Barber

Barber

Track Listings

1. Harry R U Ok

2. Bring It

3. Pretty

4. Pen to the Pad

5. Turning Tables

6. Muffin

7. All Together

8. Dirty Work

9. Boo the Hero

10. Rolling

Tracks:

Una Voce Poco Fa - Sherrill Milnes
Dunque Io Son - Sherrill Milnes
Contro Un Cor - Sherrill Milnes
Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
Via, Caro Sposino - Ambrosian Opera Chorus
Tornami A Dir Che M'ami - Ambrosian Opera Chorus
La Morale In Tutto Questo - Ambrosian Opera Chorus

Tracks:

Vilia - Beverly Sills
Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
Libiamo Ne' Lieti Calici - John Alldis Choir
Un Di Felice, Eterea - John Alldis Choir
E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
Che Fai? - John Alldis Choir
Addio Del Passato - John Alldis Choir
Parigi, O Cara - John Alldis Choir

Amazon.com

Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith Eisler

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Beverly Sills - The Best.......2007-04-01

What a voice. No coloratura can compare, and she makes it seem so easy.

Beverly Sills' highs are breathtaking!.......2006-09-18

Adio del Passato is incredible! Beverly's high, floating coloratura is no less than ethereal which takes you to another world. Her voice has given me so much joy that it is hard to say one recording is better than another because I love her Mozart album equally with her Bellini/Donizetti. It is so wonderful to have these recordings captured on CD! Enjoy!

THE 2005 OPERA CD OF THE YEAR.......2006-08-19

THIS CD WAS THE BEST OPERA CD ISSUED LAST YEAR, AND HAS CAUGHT THE WORLD'S EAR IN NO TIME. I WAS BUSY WRITING IN SÃO PAULO, BRAZIL, WHILE THE STATEOWNED FM RADIOSTATION, DEDICATED TO CULTURE, WAS SOFTLY PLAYING OPERA ARIAS IN THE BACKGROUND. SUDDENLY I HEARD THE MOST FANTASTIC RENDERING OF "SEMPRE LIBERA" FROM "LA TRAVIATA". I GOT UP, SAT BY THE RADIO AND WAITED TO KNOW WHO WAS SINGING... THEN GOT BACK TO THE COMPUTER TO ORDER THIS CD FROM AMAZON! INCREDIBLE: ONLY 17 BUCKS FOR THIS, WHILE QUITE A BIT OF TRASH IS SOLD FOR 30.40 AND MORE...
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!

EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22

EMI's "Very Best Of" series are perfect introductions to operatic singers of the 20th century. Once you hear these artist tribute albums (much like The Singers series) you will get hooked on the singer and seek out their full-length studio recordings. Beverly Sills was the first truly famous American opera star. One may argue that she was not, that she was merely a continued tradition of American divas such as Mary Garden and Lily Pons and which still continues today with Renee Fleming, Elizabeth Futral and Susan Graham. Beverly was raised in New York City, which is still her home, and which is the home of the New York City Opera and the Met, opera houses which rocketed her to fame. Her first success (not featured in this recording...UH WHY ?) was Cleopatra of Handel's Julius Caesar, a performance she sang opposite the illustrious baritone Norman Treigle. Those performances were legendary because coincidentally at the same time the Met was opening its new theatre and season with what became a disastrous Samuel Barber's Antony and Cleopatra starring Leontyne Price in an overblown, big-budget, epic fiasco. The great roles that followed the 1965 Cleopatra were Manon, Queen Elizabeth I in Roberto Deveraux, Maria Stuarda and Anna Bolena in the Donizetti Tudor Queen operas, Pamira in The Siege of Corinth (which were Sill's La Scala and belated Met debut. None of the Queens are featured in this recording, though its supposedly the Very Best Of. An aria from Rossini's Siege of Corinth is featured here however. What we are treated to however are fine lyric roles- Beverly Sills shone brightly and acted convincingly as Gilda in Rigoletto (the final scene is featured here) as Violetta in La Traviata, Thais, The Merry Widow (the beautiful Vilja is featured here)and the ingenue role of Norina in Don Pasquale is also showcased here. To each of these roles, Beverly Sills delivered an authenticity and dramatic interpretation, not ot mention beautiful, sweet tone. I love her pianissimos, her high notes, her chest register. It was the voice of Beverly Sills who first hooked me into opera. For a recording that should showcase her best work, Manon is not featured nor any of her prized French heroines- Marie in The Daughter of the Regiment and the heroines in Tales of Hoffman. Also not in here is the role that was her first success- the Broadway opera Ballad of Baby Doe. Even as such, the arias here are gorgeous. The Barber of Seville is in here and as Rosina she is playful and charming. Sills was a modern singer, with a voice that was beautiful but willing to sacrifice beauty for the sake of dramatic content. When Sills was once asked what she thought of the supposed rivalry with Joan Sutherland (which was never real and only gossip from partisan fans) Beverly said something to this effect -Joan and I are apples and oranges in our take on opera, we are Picasso and Monet. She would do anything for the effect of beauty and tone, I'd sacrifice beauty for the sake of dramatic text. Even as such, I see no ugliness to any of the roles here. All of them are beautiful to hear, full of rich floating celestial tones. It would have been nice to hear the roles that did call for Sills to step up the tense drama - Norma, will her recording ever be reissued by EMI ? Also, few people know that Beverly Sills sung role most would consider dangerous for her voice (though she sang them long before her career even took off)- Aida and Carmen!!

Glad To Be The First Review- Beverly Sills Treasury Of Arias.......2005-04-29

At last EMI's "The Very Best Of" series has issued some of the finer recorded documented arias of the incomparable soprano Beverly Sills. Fans of this down-to-earth, warm patron of music and the most unique lyric-coloratura-dramatic soprano, will be in Heaven. Sure, this is only some of the arias in only a small number of the many operas Sills performed. To be truthful, this is not what I'd personally regard as the best of Beverly Sills. Other albums of hers do use greater vocal masterpieces she sang- the best being "The Singers" Series, and another EMI edition called The Art of Beverly Sills Volume 2 and then there's the rare and brilliant "Sillsiana". Nevertheless, this album has its charm and appeal. Beverly Sills sings arias from Rossini's Barber of Seville, Verdi's Rigoletto and Traviata. This recording seems to highlight mostly her mastership of the bel canto repertoire and Verdi. Gilda and Violetta were roles she sang with supreme dramatic integrity and sweetness and purity of vocal line. Yet, it is hardly "the best of". Where are scenes from the masterful interpretations of Donizetti, truly Sills strongest suit- Lucia Di Lammermoor, Anna Bolena, Maria Stuarda and Roberto Devereaux, where is Sills' Manon, which even she hails as her best ? And when will her recorded Norma ever see the light of day ? Sills also excelled in the French repertoire- Faust, Thais, La Fille Du Regiment, The Tales of Hoffman and she was an incredible Queen Shemakha in Korsakov's Coq D'Or. True, Sills had a light, girlish, delicate voice, bright and small, but this worked in her favor in tragic roles. Dramatically, she could get into character as passionately and convincingly as Maria Callas. When she could darken her voice and use her chest voice for dramatic effect it was often thrilling. This is the latest recording in a number of recordings that are coming out, further promoting a great singer of the past. Beverly Sills. She was the working man's soprano. She worked hard to get to the top. She was the reigning singer of the NYC Opera where she starred in such great operas as Handel's Giulio Ceare Sills as Cleopatra (also not on this recording) and Tales of Hoffman singing opposite the great but underrated bass Norman Treigle. Sills is a wonderful human being and she has a beautiful voice that I cannot get out of my mind. She will always be the greatest to me. She got me hooked into opera.

