dreamy atmosphere, with full attention to the words and fearless in her attack of stacatti and high notes. She even sings the final high E in a crescendo. This Cd is high note feast, up to a sustained high A flat in "Ombre légère" from Meyerbeer's 'Le Pardon de Ploermel'. However, the stratopheric high notes are only part of the assets of Dessay. She is also willing to concentrate on character, something specially evident in the pieces from more modern operas. In "Arrière! Je réchaufe les bons" from Ravel's 'L'enfant et les sortilèges' her use of portamento makes this Fire commanding and menacing. Another delight is the feminist aria "No Monsieur mon mari" from 'Les Mammelles de Tirésias'by Poulenc she is a dynamo of energy and humor. Her Olympia and Ophélie are in the tradition of the great French coloratura sopranos like Pons, Robin and Mesplé. The CD ends beautifully with a sweet and poetic rendition of "O, amour, mystérieux amour", an unknown jewel from 'Les Caprices de Marianne' by Sauguet. This aria ends the recital in a high note both literally and metaphorically, with Dessay in a spectacular cadenza with pin point stacattos and a stunning high E than begins softly then goes louder until it goes again to pianissimo. The Orchestre Philarmonique de Monte-Carlo conducted by Patrick Fournillier complement Dessay's artistry beautifully. There are no weak point on this recital: these are sixty five minutes of pure joy.
Highly Enjoyable.......2003-06-04
To compare Dessay to Mado Robin or Erna Sack or Mady Mesple is simply ludicrous. She is in a different class. She can charachterise better than all of the above, she reaches all the notes with more ease, and she simply has the agility which none of those artists really have. Mesple was good for other things, but she wouldn't sing this repertoire, so please, spare us the gumph. Dessay is a fabulous artist, a light colloratura that travels with ease in the stratospheric heigths of the arias she performs. While there is not much on this disc of heartbreaking depth, it is very well sung. Occasionally the voice strikes one as a bit piercing, but generally there is more warmth than Sumi Jo, and less unsteadiness than Gruberova. I will not enter into a "spot-the-highest notes" contest, but enough to say the high(est) notes are all there. Light but highly enjoyable fare
I can't say enough!.......2001-08-11
Natalie Dessay is the coloratura of our generation! Her voice is extremely impressive. Every album she releases has the vocal fireworks that any music lover wants from their sopranos. This album features some of the world's most beautiful French music. Her "Doll Song" is so fun and full of laughter and of course the high notes. The other highlights for me are Meyerbeer's "Ombre legere" and the "Bell Song" from Lakme. No other coloratura performing today can measure up to the power and strength that Natalie has with those gorgeous notes. She may not warm your heart when down in her mid-range but when she climbs up you can't help but open your mouth and say, now that's a note! Pay close attention to the super high G at the end of "Ombre legere". Wow!
Music:
- Collecting the South in Amy
- Como Te Extrano
- confession
- Coral [Import]
- Daylight in the Invisible World [Import]
- Dead Roses for the Living [Explicit Lyrics]
- Définitivement bleus
- Disconnection Notice [Import]
- Dupont [Import]
- Elvis Sings the Wonderful World of Christmas [Import]
Music
music