Average customer rating:

RIP, BEVERLY SILLS 1929-2007
Brava Sills!
Sills fits my bill
The Great American Soprano
My Favorite Woman

The Great Recordings

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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The Very Best of Beverly Sills
Art of Beverly
Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
Beverly Sills: Made in America

ASIN: B0001Y4JG6
Release Date: 2004-05-11

Tracks:

Son Vergin Vezzosa - Paul Plishka
Eccomi... Oh! Quante Volte
Mira, O Norma
Santo Di Patria... Allor Che I Forti Corrono... Da Te Questo
Contro Un Cor Che Accende Amore - Nicolai Gedda
Che M'apporti? - Ambrosian Opera Chorus
Quel Sangue Versato Al Cielo S'innalza - Ambrosian Opera Chorus
Vorrei Spiegarvi, Oh Dio, K.418
Amor, Op.68 No.5

Tracks:

Martern Aller Arten
E Strano! E Strano!
Ah, Fors'e Lui
Follie! Follie!
Sempre Libera
Ces Murs Silencieux - Pardonnez-moi, Dieu De Toute Puissance - Ambrosian Opera Chorus
Toi! Vous! - Oui! Je Fus Cruelle Et Coupable! - Ambrosian Opera Chorus
N'est-ce Plus Ma Main? - Ambrosian Opera Chorus
Robert, Toi Que J'aime
Tu Ne Chanteras Plus?
Chere Enfant Que J'appele
Meine, Lippen, Die Kusen So Heiss
Wien, Wien, Nur Du Allein
Always Through The Changing

Customer Reviews:

RIP, BEVERLY SILLS 1929-2007.......2007-07-03

The great American diva's passing was announced today.

This wonderful CD set is a perfect compilation of her art as can be found anywhere. Her finest roles and performances are captured here, most of them derived from the Westminster/Audio Treasury recordings from her prime. Listening to them again demonstrates to me why she was so special, and such an inspiration to music lovers everywhere.

Brava Sills!.......2007-02-02

A very nice compilation of Sillsiana. The different cuts on this CD provide a nice illustration of her work. Let me briefly describe my response to a sampling of the works on this CD:

Bellini, I Puritani, "Son vergin vezzosa." Wonderful. Sutherland owns this--but so does Beverly Sills. Contemporary sopranos such as Netrebko and Gruberova have also sung this on their respective CDs, and while their product is nice, it simply does not compare. Sills is remarkably agile with her voice; the trills are well done; she cleanly hits high notes; the overall effect can only be described as wonderful.

Bellini, Norma, "Mira, o Norma". This is smoothly sung and very melodic. The technique that she exhibits does not overwhelm the music.

Rosini, Il Barbiere di Siviglia, "Contro un cor che accende amore." Again, her agile voice is well deployed. The florid singing is well done.

Donizetti, Roberto Devereaux, "Che m'apporti." Her clean, light voice matches well with this aria. Smoothly sung. Her "Quel sangue versato al cielo s'innalza," which follows, is well done. High notes cleanly hit, a smooth line.

Verdi, La Traviata, "E strano. . . .Sempre libera." Again, what agility! In "Sempre libera," she reveals a rich voice and, again, wonderful agility. This is an animated version of one of Verdi's showcase pieces.

Lehar, Giudetta. "Meine Lippen." A lot of fun! This is smoothly sung.

In the final analysis, this is a nice potpourri of Beverly Sills' repertoire. Those not familiar with her work will find this a nice entree to her oeuvre; those familiar with her will find this a good compilation.

Sills fits my bill.......2006-03-13

This recording is another in an all too small CD collection of Sills recordings. I eagerly await more.

The Great American Soprano.......2005-10-01

This is a great collecition featuring arias from the Classical and Romantic periods. Fabulous!!!!!

My Favorite Woman.......2005-08-05

I would have to say that when I first heard Beverly Sills sing, I was entranced. I couldn't take my eyes off of her and I became angry at any rustling around me, because I was afraid I would miss one note. It was so addictive....that is what she is....addictive! A c.d. will never properly capture her style. She is an amazing leader in opera, taking it into a new frontier and I believe this c.d. showcases that.

Average customer rating:

Pretty darn good
The Opera #1 Opera Album
Excellent assortment
Great Selections
Terrific !

The #1 Opera Album
Giacomo Puccini , Giuseppe Verdi , Léo Delibes , Georges Bizet , Umberto Giordano , Wolfgang Amadeus Mozart , Richard Wagner , Gioachino Rossini , Alfredo Catalani , Jacques Offenbach , Ruggiero Leoncavallo , Charles Gounod , Gaetano Donizetti , Pietro Mascagni , Antonin Dvorak , Richard Bonynge , Herbert von Karajan , Alberto Erede , Lamberto Gardelli , Giuseppe Patane , John Mauceri , Zubin Mehta , Charles Dutoit , Gyorgy Fischer , Riccardo Chailly , Istvan Kertesz , Leone Magiera , Evelino Pido , Gianandrea Gavazzeni , Renée Fleming , Cecilia Bartoli , Luciano Pavarotti , Jussi Bjorling , and Renata Tebaldi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000059RXO
Release Date: 2001-02-27

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

Terrific !.......2007-01-10

A diverse album to give you a sprinkle of the various types of 'opera'. Every note is pure and lovely, I listen to it all the time ! Highly recommended for anyone just getting into opera. :}

Average customer rating:

Great for kids!
Mediocre Sound Quality
I was pleased
The Most Famous Opera Arias
Okay But.... - a review of "The Most Famous Opera Arias"

The Most Famous Opera Arias

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002SCE
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Tracks:

Rigoletto: Act I - Caro nome
Rigoletto: Act III - La donna e mobile
Gianni Schicchi: O mio babbino caro
Carmen: Act I - Habanera: La voila...L'amour est oiseau rebelle
Orfeo ed Euridice: Act III - Che faro senz Euridice
Madama Butterfly: Act III - Un bel di, vedremo
Romeo et Juliette: Act I - Ah! je veux vivre
Le nozze di Figaro: Act II - Voi che sapete che cosa e amor
Samson et Dalila: Act II - Mon coeur s'ouvre a ta voix
Tosca:: Act II - Vissi d'arte, vissi d'amore
Aida: Act I-Celeste Aida
Il Barbiere Di Siviglia: Act I-Una voce poco fa
Lakme: Act II - Ou va la jeune indoue?
La Wally: Act I - Ebben? Ne andro lontano
La Boheme: Act I - Che gelida manina
Die Zauberflote: Act II-Die Holle Rache kocht in meinem Herzen

Customer Reviews:

Great for kids!.......2007-06-27

I'm generally not a fan of music "samplers," but opera can be tough to introduce to children. And hey--even adults played cards, ate, and talked through the recitative sections of the early operas while they waited for the next aria! So I feel that getting kids hooked on opera through great arias probably can't hurt (the next 10 years or so will determine whether I'm right or not). My 4-year-old loves this CD; it's a delight to watch her imitate Anna Moffo (the sincerest form of flattery, for sure). Highly recommended resource for introducing young kids to opera. More top picks: Siberell's Bravo! Brava! A Night at the Opera, and the Black Dog Opera Library CDs.

Mediocre Sound Quality.......2007-03-31

If you note the album was released in 1994, and includes selections from many years prior, you will understand that the quality of the sound engineering is not going to dazzle your ear.

It's a very nice collection to hum along to, but don't expect shivers down your spine as the sound quality is not sufficient to reproduce the dynamic range of these voices.

I was pleased.......2007-02-18

I am by no means an opera expert, but found this to be a wonderful CD. Along with the songs I already knew I liked (such as a song from Carmen,) I found many others I enjoyed. In fact, Samson et Dahlila turned out to be my favorite. If you are just getting started or at any point in your adventure of opera, I would recommend this one.

The Most Famous Opera Arias.......2007-01-05

I was completely surprised in the product as well as the time in which it was delivered.

I would not only refer this seller but I will come back myself.

Okay But.... - a review of "The Most Famous Opera Arias".......2006-08-18

My daughter (6 y.o.) and I like opera; but sitting for two hours to watch Turandot is just not within the realm of possibilities for my 4 year old son right now... so I was looking for an opera CD for the car. He will sit and listen to short arias.

This was the first we purchased and it is okay but not great.

Problem #1 - where is Wagner. No Wagner?
Problem#2 - Elena Obraztsova - she sounds like Carmen's grandmother. Rather matronly for a vixen (imho--lol)

Three Stars. [C+] Great Price and good sound quality for the car. The operatic styles of some of the performers are antiquated and frilly sounding, but I would probably buy this CD again.

Note: We purchased and really preferred "The # 1 Opera Album". It has more selections and better artists in our opinion. Also it's a two CD set. Just something to consider.

Average customer rating:

A Great Introduction to Italian Opera
Best of the best!
Fabulous bargain for anyone
Great songs for a low price.
Not a good choice.

The Best of Italian Opera

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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The Most Famous Opera Arias
The Most Famous Opera Duets
The #1 Opera Album
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The Best Opera Album in the World...Ever!

ASIN: B000000UXN
Release Date: 1997-01-21

Tracks:

La Traviata: 'Libiamo, Libiamo'
Rigoletto: 'La donna e' Mobile'
The Barber Of Seville: 'Una voce poco fa'
La Boheme: 'Che gelida manina'
Rigoletto: 'Gualtier Malde!' Caro nome'
Il Trovatore: 'Vedi! le fosche'
Il Trovatore: 'Il balen del suo sorriso...Per me ora fatale'
TOSCA: 'Vissi d'arte'
La Traviata: 'Di Provenza il mar, il suol'
The Marriage Of Figaro: 'Voi che sapete'
Aida: 'Se quel guerrier io fossi...Celeste Aida'
Madama Butterfly: 'Un bel di vedremo'
La Gioconda: 'Cielo e mar'
Lucia di Lammernoor: 'Ardon gl' incesi'

Customer Reviews:

A Great Introduction to Italian Opera.......2005-05-01

The artists on this CD succeed in their goal to create a CD that displays great Italian opera. Carlo del Monte and Victoria de los Angeles open the disc with the Brindisi from La Traviata. Victoria de los Angeles is not the best Violetta, but she does the job, along with her parner Carlo del Monte, an underappreciated tenor. Victoria de los Angeles also appears on the CD in "Un bel di vedremo" from Madama Butterfly, a role she was well known for. Swedish tenor Nicolai Gedda appears on the disc twice. His first appearence is a superb rendition of "La donna e mobile" from Rigoletto. His final performance on this disc is in the heroric aria "Celeste Aida", a performance in a role that was not in his voice range. Anna Moffo is the star on this CD, appearing three times in three very different roles. First is her beautiful "Una voce poco fa", normally a role that calls for a mezzo-soprano. Her second is "Voi che sapete" from Le Nozze di Figaro, another mezzo-soprano role. Her final appearence is her best, "The Mad Scene" from Lucia di Lammermoor. Underrated tenor Giuseppe Campora performs "Che gelida manina" with a great tenor voice. Soprano Reri Girst is excellent in her performance of "Caro nome" from Rigoletto. One of my favorite baritones appears on this CD. Robert Merrill is a perfect Count di Luna, and it is evident in his rendition of "Il balen del suo sorriso". Another baritone appears on this CD: mario Sereni. He is not a world famous baritone, but he should have been. Overall, this is an excellent introduction to the world of Italian opera.

Best of the best!.......2003-01-11

The performers, the selections, the quality... almost divine!

Fabulous bargain for anyone.......2002-11-24

I would recommend this CD to anyone, from opera novice to experienced listener...

These are older recordings -- I would guess mostly from the 1960's. The recording quality is exceptional for the day and, while not the equivalent of modern engineering, is sufficient to allow sheer physical pleasure from the music and an immediate appreciation of the vocal qualities of the artists. The sound quality is the only mild drawback...

The performances are magnificent! The voices are almost entirely lighter and more agile than the great voices of the 80's and 90's. In fact, the ear of the editor is apparent in his preference for lighter and more agile voices.

For example, there is a beautiful rendition of "Che Gelida Manina" from someone I had never heard before, Guiseppe Campora. He does not have the weight or volume of Pavarotti or Domingo, but has more elegance and a pure, charming tone. A connoisseur performance, but nevertheless a true operatic rendition by a tenor who can hit the high C with authority -- as good for a newcomer to opera who wants to hear the real thing, as for an opera lover who would like to hear something a bit different.

Some of the artists were among the most famous singers of their day: Moffo, de los Angeles, Gedda.

Anna Moffo, one of the greatest sopranos of her day (and all time), is in magnificent voice in famous blockbusters from Rossini's Barber of Seville, Mozart's Marriage of Figaro, and the Mad Scene from Lucia di Lammermoor.

De Los Angeles is at her best in "Libiamo" from La Traviata, but the recording quality (the one inadequately engineered track on the CD) and her lack of oomph make for a second-rate version of "Un bel di".

In keeping with the light and lyrical orientation of the selections, Moffo -- a famous Gilda and hardly a dramatic voice -- is bypassed for the even lighter, sweeter and more agile colatura Reri Grist (while she still had her voice), in a lovely "Caro Nome".

Another nice selection is Mario Sereni performing "Di provenza, il mar". Both this and "Libiamo" are taken from one of my favorite recordings of Traviata -- also a great chance to hear Serafin at the helm of the Rome Opera House orchestra. (The 2-CD version of this is still available from EMI, I think.) Newcomers will love this pretty tune, and Sereni's archtypal Verdi baritone is good, although hardly the best ever.

Franco Corelli has never been a favorite of mine, but he sounds the best I've ever heard him in his rendition of "Cielo et mar".

Anyway, I didn't intend to list every cut. Whether you are an opera lover who would like to hear some of opera's most famous arias performed in a new light, or an opera lover who would like to hear great performances at a cut-rate price, this CD gets my unqualified approval.

Great songs for a low price........2001-08-16

Ranging from selections of La Traviata, Il Trovatore and other popular Italian operas, this is a great cd for under four bucks. The singers may not be well recognized, but they do possess powerful voices.

Not a good choice........2001-02-22

To the contrary of one of the other ratings, I think if you are new to opera, this is NOT the CD I would recommend as an introduction. While it DOES have many of the very well known, it is, in my opinion, very poor quality, done by people with hardly any feeling for the music. They are good singers, but that's all they are doing. Hearing someone sing words is much different than hearing someone accomplished sing the soul of the story. All in all, a very boring, poorly done CD. I guess you get what you pay for though. I just recived mine yesterday, and will probably return it. If you are new to opera, I would suggest Pavarotti. The 2 star rating is because the orchistra was good.

The Most Relaxing Classical Album in the World...Ever!

Average customer rating:

Lives Up To The Title, Fine Variety Of Genre's.
Good for relaxing pregnant women
Too much opera
Does what it set out to do, very well
TRULY The most relaxing and beautiful music ever written.

The Most Relaxing Classical Album in the World...Ever!
Johann Sebastian Bach , Léo Delibes , Gabriel Fauré , Erik Satie , Wolfgang Amadeus Mozart , Edvard Grieg , Johann Pachelbel , Claude Debussy , Felix Mendelssohn , Camille Saint-Saens , Henryk Gorecki , Antonio Vivaldi , Edward Elgar , Jocelyn Pook , Sergey Rachmaninov , Tomaso Giovanni Albinoni , Luigi Boccherini , Jules Massenet , Ludwig van Beethoven , Jacques Offenbach , Pietro Mascagni , Antonin Dvorak , Giacomo Puccini , Ralph Vaughan Williams , Alexander Borodin , Joaquin Rodrigo , and Samuel Barber
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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The Most Relaxing Classical Album In the World Ever, Volume II
The Most Relaxing Piano Album in the World...Ever!
The Most Relaxing Classical Music in the Universe
25 Classical Favorites
Best of the Millennium: Top 40 Classical Hits

ASIN: B00000I93Z
Release Date: 1999-03-30

Tracks:

Air 'On the G String' - Academy Of St. Martin In The Fields
Morning - Academy Of St. Martin In The Fields
Canon In D - Academy Of St. Martin In The Fields
Jesu, Joy Of Man's Desiring - Academy Of St. Martin In The Fields
Gymnopedie No.1 - City Of Birmingham Symphony Orchestra
II. Andante - Stephen Hough
Viens, Mallika - Mady Mesple
In Paradisum - Choir Of King's College, Cambridge
Clair De Lune - Dame Moura Lympany
II. Andate - Yehudi Menuhin
The Swan - Osian Ellis
II. Lento E Largo - Tranquillissimo - Zofia Kilanowicz
II. Andantino - James Galway
II. Largo - Yehudi Menuhin
Nimrod - London Symphony Orchestra
Blow the Wind - Pie Jesu - Jocelyn Pook
Variation 18 - Cecile Ousset
Pavane Op.50 - Gareth Morris

Tracks:

Zion Hort Die Wachter Singen - South German Madrigal Choir
Adagio In G Minor - Academy Of St. Martin In The Fields
Minuet - Academy Of St. Martin In The Fields
II. Largo - Andrei Gavrilov
Meditation - Hans Kalafusz
I. Adagio Sostenuto - Dame Moura Lympany
Belle Nuit, O Nuit D'amour (Barcarolle) - Elisabeth Schwarzkopf
II. Andante - Nigel North
II. Adagio - Jack Brymer
Intermezzo - Philharmonia Orchestra
I. Moderato - London Chamber Orchestra
O Mio Babbino Caro - Montserrat Caballe
Fantasia On 'Greensleeves' - Sinfonia Of London
II. Adagio Sostenuto (Opening) - Cecile Ousset
Nocturne - Academy Of St. Martin In The Fields
II. Adagio (Opening) - Julian Bream
Adagio For Strings Op.11a - The Philadelphia Orchestra
Entr'acte To Act III - Orchestre National De France

Amazon.com

You want relaxing classical music that'll soothe your soul but won't lull you into sleep? Here's a double CD for you. The Most Relaxing Classical Album in the World ... Ever! does its best to cover both well-worn classical favorites (Bach's "Air on the G String," Pachelbel's "Cannon," Debussy's "Clair de Lune") and some eclectic left-field choices (an excerpt from Górecki's Symphony No. 3, Jocelyn Pook's "Blow the Wind," and Samuel Barber's Adagio for Strings. The performances of most of these excerpts are top-notch--artists include Sir Neville Marriner, James Galway, Jacqueline du Pré and the Philadelphia Orchestra--and there's enough variety here for everyone. --Edward Garabedian

Customer Reviews:

Lives Up To The Title, Fine Variety Of Genre's........2007-02-04

This CD is a great way to enjoy a large variety of Classical Composers & many of their best known pieces. Vivaldi's "Four Seasons," is an all time favorite. There are vocals, Piano pieces, & some fine Violins. I found the latter the most enjoyable. Here you can find Rodrigo & Pachelbell. Samuel Barber's haunting Adagio will make your skin tingle. This may not be to everyones taste, but if you wish to relax? Give this a couple of listens.

Good for relaxing pregnant women.......2007-01-17

I stumbled onto this album whilst searching bit torrent websites for classical music. I don't normally listen to classical music but thought it might be relaxing for my pregnant wife. After hearing the quality of the performances, the arrangement, and the recording I decided to buy the album from amazon. All the songs you would expect from a "best album in the world" are there and they are not boring to listen to like a lot of other classical albums. I now play this album in the car constantly and the wife requested it be played at the hospital during the birth.

Too much opera.......2007-01-10

If it wasn't for the opera this would be a great CD.

Does what it set out to do, very well.......2006-11-15

So i'm a classical music veteran, someone who prefers to collect a complete work, rather than classical compilations. I probably would not have listened to this album at all if my dad didnt buy it for me as a gift. By now, i own the complete works that over half of the excepts on this disc come from. I am a purist if ever there was one.

That said, i totally adore this set because i have learned to take it on its own terms. These discs weren't meant for expert classical listeners, so a review from that sort of mindset is useless. This set was meant for pure, easy listening, and for a basic starters kit for classical newbies. Most of all, it was just meant to do what the title says, to relax the average human being. classical expert or not.

Yes, some of these pieces have been altered or shortened, like Mozart's Flute and Harp Concerto Andantino, but they have been edited for a good enough reason: the full versions would have been too long to flow with the rest of the album. And also, the full versions contain so much development that they don't become easy listening anymore. The shortened versions work in the context of the album. Most essentially, the shortened versions on the discs still convey the main flavor the composers were going for. The melodies and themes remain unchanged.

To sum up, it is true that when i want to actually listen deeply to classical music, this album would never be a choice. I would want to hear the complete works like the composers intended. But at certain times when i simply don't mind about that stuff, when i just need to loosen up and free my mind of stress with some nice melodies, this set does the job well enough.

Last but not least: being a purist and a classical buff, i am very particular about performance quality. I was very glad to find that EMI did not get lazy about this. All the artists are world-class, and all the performances are at least exceptional. Some performances are even quite excellent, like the Clair De Lune, which is one of the best i've heard. (Credit to Dame Lympany, the pianist.)

So once again, recommended for its stated purpose, to relax. I am a purist, a classical buff, and i still enjoy this disc. That says something.

TRULY The most relaxing and beautiful music ever written........2006-11-10

This album along with Volume 2 are now the two most valued albums in my music collection. I have all of the songs contained on these two albums but they are scattered through at least a dozen different albums and several are not performed by artists such as those that recorded this album and Volume 2.
SIMPLY BEAUTIFUL !!!!!!!!!!

The Most Relaxing Classical Music in the Universe

Average customer rating:

the most relaxing classical music in the university
Relaxing Classical Music
Stress-freedom
Greatly enjoy!
the most relaxing classical music in the universe

The Most Relaxing Classical Music in the Universe
Johann Sebastian Bach , Ralph Vaughan Williams , George Frideric Handel , Gustav Holst , Samuel Barber , Edvard Grieg , Jean Sibelius , Antonin Dvorak , Franz Liszt , Charles Gounod , Fryderyk Chopin , Alexander Borodin , Maurice Ravel , Antonio Vivaldi , Satie, Erik , and Various Artists
Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

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Mozart for Relaxation

ASIN: B00008RH16
Release Date: 2003-04-08

Tracks:

Canon - Pachelbel
Eine Kleine Nachtmusik-Andante - Mozart
Fur Elise - Beethoven
String Quartet #1 - Tchaikovsky
Clair De Lune - Debussy
Idyl for Strings - Adagio - Janacek
Adagio in G Mnor - Albinoni
The Girl with the Flaxen Hair - Debussy
Air on a G String - Bach
Greensleeves - Vaughn Williams
Largo from Xerxes - Handel
Prelude in C - Bach
The Planets - Venus - Holst
Goldberg Variations - Aria - Bach
Adagio for Strings - Barber

Tracks:

Prelude to the Afternoon of a Faun - Debussy
Fur Elise - Beethoven
Holberg Suite - Sarabande - Grieg
Valse Triste - Sibelius
Concerto in F Minor - Largo - Bach
Serenade for String - Moderato - Dvorak
Liebestraume - Liszt
Ave Maria - Bach/Bounod
Etude in E Major - Chopin
String Quartet No 2 - Nocturne - Borodin
Arabesque - Debussy
Pavane for Dead Princess - Ravel
The Four Seasons - Largo - Vivaldi
Gymno0pedie 1 - Satie
Moonlight Sonata - Adagio - Beethoven
Piano Concerto No 21 - Andante - Mozart "Elvira Madigan"

Customer Reviews:

the most relaxing classical music in the university.......2007-05-12

All my favorites. I can start the CD player, which is wired to speakers in every room of my house, and just let it play, along with "The Most Relaxing Classical Music in the World" and "The Most Relaxing Classical Guitar in the World." I enjoy an awareness of familiar and beautiful strains of my favorites all day long and never get tired of it.

My brother visited me recently and noticed it right away. That will be another order for this fabulour music.

Relaxing Classical Music.......2007-01-08

I was not really a classical music fan but I am now. I purchased this cd for my 14 year old grand-daughter, not knowing we would both enjoy the music so much. She has always enjoyed classical music along with all of the other teen music, rap, rock, country, etc.
Also, it really helped being able to listen to parts of the music before purchasing.

Stress-freedom.......2006-03-14

Perfect music to end the work day. After listening to this I can face the evening. If the morning is hard, a little at lunch time gets me through the afternoon.

Greatly enjoy!.......2006-02-23

I first developed a taste for this music a number of years ago when my daughter started playing in the orchestra. The reason I made this purchase however, was because I have a great deal of difficulty with anxiety and I was looking for ways to find help. I love these CDs. It helps so much to sit and close my eyes and enjoy the music. The CDs are full of beautiful music.

the most relaxing classical music in the universe.......2005-09-21

it's the best next to the first one...

Man of La Mancha: A Decca Broadway Original Cast Album (Original 1965 Broadway Cast)

Average customer rating:

Check out Other Versions. Don't be swayed by Others' Reviews.
beautiful music for a haunting story.....
Man of LaMancha As Good As Ever
Don Quixote
Magnificent voices

Man of La Mancha: A Decca Broadway Original Cast Album (Original 1965 Broadway Cast)
Mitch Leigh , Joe Darion , Richard Kiley , and Joan Diener
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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Man of La Mancha
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My Fair Lady (1956 Original Broadway Cast)
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ASIN: B00005A8KE
Release Date: 2001-03-06

Tracks:

Overture
Man Of La Mancha (I, Don Quixote)
It's All The Same
Dulcinea
I'm Only Thinking Of Him
I Really Like Him - Joan Diener
What Do You Want of Me - Joan Diener
Little Bird, Little Bird
Barber's Song/Golden Helmet
To Each His Dulcinea (To Every Man His Dulcinea)
The Impossible Dream
The Combat (Previously Unreleased Reissue Track)
Dubbing (Knight of the Woeful Countenance) - Joan Diener
The Abduction
Aldonza - Joan Diener
A Little Gossip
Dulcinea (Reprise) /The Impossible Dream (Reprise) /Man of Mancha (Repr - Joan Diener
Finale (The Impossible Dream) - Joan Diener

Amazon.com

Man of La Mancha, the show that introduced "The Impossible Dream" to the world (and lounge singers everywhere), was the hit of the 1965 Broadway season. Richard Kiley is magnificent in his career-defining performance as the deluded wannabe knight Don Quixote. His leading lad Joan Diener sings the role of the kitchen wench Aldonza with just the right balance of dignity and vulgarity. Irving Jacobson turns in a fine comic performance as the Don's faithful squire, Sancho Panza. The score, with music by Mitch Leigh and lyrics by Joe Darion, was revolutionary in its time. The orchestra had no violins--just brass, woodwinds, percussion, and flamenco guitars. Man of La Mancha is one of Broadway's most inspiring musicals and it well deserves its high reputation. --Michael Simmons

Customer Reviews:

Check out Other Versions. Don't be swayed by Others' Reviews........2007-06-09

I've never seen this show on stage and my first exposure to the music was the Sony CD Man of La Mancha featuring Placido Domingo, Pandy Patankin, and Julia Migenes-Johnson. Despite lackluster reviews of the disk, I enjoy it, and when I saw this version at a second hand book/music store, I decided check it out too. My initial impression was that the Sony version was the better disk but decided to compare both versions by setting up a playlist in Media Player, playing tracks from both version back-to-back.

After that test, I have to agree with the reviews here that Richard Kiley is the superior Don Quixote. Domingo's voice is, of course wonderful, but Kiley acts the role better on the CD and Domingo's accent is a major distraction.

In the role of Aldonza - no contest. Julia Mingenes-Johnson's singing and performance on the Sony version is far superior to Joan Diener's. I didn't have to hear the tracks back-to-back to realize that. Ms. Diener's performance just grated on my ears from the beginning.

Bucking the crowd, I prefer Mandy Patankin's Sancho (Sony version) to Irving Jacobson's. I may be biased, having had more exposure to the Sony version, but Patankin seemed to be trying to inject a bit more feeling into the character. Jacobson, singing in an annoying, scratchy voice, came across almost like a cartoon trying to fit in among live characters. It seems like most people either like Patankin or hate him. Guess I'm one of the former.

The Orchestration does seem brighter/clearer in this version compared to the Sony version, but, in general, the tempo on most tracks seems slower than the same tracks on the Sony version. I preferred the up-tempo, Sony versions of "The Barber Song", "Little Bird, Little Bird", "The Dubbing" and "A Little Gossip".

In Summary: For Kiley's Don Quixote, you'll probably want this version, but for tracks featuring Aldonza (and maybe Sancho) you'll want to check out the Sony version. Since I have both disks, I will probably come up with a mix of my favorite tracks, in general, favoring the Sony disk but substituting the tracks that feature Richard Kiley's Don Quixote where I can.

beautiful music for a haunting story............2007-06-07

I remember reading excerpts from Cervantes' DON QUIXOTE, as a Spanish student, way back in junior high school. The saga of the madman fighting windmills and pursuing his illusions [and delusions] was very sad, but very romantic at the same time. When the musical adaptation, MAN OF LA MANCHA, was brought to the stage in 1965, Richard Kiley (as the title character, Don Quixote) absolutely transfixed the audience with his sensitively heartfelt portrayal of the tragic madman. The plight of Don Quixote, who travels on horseback, with his faithful companion, Sancho Panza (Irving Jacobson), and absolutely lovestruck by kitched wench Aldonza (Joan Denier), is alternately pathetic and profound. Perhaps one of the best known (and most remade) songs in the repertoire from LA MANCHA, is "The Impossible Dream." Richard Kiley really make it his own, here, and after you hear his version, it's hard to listen to others' versions of it. It's just not the same. Though, this story is anything but joyful, the music will glide through your ears and carry you on a surrealistic journey through attempted triumph and (ultimately) tragedy.

Man of LaMancha As Good As Ever.......2007-05-07

Very pleased with ourchase of this item. Quality is great as was the price. Delivery was timely. Easy transaction! A++++++++

Don Quixote.......2006-09-14

Back in High School my band leader, Mr. DeYoung, decided (agianst much opposition from those of us in the band let me tell you) to have us perform select pieces from this musical

I hated the idea. But when we began to play, he even had us watch the musical, I fell in love with the melody. The many songs of a man who believes the best in the world. YOu find that in Dulcinea, The Impossible Dream, etc.

From one maginificently rendered song to another, you can be lost in its melodic elegance.

My favorite song is the initial rendition of 'Little Bird, Little Bird'. It's a soft song, sung as a love ballad. In the musical you discover it's being sung to a local whore by a bunch of randy men. Despite that, I still like it.

This along with others are among the great works of the stage!

Magnificent voices.......2006-07-05

Voices and music make a revival of this beautiful play. Full of passion.

Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra

Average customer rating:

A charming, humane, thoroughly enjoyable Barbiere
Recorded too late
A real joy
Rossini Does it Again
A Misfire

Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra
Beverly Sills , Sherrill Milnes , Ruggero Raimondi , Gioacchino Rossini , James Levine , and London Symphony Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Bizet: Carmen (Complete Opera); Mirella Freni; Jon Vickers; Grace Bumbry
Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata
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Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

ASIN: B0000CE7FU
Release Date: 2004-06-01

Tracks:

Overture
Piano, Pianissimo, Senza Parlar
Ecco Ridente In Cielo
Ehi, Fiorello
Mille Grazie, Mio Signore
Gente Indiscreta!
La Ran La Le Ra...Largo Al Factotum
Ah, Che Bella Vita!
Non E Venuto Ancora
Le Vostre Assidue Premure
Se Il Mio Nome Saper Voi Bramate
Oh Cielo!
All'Idea Di Quel Metallo
Una Voce Poco Fa
Si, Si, La Vincero
Ah, Disgraziato Figaro!
Ah! Barbiere D'Inferno
La Calunnia E Un Venticello
Ah! Che Ne Dite?
Ma Bravi! Ma Benone!
Dunque Io Son
Ora Mi Sento Meglio
A Un Dottor Della Mia Sorte

Tracks:

Finora In Questa Camera
Ehi, Di Casa, Buona Gente
Che Cosa Accadde, Signori Miei
Fredda Ed Immobile
Ma Signor...Ma Un Dottor
Ma Vedi Il Mio Destino!
Pace E Gioia Sia Con Voi
Insomma, Mio Signore, Chi E Lei?
Venite, Signorina
Contro Un Cor Che Accende Amore
Bella Voce! Bravissima!
Quando Mi Sei Vicina
Bravo, Signor Barbiere, Ma Bravo!
Don Basilio! Cosa Veggo!
Che Vecchio Sospettoso!
Il Vecchiotto Cerca Moglie
Dunque Voi Don Alonso
Thunderstorm
Alfine Eccoci Qua
Ah, Qual Colpo Inaspettato!
Ah, Disgraziati Noi!
Insomma Io Ho Tutti I Torti
Di Si Felice Innesto

Customer Reviews:

A charming, humane, thoroughly enjoyable Barbiere.......2007-07-11

In much the same manner that Lucia Popp forever standardized Mozart's Königin der Nacht, Beverly Sills redefines the role of Rossini's capricious Rosina. Her crystalline coloratura voice washes over "Una voce poca fa" with brisk, windswept ease. It is a mystery why any listener would prefer a mezzo-soprano, such as Teresa Berganza, despite the fact that the role was fashioned for a denser voice. (Agnes Baltsa is likely the most delightful deep Rosina on record.) Nicolai Gedda's mellifluous voice provides the ideal characterization for Rossini's vigorous youth, the Conte d'Almaviva. "Ecco, ridente in cielo" and "Se il mio nome saper voi bramate," the role's osciallating cavatina and sensual serenade, shine with two characteristics which often clash during tenor performances: stylistic perfection and taste. Sherrill Milnes is, without a doubt, the finest Figaro recorded since Robert Merrill. The Verdian baritone exhibits atypically droll flare during "Largo al factotum," especially during the aria's feverish repetition of "Figaro." He and Gedda harmonize flawlessly during the duet "All'idea di quell metallo"; his voice also complements the radiant Sills during "Dunque io son ... tu non m'inganni?"

Fernando Corena possessed the most pristine and genuinely humorous interpretation of the cranky Dottore Bartolo. Renato Capecchi, a buffo bass whose range is quite impressive though occasionally unstable, provides a performance which can almost parallel Corena's. Where Corena was blusterous, Capecchi is sniveling; where the former was wickedly serpentine, Capecchi is morose and self-pitying. His greatest achievement is that he is never maudlin; his performance is constantly fluid (he is gut-wrenchingly hilarious during the Act II duet "Pace e gioia sia con voi" with Gedda disguised as a garrulous music teacher) and his characterization, though it transcends all realms of reality, is delightful in its over-the-top perfection. Ruggero Raimondi's Don Basilio is quite the opposite; his rendition of the "Slander Song" ("La calunnia è un venticello") is almost doomful. He provides archaic and gloomy weight where the inimitable Nicolai Ghiaurov was effervescent. The illustrious mezzo-soprano Fedora Barbieri supplies a very satisfying performance as Berta, Bartolo's disgruntled old maid, especially during her aria "Il vecchiotto cerca moglie."

With James Levine leading the London Symphony Orchestra with exquisite charm, one can barely begin to praise this brilliant 1975 recording of Rossini's landmark opera. It is not only an essential Il Barbiere di Siviglia for aficionados of the comedy, but a touching and compelling accomplishment no music lover should exist without.

Recorded too late.......2007-07-06

I wish that I could speak more highly of this performance, as it was made by some of my favorite singers (and conductor). Alas, I can not. Milnes is a fine Figaro. Sills (I love her) should have recorded this role about 10 years earlier. Really unfortunately, I found Gedda's work painful. A fine, stylish tenor in his prime, he is well past it here.

Sometimes great talents come together and misfire. But, if you are a Sills fan...

A real joy.......2007-01-24

It is a great pleasure which what I hear this wonderful recording of Rossini's masterpeace, vividly conducted by a young James Levine and sung by a cast of first-class singers including Milnes, Sills, Raimondi and the unsurpassable Gedda as Count Almaviva. This production has not lost anything of it's freshness since over 30 years!

Rossini Does it Again.......2007-01-08

A wonderful opera that even the "opera hater" would love. Great music that can be recognized by all.

A Misfire.......2005-10-09

On paper, this looks like a dream cast, but the reality proves unfortunate. BVeverly Sills, Nicolai Gedda and Sherril Milnes are some of my favorite singers, but here, Sills sounds fatigued (though her "Un Vene Poco fa" is charming and winsome), Milnes misses the finese of Figaro, and Gedda, sad to say, sounds old and tired. Renato Cappecchi is a miscast Bartolo, but Raimondi is an imposing Bartolo, if without the nuances that Zaccaria brings to the role or the sheer glee Ramey and Montarsolo do. Levine's tempi are plodding, and Fedora Barbieri shows up in a cameo as Bertha, compleatly ill-equiped. If it were not for Sill (who can do no real wrong) and Raimondi, I wouldn't even bother looking at it. 2/5

Saint-Saëns: Symphony No. 3; Poulenc: Organ Concerto; Barber: Toccata Festiva

Average customer rating:

A Missed Opportunity?
A Sound Spectacular
The Organ at Verizon Hall
Great Concert; Great Recording--Wish the Levinson Piece was Here
Superb Barber--variable Poulenc and Saint-Saens

Saint-Saëns: Symphony No. 3; Poulenc: Organ Concerto; Barber: Toccata Festiva

Manufacturer: Ondine
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

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Tchaikovsky Violin Concerto (Hybr)
Beethoven: Symphony No. 9 [Hybrid SACD]
Le Sacre du Printemps [Hybrid SACD]
Mahler: Symphony No. 2 in c minor [Hybrid SACD]

ASIN: B000LP4OII
Release Date: 2007-02-13

Tracks:

Toccata Festiva,Op.36 For Organ And Orchestra
Andante
Allegro Giocoso
Subito Andante Moderato
Tempo Allegro, Molto Agitato
Tres Calme. Lent
Tempo De L'Allegro Initial
Tempo Introduction. Largo
I. Adagio Allegro Moderato
Poco Adagio
II. Allegro MOderato Presto Allegro Moderato
Maestoso-Allegro-Molto Allegro Pesante

Amazon.com

This disc is drawn from the concerts inaugurating the new organ in Philadelphia's concert hall, a fine instrument well-captured by the engineers. But along with the sense of occasion, organist Olivier Latry and the orchestra deliver stunning playing of a stimulating program. Barber's celebratory overture is an apt opener, full of color and sparkle. The Poulenc is especially notable for the intensity soloist and the orchestra bring to one of the finest modern concertos in the repertory. Saint-Saëns' Symphony is almost on the same level, slightly marred by a sluggish slow movement but with plenty of excitement elsewhere. Perhaps the most impressive aspect of this disc is the playing of the orchestra, full of life and vitality. The sheer sound of the Philadelphia strings is captivating enough, but the fetching wind solo turns and section work remind us of the continuing greatness of this ensemble. Latry too, is outstanding in the Barber and Poulenc works and an incisive presence in the Saint-Saëns. -- Dan Davis

Customer Reviews:

A Missed Opportunity?.......2007-06-20

For a long time I have admired Christoff Eschenbach as a pianist and accompanist; my Eschenbach/Fischer-Dieskau/Schumann is delightful. This is my first exposure to him as a conductor - sadly, I am disappointed.

The Barber and Poulenc I quite liked although, to me, they were of secondary importance as I bought the CD for the Saint-Saëns/Dobson/Latry/Philadelphia partnership; one that works very well on this disc - a superior recording responsible for most of the four stars awarded. The factor out of balance in this equation is Eschenbach.

Solti could be irritatingly slow but he was, by comparison with Eschenbach in this performance, positively Toscanini-esque. All four sections of the Organ Symphony were taken at much too slow a pace but the "poco adagio" was thoroughly somnambulant and the "maestoso" section anything but. That the Philadelphia Orchestra was able to maintain the excellent cohesion displayed at this less-than-pedestrian pace is a measure of their quality.

If it is the Saint-Saëns that you want, you could do much better elsewhere. This work requires a powerful organ with convincing plein jeu (preferably but not necessarily in the French symphonic tradition) but so many recordings have either employed asthmatic instruments or, as to a degree obtains in this case, contrived a solo/orchestra imbalance. This balance is unusually difficult to achieve but, in my view, was nicely accomplished by Jane Parker-Smith and the London Philharmonic in 1982/83. The two dates arise from the orchestral and solo parts being separately recorded at different times and at different venues. Perhaps this is a "cheat" but it resulted in what I consider the best recording of this work and the one I would recommend.

A Sound Spectacular.......2007-05-15

This is a must have recording! It's just fantastic. The organ and symphonic playing are mesmerising.

The Organ at Verizon Hall.......2007-05-09

Quite a debut! Three great works for organ and orchestra on one SACD. My landmark for the Saint-Saens is a live perfomance at Symphony Hall in Boston with E. Power Biggs and Charles Munch when the organ was in its prime. This would be "The" performance for me. Biggs released the same organ with the Poulenc and the Barber on an Allen. When the pedal point comes in on the Biggs-Burgin, it still sets the floor vibrating. Biggs and Munch were not able to 'release' because of contracts [Biggs to Columbia and Munch to RCA] but hopefully that can be found in the BSO Transcription Trust and released now. In the meantime, this recording is very, verrrrry satisfying. The Dobson Organ is a treasure to Philadelphia. My only reservation is: Does Eschenbach really, REALLY grasp the Philadelphia strings in these three pieces!

Great Concert; Great Recording--Wish the Levinson Piece was Here.......2007-04-25

I attended many of the events of the Premiere Organ Festival, including one of the concerts from which this recording originated. I join many of the other reviewers who wish the Gerald Levinson commission was here instead of the Poulenc concerto. I had always found the Poulenc work curiously lifeless and mechanical in the past. However, a later performance by the Pittsburgh Symphony with Michael Stairs (I think) was a revelation.

Both the Barber and the Saint-Saens show the new organ to be a masterful partner with the Philadelphia Orchestra. As a subscriber, I'm looking forward to many grand events in the forseeable future!

The Organ Symphony in particular was well-balanced in peformance and recording. I have at least one recording of this work where the pianos are missing. Here they are right where they supposed to be.

As many of you may know, the Cooper Memorial Organ is provided with two mutually exclusive consoles and playing actions. One is a moveable electronic action console and the other a mechanical tracker action key desk. Both are used here. The Barber, the Poulenc and the missing Levinson were played on the floor on a beautiful curvilinear console which emphasizes horizontal lines and appears to be as large as an aircraft carrier. The Saint-Saens was played from the mechnical key desk above [there is a television monitor instead of the traditional mirror}. One can see both in the candid photo of the concert on page 20 of the CD's booklet.

Oddly enough, the booklet DOES NOT have a listing of the organ's specifications. I guess you will have to wait for a recital disc which I hope is forth-coming!

Superb Barber--variable Poulenc and Saint-Saens.......2007-04-25

This disc features at terrific account of the Barber--by far the best performance and recorded sound I've yet heard. Five stars all around! Eschenbach does a superb job of making this under-rated work make sense to me. Marin Alsop does a fine job on her Naxos Barber disc, but you must hear this Phialdelphia performance if you want to dig deeper.

The Poulenc, unfortunately, is less than noteworthy. I am the last person to know the finer points of Poulenc, but it just seems this performance cannot make up its mind where it wants to go. There are some shifts in tempo that fail to sound convincing, for instance. At this point in listening to the disc, I also came to feel the recorded balance was not as good as in the Barber.

I feel better qualified to say something about the Saint Seans, since I own over a dozen recorded performances of this work on CD--from the classic Munch/BSO forward in time. I feel that Eschenbach would certainly have benefited from a bit more of the energy that Munch brought to that reading in spades, but, of course, there can be little doubt that Eschenbach enjoys far superior sonics.

They are not the best sonics I believe this work has received on CD, however. My impression, at least from this recording, is that the Verizon Hall has less liveliness than other venues. Perhaps this is a trade-off that comes with making a live recording in a packed hall--more bodies mean less liveliness in the hall than otherwise. I am not sure. All I know is that I was dissapointed to hear the orchestra sound backwardly placed and have little "air" around it, and to hear the organ--while certainly massive and arresting in sound--seem less than convincingly placed in relation to the orchestra. As for the performance, I feel there are also better combinations of grandeur and warmth to be found on CD, for example the Levine, Maazel, Dutoit and Barenboim accounts. All of these readings feature different couplings, so you have some additional factors to consider in a purchase.

My personal favorite--among my dozen or so--remains one I bought as an afterthought in a Glasgow, Scotland record shop last summer: an EMI CD by Andrew Litton and the Royal Liverpool Orchestra recorded in Liverpool Cathderal back in 1987. From the first note to the last, it holds all the elements of this French masterpiece in balance, and the recorded soundstage is entirely believable--in fact, it is wonderfully open and airy (as one would expect, given the venue). And what an organ! It is a joy to hear and is also recorded in real time with the orchestra. Of course, there is more reverberation than some might think ideal in this recoding, but I am willing to look past it as the performace is so compelling. Sadly, this disc is now out-of-print. My fond hope is that it will make a return soon. Until then, I'd recommend all lovers of this work to seek it out: You will be richly rewarded if you can find it!

In summary, a first-rate Barber that is real treasure and almost reason enough to purchase this disc. You will find better versions of the other coupling elsewhere. Very fine--if not exactly ideal--sound all around.

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